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P3 J: What is your ideal performance atmosphere? M.S.: A performance is a ritualised event and it's important to feel that I have a strong engagement with the audience. I can't abide hearing people talk when I'm playing and drunkenness is a difficult problem to contend with when you're not catering to it. So I prefer an atmosphere that aids concentration, both for the audience and myself. I also like to feel in control of myself and my equipment. I tend to prepare very thoroughly, which helps as I often have no idea of where the performance might go..
J: Do you ever hear sounds as specific colors or textures? Music is emotive , of course, but isn't it also actually 'visual'? M.S.: I can relate to textures. I'm interested in how the audience interprets my sounds. People have referred to my music as being visual and I don't feel as if I'm in a position to disagree. I believe in the idea that we can create the possibility for free interpretation to occur. I also associate music with places or memories. Much of Piss Frond relates to my thoughts of England which was inevitably about the landscape that I grew up in. As such, I'd say that much of my music relates specifically to landscape in the way that for example, Thomas Koeners "Kaamos" refers to the urban landscape.When I hear that record I immediately feel an affinity to the city. I live in an area which is surrounded by roads and urban noise. So Koerner can actually make me feel as if I want to take note of the sounds around me and I think he actually enables me to study my environment. I have tried to explore this dynamic. J: I'd like to hear your opinion about the concept of music created without human input other than selecting a 'random' programming pattern in a computer with sampler or keyboard slaves? As technology gets more and more sophisticated, are humans even needed at this point in creating soundscapes or melodies? Are people only needed to hear and react but nor create? Indeed, can machines 'create'? M.S.: I can't comment objectively, I'm not that familiar with technology. However, I have a strong feeling that machines are only as good as their operators. I enjoy what machines do. I get a buzz if you like, about certain machines especially when they transform the ordinary into something more interesting. I'm vaguely intrigued by the concept of artificial intelligence but I'd hate to think that conscious human thought and emotion could be reproduced by a machine. I simply don't believe it can happen. I've never felt motivated by the dogma of technology per se and science fiction has never interested me. No, the key seems to be in the control and use of machines to make ends meet. J: I know that DVOA maintains a thorough web site and that you are accessible via the net, What have you learned from the contact with fans and others via the net? Do you enjoy the live 'chats' experience? What do you feel is the future of the net and musicians/sound artists? M.S.: I'm absolutely not interested in placing myself on any kind of pedestal. So many musicians seem to court this, consciously or unconsciously. It seems part of the "rock star": mystique. What separates one "successful" musician from another who is less successful? It's often the record label. It's promotion. It's money. It's the fact that we seem mesmerised by beats and song structures. It's an adherence to the "established" way of marketing a band. The more money thrown away, the more ads taken out in the right circles, the more press worthy the stories or fables are, the better the artist sells. I thought "underground" music would be different but it isn't. It's just the same. Cliques are formed and certain labels are ignored and artists suffer because of who they are associated with. You could say I'm bummed because I haven't had the same kind of success that others have "enjoyed." It may be true. However, early on I made a commitment to the people who told me that they liked my music and I've generally stuck to that way of working. As a result I may well have hurt my career but I can't really say that bothers me. I spend a lot of time talking to the people who buy my stuff. I've made good friendships this way with people and engaged in many fruitful projects as a result. The truth is that I am not special. I'm just the same as anyone else. I have my problems and foibles I'm not different. I've had to work full time in a day job for years to make ends meet and music is a hobby for me. I know how disappointing it can be to experience the brush off by someone whose work you admire. There is no excuse for it. I may well have offended someone somewhere but I've probably suffered more as a consequence myself. So it seemed entirely appropriate to make myself accessible to my listeners, if only to destroy the perception that musicians are special. I can't say that it's always fun. J: What are three 'truths' -you can share with us- that you have learned in life and you hold close? M.S.: 1. Survival. I'm ultra cautious. Touch wood. 2. Impulsivity. " I wouldn't be where I am today without taking the odd risk," a quote bastardised from the show, "The Fall and Rise of Reginald Perrin." As good as the BBC got, gets. 3. " Anger Is Holy," a track by Mark Stewart. I'm not into being a punch bag. I rarely lash out in response to attack but when I do my passion and lust for self preservation can take over. It's always a verbal thing. Try as I may I can't make myself look tough...period. I despise bullies, tyrants and despots. Part of my working class background. My Father used to say, " When someone hurts you, take a good kick at their balls and run away as fast as you can." Hah! J: Please describe some of the projects you are developing at the moment. I understand some German collaborative/projects are in the works? M.S.: I am managed by a very wonderful guy called Thomas. Ziegler. He is German but lives in Vancouver. He is closely affiliated with Can, Michael Rother, Dieter Moebius amongst others. Late last year I managed to bag a support slot for a Damo Suzuki tour of the States. Damo brought Michael Karoli from Can with him and we clicked enough for me to be able to guest with Damo's band several times. I also met Messrs. Rother and Moebius and supported them at a show in Vancouver and we established a strong relationship. I was tremendously impressed at their ability and desire to work with others. Really in awe of their skills. Several months later Michael Karoli asked me to play in his new band Sofortkontakt ! as part of the Can solo projects tour in Germany. This was to celebrate their 30th anniversary. It was a great honour and after it finished Michael made a commitment to involve me in any future engagements. Since then I have played with him at a festival in Germany and more shows will follow soon. I adore this kind of music. It's thrilling to be involved. I am also doing a remix for Faust at the moment and intend to tour with Karoli, Rother and Moebius in various combinations over the next few months. I also became involved with Gvoon through this tour who are a German based new media group. They were working with Holger from Can but I have become their resident musician. Gvoon is difficult to explain but if you imagine a hybrid animal, part digitally created and projected image, live computer animation, performance, interactive media and music then that would be a convenient if brief description. It is powered by a plethora of computers. State of the art technology but solidly based on improvisation, as is Sofortkontakt! Gvoon is also a very tight unit. My very good friend Stephen Collins from Chicago who has supported my work for several years is also a member and Arthur Schmidt, the Gvoon founder is a very engaging and loyal person to work with. I have produced a cd for Gvoon, utilisng some pieces that were recorded live in Chicago. and another Propeller release. I'm collaborating with several people around the world. We're also starting to assemble another DVOA cd. There are several tours proposed with various combinations, DVOA, Gvoon etc. All provisional at the moment. J: I enthusiastically await their fruition... VISIT
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