Interviews

The Guinness Who's Who of Rap, Dance & Techno 94
Trance Europe Express 2
Future Music
Muzik
Womad 1997
All-Music Guide
KISS FM July 97
Digital Artifact
Waferbaby Website 13/12/00
Progressive Sound Interview by Simon Jones

Malcolm Stanners	David Gates

The Guinness Who's Who of Rap, Dance & Techno 94........

Internal Records signings who under the intelligent techno mantle, have broken several musical barriers notably supporting Hawkind on live dates. Their sequence of releases runs chronologically ST1, ST2 and ST3, the latter EP comprising seven different 'stereotypical' approaches to modern techno, all of which are carried off with aplomb. They are a duo comprising Malcolm Stanners, who had worked with Derrick May and Kevin Saunderson in the late 80s, and partner David. They made their debut with 'Ease the Pressure / Charged Up' which sold well in mainland Europe, then 1993's 'Sweli' / 'Meltdown' - a record packaged to resemble a Djax - Up Beats disc, with David's phone number on the label. The first person to ring up was Andy Weatheral. ST3 also featured samples of Simple Minds and David Byrne (Talking Heads).

Trance Europe Express 2 Interview......

Salt Tank's David Gates and Malcolm Stanners wouldn't be out of place in your mum's sitting room - suitors awaiting parental scrutiny. They're looking around the room checking out the heirlooms, the vibe... the side and rear exits. David, the party-hearty, apple cheeked one, keeps looking at Malcolm, the blond, favourite son one, for reassurance. Relax, kids...you've passed muster.
Days before, a scantily marked tape had arrived in a plain white envelope. This was ST3, Salt Tank's debut LP (ST2 and ST3 were limited releases on the band's 4 Real Communications label). A 'play' button later and the room is filled with gorgeous techno, reminiscent of the days when dance records had a melody that the postman could whistle. It's no surprise then to find that the records that changed Malcolm and David's lives were early smashes by LFO, Renegade Soundwave and A Guy Called Gerald. This was the sound of suburban parties and kids on the run, something to which Malcolm and David could relate. The same something from which all the best dance records are hewn.
Best mates since the age of 14 (now 28), David and Malcolm's musical development parallels the growth of the British free festival scene. Steeped in acid rock, the boys ventured forth to the first Womad in 1982: "It was completely mad," David says. "For us it was an exposure to rhythmic influences. We saw the Burundi Drummers jamming with Echo And The Bunnymen and Simple Minds. Nothing like that had happened before."
Gobsmacked, they dived headlong into the world-music scene, and wound up, as you do, at Stonehenge. By the time the authorities clamped down, David says, it was clear that a Woodstock situation could happen. "The first time I went, there were only 10,000 people, but in the last year there were 100,000. After the Battle Of The Beanfield, we dropped out of the scene and moved into London."
This was 1987. The people from the festival scene got wise and went urban, hiding in the anonymity of cities such as Leeds, Sheffield and London. House music pumped out from the warehouses, the Mutiod Waste Company turned junk into art.
Malcolm got a job at Paradise Studios, were he worked with Derrick May and in the days before Inner City broke, with Kevin Saunderson, "Loads of people came through in those days and it's what made me decide that the music was really great," Malcolm says.
Music was something that they didn't decide to make for themselves until 1991. Like many others, they'd caught the Club Dog/Whirl-Y-Gig vibe, which appealed to the interests in world and house music.
More crucially, the cost of music-making equipment fell within their reach. The Clash-loving house cadets, soon twigged that dance music, with its minimal start-up costs and ease of ascension, was the true punk rock for their generation.
"More punk than punk," Malcolm says.
In fact, you don't have to convince anyone to put out your record, which is what the old punk bands had to do," David says. "You just go out and do it."
The old rules about hype had fallen by the wayside, too. "It's plain and simple," Malcolm says. The plain record, free of adornment, with only the groves to rely on, was now all that was necessary. David reaches into his bag and slaps ST2 clear sleeve, rubber-stamp label - down on the table. It's ample punctuation and makes the point succinctly.
Their first release, 'Charged Up'/'Release The Pressure' was bootlegged and playing on Kiss FM before they'd picked it up from the pressing plant. Gigs at Club Dog followed but not the DJ circuit. They'd never done it and probably never will, but DJ culture was crucial to Salt Tank's ascent. When ST1 came out in June 1993, the first person to ring the phone number printed on the 4 Real label was Andrew Weatherall. He invited them to the Zap Club to hear him play and David and Malcolm - along with the crowd - went wild when Weatherall dropped their record into his set. "The biggest hit in the whole world," David says, "is to actually go to a club not knowing they'll play your record. After being in a studio you never know what people will think."
Following these fortuitous events, Salt Tank seemed destined for success. With everyone from John Peel to Kris Needs signing their praises, it was only a matter of time before the 4 Real sound wound up on a major label. That label was Internal, the London Records off-shoot piloted by Orbital.
Orbital share Salt Tank's suburban roots and the Megadog vibe, so Malcolm and David knew they were in the right place. And, like Orbital, they're not adverse to non-electronic influences, guitars and voices.
"That heavy bass/drum thing is fine, but we're after the tune," Malcolm says.
But how do Salt Tank intend to catch it? By pushing beyond the boundaries of contemporary dance music and drawing on influences of bands such as the Cocteau Twins and Dinosaur Jr. This approach is evident on the album tracks such as 'Charged Zoom Train' and 'Pacific Diva' as well as on 'Dreams', the track on Trance Europe Express 2.
However, Salt Tank are prepared to go further than that. Giggling conspiratorially on the edge of their seats, Malcolm and David are plotting their next frontier stretching scheme. Flushed with their admiration for PJ Harvery ("That bloke she's singing about in 'Rid Of Me'", Malcolm says, "no way would I wish to be that bloke") and her irascible producer Steve Albini ("Now Big Black, "David says, "there was one hard band"), Salt Tank have decided that Albini should produce their next release.
Brilliant! But will the slippery speccy one oblige? It seems that Malcolm and David won't take no for an answer.
"We'll make him," David says. "When he realises how much it will get up people's noses, there's no way he'll say no."

