If frogs had side pockets, they'd carry hand guns.
No more "band psycho" stuff for me. I'm fine without it.
I started playing guitar at the age of 8 or 9 years. Very early, and I was like already into pop music and was just trying to copy what I heard on the radio. And at a very early age I started experimenting with old tape recorders from my parents. I was 11 or 12 at that time and then when I was like 14 or 15 I had a punk band. I made all the classic rock musician's evolutions and then in the early nineties I bought my first sampler and that is how I got into electronic music, because I was able to produce it on my own. That was quite a relief.
It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.
For me, there is a strong hypnotic power in noise-music, and that's something I don't want to leave out of my music anymore.
For me, noise is not something I use to shock, or because it's funny, or weird, or whatever. I use it because I find it beautiful.
I grew up in a small village close to a big lake. There are heavy winds there, and they always sound different. I like these sounds best.
Without involvement, there is no commitment. Mark it down, asterisk it, circle it, underline it. No involvement, no commitment.
To know the pains of power, we must go to those who have it; to know its pleasures, we must go to those who are seeking it: the pains of power are real, its pleasures imaginary.
Occupy yourself in beholding and bewailing your own imperfections rather than contemplating the imperfections of others.
I always prefer to write songs about emotional situations and heartbreak because I like getting into the character.