1. Most of the electronic music I come across follows a certain logic that still refers to the dancefloor - your music seems to follow a different logic - I can't really define it but I see your music following a logic that has more in common with improvised music - except you are playing all the instruments as well as composing the music - is there a 'phthalocyanine logic'?

Yes, a dynamic and comprehensive logic which I will illuminate below.

2. I read a critic complain about your music that it sounds like 'unfinished sketches' - I somewhat agree - but this is what attracted me to your music in the first place - do you see the tracks on your cds as 'unfinished sketches'? Or does the listener impart this on the music because your tracks lack the linear logic most associated with current electronic music?

One man's individual efforts and research will follow their own patterns-their own life of self-directed growth. Popular modes of execution can be measured-in-context. To whatever degree a man evaluates anything in the framework of some system of values or context is the degree he is saying that what he evaluates BELONGS IN THAT CONTEXT. Fine art in the true sense points at the very freedom, but certainly not obligation (obligation is not freedom), to depart from any system of values. Any critique is based on a system of values and that is inevitable; but it HAS NOTHING TO DO with any decision making routines of an artist who is concerned with the dynamics of the techniques and ideas themselves and NOT concerned with the schools of thinking they may be per chance associated with. I'm pointing to ground where all is fair game and where nothing can be "disqualified" --- in that sense this stuff is already very unqualified-by-your-standards. This is about brutal, raw, simple, dynamic, fine art outsider techno. It means a certain attitude that can cover much ground. The whole thing is certainly perpetually very "Unfinished". I think actually we have yet to really start; but it does not mean that these ideas are not developed and that the utmost scrutiny was not applied in their assembly. Bickering is the ground of a critic; better let the artist continue to assemble dynamic ideas through the use of his own developing techniques or else we will not have any music for the critic to criticize!

3. This quote an old professor of mine put into a list of "outside reading" said: "it is better to be lost in passion than to lose one's passion" - would you agree with that in regards to your music? How much 'passion' is there in your music?

This is boiling music. It is a stink - a rotting dead animal. A cluttered junk basement of obsession. It is a nuclear attack gunboat with it's own band of military drummers onboard beating 30ft diameter war drums. This is about the fire which burns all confusion; this is about certainty ----; it is about having the guts to understand that there is absoulutely nothing wrong with where you find yourself. This is about hard techno ---- not beneath what I'm talking about, but being the materialization, or affirmation of it. Typical, or routine thinking's very functionality is based on the supposition that something is wrong -- that is the story of routine involvement in anything; involvement in this art is right at it's core an activity having nothing to do with that. It is boiling --- physically acrobatic, experience music, it is the gravity in a black hole that rips your body to shreds. That's how much passion "is there in my music."

4. You are concerned with issues of 'art', and speak of your (and your label's) music-making as an 'art' - this sets you apart from many (or some?) of your contemporaries in the us and europe, who (more often than not) tend to not express the idea that they are just 'making some bangin' tracks' even if deep down inside they see themselves as artists. Is it important to you to define your music as 'art'?

The names involved do not matter to me personally, because I understand perfectly well what I mean when I say "Art" or "Techno". I use these names rather because I have the strong continual impression that the aggregate attitude has not yet bridged some major gaps. When we say techno, we do mean Acen and Omni Trio, but also we mean Jean Dubuffet and Cy Twombly, John Cage and Frank Auerbach. All that is just techno --- it is all just fine art. A person that identifies himself with a particular camp looses his identification with ALL the approaches; and that makes him miss the point of art itself, which is to completely destroy all normalcy and sense of narrow or exclusionary thinking. Thinking is most honest with itself when it does not long for a far off state that is not already it's own -- when it does not say "you all guys are not involved in my thing, I'm in the process of converting you, or at least arguing with you." Just recognize that it's ALL your thing --> you ARE "you all guys".

5. Does it matter to you whether or not your music is 'accessible'? By accessible I mean 'easy to listen to' as well as 'widely available' - even if you only make music to please yourself, does it matter if anybody else 'gets it' or not?

"Your" approach is to seek out because you're curious, but not to find unless based on your previously found. The "processs in motion" of all of this just socks you in the gut - but that is a personal matter and none of my business; if you aren't finding what you're looking for it is your own fault and none of mine.

6. Is Phthalo a business? Do you rely on sales of your music as a form of income?

All activity can be looked at any way you choose, so the question is not specific in that sense. We do manufacture and sell 12"s and CDs of course, but the issue of if it is a viable "business-for-profit" is another issue. One thing I can say, and nobody familiar with Phthalo can deny, is that this is the riskiest label around. Nobody can say that we do not take risks --> and I mean by your own standards, not mine. In my book I'm just anchoring a fun and exhilarating release schedule of widely ranging perspectives but all sharing the common ground of being completely seduced by the beckoning calls from the abyss.

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