Salt Tank's all time top 10

1. Brain Eno, David Byrne: 'My Life In A Bush Of Ghosts (Virgin)
2. Renegade Soundwave: 'Phantom' (Mute)
3. Fripp & Eno: 'Evening Star' - Live at L'Olympia Paris (Editions)
4. Jose: 'Cafe Del Mar' (white label)
5. Dream 17: 'Anette' (Deconstruction)
6. Dinosaur Jr: 'Freak Scene' (Blast First)
7. Sueno Latino: 'The Latin Dream' (BCM)
8. World Domination Enterprises: 'Asbestos Lead Asbestos' (Karbon)
9. Steve Hillage: 'The Golden Vibe' (Virgin)
10. New Order: 'Temptation' (Factory)

Extracts from the third Future Music Interview......

Salt Tank are David Gates, Malcolm Stanners, and Andrew Rose - a threesome who take on a more or less equal share in all things, both live and in the studio. But it wasn't the standard, common or garden meeting of minds that led to the formation of Salt Tank. Malcolm had already worked with some big names including The Beloved and Inner City at Paradise Studio in 1988 before the partnership with Dave really took off.
"Yeah, I literally blagged my way into one of the early MIDI studios, " he explains "It had a Fairlight, an Oberheim and other bits and pieces. At that point the acid house was just starting with Kevin Saunderson and Boy George - that started the ball rolling. Dave and I started writing. We'd always buggered around musically though..."
"Yeah, but not getting far until MIDI, you know,"adds Dave. "Trying to use things the way New Order used them was a bit difficult. Plus we had no money for kit."
So how did the deal with Internal work out?
Malcolm: "With probably the most serious amount of work we've ever done. We thought the best way was to press our own stuff. We believe in our music and we sold 1,000 copies of the first record [ST1] which got us on to a John Peel show."
"If there's one way of getting a deal then it's putting records out and proving yourself,"Dave advises."Eventually it got to Internal. This guy calls us up and says, I'm starting a new label and I'm going to have Orbital on the label and I want you to be the first people we sign after that', and eventually he did".
"That's massively simplified, but basically it," agrees Malcolm. "We demoed for about 18 months." But, even with a deal in the bag, it wasn't until this year that things took off....
That's kind of how it is," Dave explains."You keep going and eventually people think,'Oh, they're really good after all!"
"For some people it can come quickly but if it had I don't think it would taste as sweet," Malcolm adds. "The single has been around but we subscribe to the ethic of organic growth where there has been very little hype at all. It's just the music and on what journalists have written about us and that's how it's been over the years."
"We're never going to be trendy in the purist techno field because that's not what we're into," states Dave.
So were you surprised at Eugina`s success? Andy: "Yeah I was, because to us it seemed like such an old single. It's like someone said, "Yeah, we're ready for this now, it's about time this came out.'"
"And there're not many techno-ey chaps who have a Top 40 single"" concludes David.

