Who is your favorite classical composer? Do you have one?
I can’t really say that I have a favorite classical composer. I have an appreciation for Stravinsky, Orff, and Beethoven. Modern composers, perhaps Philip Glass or Hans-Joachim Roedelius, Brian Eno, and of course Adi Newton.
When did you start composing electronic music?
I started messing with synths in 1985 after becoming interested in electronic music. A pawn shop in my hometown sold me a sequential circuit pro-one (for $15). My gateway was via breakdancing and D.J. culture. I was really into Afrika Bambaataa, Egyptian Lover, and Arthur Baker re-mixes. I was already familiar with Joy Division, Throbbing Gristle, and Young Marble Giants. It all kind of blended into one thing for me.
How did you hear about the 9 Beet Stretch?
The first time that I heard about 9 Beet Stretch was during a conversation with Z’ev. We were discussing our working methods and audio stretching.
The world is upside down, how has living in the shade of COVID impacted your creative work?
It put a hard stop to live performances. I had to cancel a scheduled performance with Francisco Lopez in Chicago. Otherwise, I am reclusive and it really hasn’t affected my output. We have had several projects delayed as the pressing plant production time tripled.
What projects are you currently working on?
I just finished a collaboration with Francisco Lopez. Already at the pressing plant is Organ Needles. The new release from Adi Newton’s TAG. I am on two tracks with him. Adi and I are also working on a lathe release for the end of 2020. Several long term collaborations are creeping along.
Potential releases when finished with Illusion of Safety, Z’ev, and a full-length solo L.P. I also will release fever dream four, which is the last in a series. I am considering releasing all 4 fever dream releases as an ambisonic c.d. to mimic the audio installation it was intended to be.
Should electronic music be purely academic (Does an Electronic music artist need to be formally trained in music?)
In your opinion, what is the merit of improvisation and experimentation?
I love performing live, as it is always improv. I do have pieces that are composed, but the method that I perform is to always leave an element of chance. Machines break and cause accidental rhythms. Old cords never replaced present static and pop I never would have added. Coincidental, accidental, and unexpected connections present themselves.
What do you think as an artist about the juxtaposition-fusion of classical and electronic music?
I am all for it. I have recorded and performed with string players and classical musicians. Blending the two presents opportunities for great things to happen.
How do you envision the future of electronic music?
The old ways go away and then come back. I assume the cycle will continue. Physical releases are becoming harder to do. It is my goal to continue to release beautiful objects and share what I do with the people I work with.