Watch the 3rd Future Music Interview [1:26]

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Extracts from the Muzik Interview......

Kicking sand in the face of Robert Miles' `Children' before surfing up the charts on their `Eugina' single, SALT TANK have a big surprise up their trunks.
"People are going to hear 'Eugina' and think they know what we are all about, they we be surprised." says David Gates. Number One in every DJ buzz chart in the land, Salt Tank's "Eugina" is on the way to being a huge hit, some two years after it was recorded. "The Salt Tank sound is a big picture, "agrees Malcolm Stanners, his hair soaked, his skin glistening. "It's a living, moving thing which is constantly evolving. Quality and melody are the only definite elements." Floating in a deep blue pool somewhere in London, the group are quietly yet confidently explaining their melodic electronica. Label mates of Orbital and The Advent on Internal, their beatific chords and lush trance vibes are slashed with breakbeats and the sound of manic 303s.
"We're often inspired be surfing", says Malcolm. "As you can probably tell by some of the lush sounds we use."On "Science & Nature", which brings together tracks from the six EPs Salt Tank have issued over the last five years, there are certainly some real surf moments. There are crest-of-the-wave suspenses and ethereal, blissed-out ambient moments, followed by adrenalin rushes as the beats crash in.
Even when they talk, the conversation is peppered with surfing analogies. "Do you watch The Simpson's?" asks Malcolm. "You remember when Homer takes Bart's skateboard and jumps across a crevasse? He thinks he's going to make it, but he doesn't. That's exactly what it's like when you get wiped out surfing."
"And that's what it's like with our music," adds David. "It's a real adrenalin rush, a high. You never know it it will suddenly fall apart. When we played in Spain in April, it was all going well when someone tripped over the power supply backstage and everything died. It was just like crashing down from the top of a wave."
With "Eugina" still ringing in your ears, the Salt Tank experience is sure to come as something of a shock. "We like to play hard fast beats," says Malcolm. "We start at 128 bpm and go all the way up to 160. I take the bass and push it up as loud as possible. Almost into drum 'n' bass territory. We're full-on."
And there will be plenty of chances to catch them this summer because the boys are playing gigs for Surfers Against Sewage and embarking on an Internal tour with CJ Bolland and The Advent, as well as stopping off at numerous festivals. Which is where Andrew Rose, all dreads and freckles, toothy grins and start potential, comes in. Having previously played with rap and raggae bands, he gives Salt Tank's Brand of techno a whole new twist.
"I believe in conscious rap, poetry in motion, " he says. "Rap is like a religion to me. It keeps me on the straight and narrow." From "south of river", Andrew has been clubbing since he discovered the delights of soul weekenders in the early Eighties.
"I grew up with raggae, then I got into soul at a really young age. I was about 13 when I went to my first soul party, which was at the Pink Elephant in Luton. I got totally done when I got home because I'd been out all night. My Dad was like, 'Where you been? Where you been?' I was like, 'A disco'. After that, I just couldn't leave it alone."
Malcolm (who has worked as a technician for people such as The Beloved, Boy George and Kevin Saunderson) and David couldn't come from a more different background. At 16, they were going to Stonehenge and Womand, hanging out with travellers and listening to everything from the loony dub of Mad Scientist to disco, Brain Eno and even The Smiths.
When the travellers were driven off the roads and into the grimy urban life of London just in time for the emergence of acid house, David and Malcolm found themselves at mental Mutiod Waste parties in old bus depots crammed with junk metal sculptures. Out of these diverse influences has come their determination to keep Salt Tank exciting.
"I love techno,"says David. "But not just the repetitive, four-to-the-floor blueprint of Detroit techno. That was great, but now we must move on."
If there recent success is anything to go by, Salt Tank's interpretation of moving on is probably a leap into the major league alongside the likes of Leftfield, Underworld and The Chemical Brothers.
Surf's up for the Salt Tank.

Womad 1997........

"WOMAD was a big influence on us," says Salt Tank's David Gates. "When that festival first went off, we started to think about rhythms a lot more." Well, now they're playing at WOMAD, still cruising on the success last year of 'Eugina', their soaring, adventurous club hit. Salt Tank have one advantage over many other acts with a foot in the ambient/trance end of dance: they know how to put together a strong tune.
Gates and Malcolm Stanners have been playing together for six years and early own-label EPs and mini-albums made the indie charts. In 1994, their 'Charged Up' was one of only four techno tracks in John Peel's Festive Fifty. But it was the 1996 reissue of 'Eugina' on Internal Records, the home of Orbital, that gave the Salt Tank bandwagon momentum. It was a single of the week in most dance magazines and hit the national Top 40, eventually selling 20,000 copies. After the big single came the 'Science and Nature' album, which makes use of all those changing drum patterns they found at WOMAD, but is also big on tunes and simple structures. There's some Balearic in there, a lot of trance (the trusty old 303 keyboard is well-used) and some older, breakbeat-influenced tracks such as 'Gaza Strip' with its suitably Middle Eastern feel.
The current live line-up is David on guitar synth, 303 and Prophecy keyboards; Malcolm (keyboards/mixing); Geraldine (ethereal vocals); and percussionist Keke, who also gets going on electronic drums. This line-up allows for plenty of movement on stage and more of the feel of a traditional gig.

All-Music Guide.....

Salt Tank possesses an instinct for beautiful techno and trance akin to Orbital though their focus on hard-hitting techno and live-show performance (with guitars and drum kits as well as synthesizer banks) puts them more in line with Underworld. Formed by Malcolm Stanners and David Gates with Andrew Rose added later for an in-concert slant, the trio recorded several singles before signing to Internal Records and finding a surprise British Top 40 single in "Eugina." Originally, Stanners and Gates knew each other from an early age, sharing an affection for world music and the crusty, festival movement. The pair embraced acid-house as well by the mid-'80s, and Stanners began working at Paradise Studio, where he engineered for Hawkwind, the Beloved, Kevin Saunderson's Inner City and Derrick May.

By 1991, Stanners and Gates had earned enough money to buy their own gear, after which they recorded three limited EPs on their own 4 Real Communications. The releases created a buzz in the dance community -- dropped into sets by Andrew Weatherall and Kris Needs -- and made it to the radio as well via The John Peel Show. After signing to Internal Records (also the home of Orbital and the Advent), the duo released their proper debut album, Science and Nature. The single "Eugina" hit the British Top 40, and recruited Andrew Rose as a nominal frontman for their live show. Salt Tank's sophomore LP Wavebreaks followed in 1997, and the trio became one of the few bands to play a live set at the Liverpool super-club Cream.
John Bush, All-Music Guide

KISS FM July 97.....

An interview with Dave, Malcolm and Geri talking about the Wavebreaks album.

Listen to the KISS FM Interview [5:05]

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Digital Artifact Interview with David Gates (2000)......

1. Brief background of you growing up/exposure to music, local scene.

Grew up in leafy airport suburbs of London in the country but near the city, met Malcolm Stanners [both at age 12], he was smoking a pipe !
We listened to all sorts of music -New Order, The Smiths, Steve Hillage, Ffripp and Eno, Gong, Hawkwind, disco,reggae, punk, until 1986, we played in bands, both of us are guitarists, but didn't have any money for synths and with no midi, I couldn't have got them to run any way [Malc could have -a technical boffin]

2.a. What were you doing prior to your workings with electronic music? Were you involved with music at any level, i.e. pirate radio, DJing, sound engineering?

David - doing a degree at London University and playing in bands.
Malc- sound engineer at paradise studios London 1988
Working with Inner City, The Beloved, Boy George, Bam Bam etc.

2.b When and where did you become a member of the electronic music community?

1988 we were a part of the acid house explosion! [by going to the raves], so why not make the music, so we bought a Roland drum machine and started making trax

2 c. What were the major driving influences (musically, spiritually, scene-wise) in the beginning?

Musically, Renegade Soundwave, The Shamen, New Order + any good track we heard.
Spiritually, desire to perform and make beautiful music.
Scene, some local raves at South Hill Park, Bracknell with Astralasia and a club called Shave your Tongue and a Guildford scene with HIGH ON HOPE promoters.

2.d. What types of music were you listening to at the time that had a massive impact? Who do you cite as musical influences/mentors on your music?

Renegade Soundwave, The Shamen, New Order, Orbital, Sueno Latino + any good track we heard.

The Smiths, Steve Hillage, Fripp and Eno, Gong, Hawkwind, Disco, Reggae, Punk.

2.e. Who first noticed you as a powerful sound unit?

Sherman, a writer at the N.M.E. bought our first record[but never reveiwed it!]. He taped it and gave it to Jones who was/is the press officer for Orbital, who recommended the tape to Christian Tattersfield [then head of Internal Records/[FFRR/London] who rang us and signed us one YEAR later.

2.f. When, where was the first gig? How well did it go? Any funny/special stories attached to it?

At a rave at South Hill Park Arts Centre, Bracknell.
The acid house thing was touching down everywhere at that point [newspaper outrage etc. -media frenzy ]. I guess it was like when the ken kesey kool aid acid test came to town
in the 60,s.

The place was so crowded that we had to let our friends in through the dressing room window.

A guy called Mr Daydream was also on the bill who, at rehearsal had 6 young dancers, by the time he played they were missing in the crowd [flying].

2.g. Were there any other prominent DJs or electronic artists around from where you grew up?

Astalasia, where we recorded our early trax
Andrew Weatherall, who we met later in 1993 came from Windsor.
Zion Train, we recorded our first record at there studios.
Chicane, we've worked with [he lives nearby]
Beautiful People, they did the Hendrix remix thing and had a big studio we used also the promoted raves locally.

3. Did you associate with them and did they give you any inspiration/direction?

Sure, all of them but we've had the most interactive relation ship with Astralasia.

4. How does the chemistry work so well between you and the music you create? How is the chemistry between you and other band members?

David -I like to know what's happening on the scene and listen to lots of new stuff and make sure we,re heading in the right direction sound wise and rhythm wise ,and talk to industry people and vibe the deals.
Malc - beautiful melodies and painstaking detail and intricacy.

5. How do audiences receive your gigs?

Very well, the place always has a ripple our excitement when the opening chords of EUGINA start then a wave of delight as the bass kicks in.

6. What defines a typical gig for you? Describe the vibe and environment that you strive to create. Are you all electronic live, or do you incorporate live instrumentation, vocals, into the mix?

We play very carefully selected gigs only, places we want to go to, so no gig is typical, we hope to play at the Cafe del Mar at sunset this summer.

The vibe depends on the gig, we used to play at techno clubs and have to come on after some extremely unmusical 155 bpm non sense but it always seems to work.
The music beauty takes you to a different place, I guess, plenty of time for the sledgehammer stuff later on.

We do change our arrangements to suit live shows - bigger peaks-rolls and acid rises etc. so the tracks really lift off.

We use all our electronic stuff plus live instrumentation on top, guitars, two percussionists, Guy Anderton and James Stiles, sometimes vocals with Geri Blam.

7. Are you a DJ as well? If yes, please elaborate what styles of music are spun, where you regularly play, if there are any residencies, etc. Do you have any special dub plates and/or artists that are staples in the DJ sets?

David - electronic mixing only, I always put our stuff in e.g. live mix shows on Ministry of Sound Radio and Irish Radio RTE 1.

Malc - DJs hard trance with some break beat.

8. What is it like to be a DJ in the 90s, (if the answer to #7 is yes)?

We concentrate on making the records, not just playing them.

9. What is it like to be a successful producer in the year 2000?

Excellent, things you do have their own life force, you put something out there and off it goes to its destiny.

10. If you were to tour the world next month, what artists and/or DJs would you want to take on the road with you and why?

Never going to happen !
David - I would take out a progressive breaks type show.
2 bands, us and maybe /The Light /Oliver Lieb /Tilt and two DJ,s
John Digweed or Red Jerry and Danny Howells or Lee Burridge.

10.a. If you were to recommend other artists/groups to a stranger who embody similar sounds and ethos as you, who would they be? Do you have any friends locally or elsewhere that create the style of music you develop?

David - I used to go to a record shop in Guildford called 'Pyramid' where I got my first copies of all the progressive stuff like Rez [Underworld] and Smokebelch [Sabres of Paradise].

I really like the Cafe del Mar series of compilation albums and may be helping choose trax for the new one.

I liked Spooky&Sasha's xpander a lot.
David - fave album 'Screamadelica by Primal Scream'.

11.a. Describe in your own words your music! What inspires individually the music you develop?

Emotions, Landscapes, Beauty, Destruction, om

11.b. Where do you pool the creative energy from?

Deep inside, you cant force it.

11.c. Does the music contain any themes or messages? By this I mean are there any political, social or cultural messages that are conveyed in the music?

David - politically, all equal.
Socially, freedom with respect for yourself and others.
Culturally, its a good time to have a human life, so realise it.

11.d. Describe the direction you are taking now with any projects involved with. Are you reinventing the music and sounds that you have previously developed, exploring New formulas and creative paths, etc.?

Working with vocals is a challenge, I have just done a track with Astralasia with vocals by the Space Brothers.
We are just about to re-record Eugina for a summer release.
Already have the follow up single and are putting the finishing touches to the album.

The 2nd album really departed from our original style and was exciting but the new one [third] will be a mixture of trance and chill out that works as an album piece.

12. Tell us what you have been up to, such as your recordings with different labels and the start up of your own label if one exists. Tell us as much about the label at this point as possible, artists, direction's etc.!

See the website www.salttank.co.uk for trax.
We've done two records with Hooj Choons recently and prior to that were with Internal/FFRR/London Records,
We have our own label too - 4 real communications and are up to release 4 now.
We have a track called 'The Energy' due out on John Digweeds, Bedrock label soon and also a track currently under offer from Manifesto Records.
The new album will be probably on HOOJ CHOONS, they are very good at the moment -check their club 'elements', and Eugina will be out in summer too [this time it will go into the top 20 nationally].

The direction is upwards, outwards and inwards discover the real reality.

13. Remix production? What are some of your favourite remixes that you have done? Artists, tracks, etc.?

Our faves are Sueno Latino [a classic track already but when we heard Paul Oakenfold play our mix at Cream, it was a sweet moment.
Offshore by Chicane, again a classic track.
Paul van Dyk-beautiful place, we liked his stuff and remixed it for peanuts when he wasn't as famous as he is now [1996].

Best remix track ever is 'Loaded' by Primal Scream remixed by Andy Weatherall.

13.a. What is your standpoint on remixing? What do you look at and see when trying to redesign another artists track? Give us some feedback on what your modus operendi is when remixing?

We like remixing, if you think you can do something interesting with the track and -'you cant polish a turd' if it aint any good to start with then we want the original program or midi file, the samples and the lay offs of the parts that make up the track. When we remixed Paul van Dyk we had to spend days replay in in the riffs ! aagh

Are there any artists/groups/tracks that you would like to remix but have not yet had the opportunity?

Yes. Pentatonic-Credo it could happen though. New Order, Peter Gabriel !, PVD, Neil Young.

13.b. You remixed Duran Duran? How did that track come about. What attracted you to that particular sound and track.

Some one asked us! and we wanted a challenge and it was.
It was a bit out of time, we used Logic's real audio editing a lot.

14. How has the record industry treated you in general, or specifically, over the years. Please explain any rough times for you in recent years, or since the dissolution of Internal.

I know why George Micheal was so cheesed off, the company give you an advance then you pay it back to them from your measly 15 % of the income [they get 85 %] and once you've paid it back, if ever, they own the track forever!
Anyway, London have just as we speak done the decent thing and allowed us to re-record 'Eugina'.

We now work with Hooj Choons and that's on a better basis -50/50 profit share, Red Jerry [label boss] is true to his name.

15. What fears do you have about the music industry if any? In an industry dominated so long by guitars that has become stagnant and uneventful for the most part, what downsides or deceptive sides do you see labels/industry taking with regard to DJs and electronic music?

Guitars are fine but I don't they will satisfy our need for interesting sounds for too much longer.

The songs still have to work melodically so you could play them on a guitar or keyboard, but why limit yourself to those sounds?

Music has eaten itself to some extent though, original melodies and ideas seem to be decreasing.
I heard that all the melodies that can be written within the confines of the scales of modern music will run out by 2009.
So reissue, repackage, re sample!

18, What others disciplines of music do you listen to outside the music you create!

Loads, we've pretty much listened to all genres of modern music, punk, metal, rock, soul, electronic, reggae, dub, pop, blues, New Orleans jazz.

17. Where do you pool your samples and unique sounds from. Any special spots where you develop these sounds?

That would be telling anywhere we can is the answer-TV, mobile DAT recordings, old synths.

18. Are there any other artists and DJs who you associate with or hang out with on a regular basis? If so, who?, and do you support each other?

Astralasia, Guy Anderton [percussionist] , Graham Brown-Martin [visual arts guy from www.digital-arts.co.uk], great website.

19. With whom have you collaborated with in the past, who may have influenced your music? With whom do you plan to collaborate with in the future?

Past - Astralasia, Chicane, Mea Culpa, Paul van Dyk, The Advent, Zion Train, Jose Padilla.

Future - Way out West, Sander Kleinenberg.

20. What do you envision as the future of your music? Where will we see you next and what sounds will you be working with?

Aeroplanes and the straie of retzious.

Future melodies with gossamer wings that fly like an avatar into a post physical existence.

--Interviewed by Brad Anderson from Digital Artifact Magazine. Read featured interview.