To start with the past. How did your musical shift from rather harsh noise to the deep drones of the later albums happen? Was it a conscious decision?

It was a natural evolution. The early recordings were experimental in nature as I worked on developing an original voice, and the atmospheric elements where present even then, although admittedly in a more primitive form.

Why did you decide to release the "Lustmord vs. Metal Beast" album under the name Lustmord? I think that the Arecibo album (with regard to the mood) was closer connected to Lustmord than this release.

Quite simply, because it WAS Lustmord.
I have to point out that I feel better qualified than anyone as to what is and is not Lustmord. Arecibo vs Metal Beast would have been quit a different animal.

What about literary inspirations? Did Lovecraft have an influence on you? Some expressions and formulations on the album sleeves seem to have been inspired by him and even the artwork of the reissue of "The monstrous soul" seems in some way to have been influenced by him (correct me if I'm wrong).

I read a lot, and have a very extensive library of both fiction and nonfiction, including a complete selection of Lovecraft and related authors.
There are Lovecraftian element within The Monstrous Soul, but more so Arthur Machaen, who as you may know, was an influence on Lovecraft.

Are there any other authors that you are particularly fond of?

I presume you mean fiction ?
Apart from Lovecraft, there's J.G. Ballard, Umberto Eco, Haruki Murakami, Chuck Palahniuk, Greg Bear, David Brin and Neil Stephenson amongst others.

Space (the universe) seems to play an important role throughout your work. You said in an interview that we live on an insignificant planet in an insignificant universe (there's even a track called "Insignificance" on the new album). Do you use stars etc. as leitmotif in order to show mankind's meaninglessness/insignificance or are there also other reasons?

Yes I do, or rather I have. Their importance being not as objects in themselves, but as points amongst the abyss which give some limited perspective to that space between the stars. It is this void which is more interesting to me symbolically. I think it important to remember just how insignificant we are given the cosmic scale of things. Stars, for all their violence and majesty, as just as insignificant.

Would you call yourself a sceptic?

Yes, very much so. I think that it’s important to question everything.
I am open minded, and welcome informed opinion.

I sense some notions against Christianity in your work and as far as I remember there were plans to record a second Isolrubin BK album with some strong Antichristian elements. Why did you decide to cancel that project and what is your attitude towards Christianity in particular and religions in general (maybe you've already answered some of this in your answer to the question before?)?

There where plans to record a Isolrubun BK album that was to include religious elements, a holy/moral war as it were, and another that was to be overtly anti-racist.
The projects where never canceled as such, but other distractions kept me busy, time passed, and I never got around to it.
I may well record another Isolrubin BK album, but have no plans in the foreseeable future.
If I do, I’m sure my intentions will have changed, but I can’t say for sure if I ever will.
I’m not specifically anti-christian by the way, but I do have problems with most organized religions and the way they seek to impose their dogma on others.
I personally feel no need or desire to believe in a creator. As I said, I’m a skeptic, and as such I don’t believe that such things, or for that matter, science represent some kind of ultimate truth.
The truth of a given religion or dogma are only beliefs, mostly built on fear and superstition, and they are as flawed as any ideas that come from the mind of man.
I do find it interesting than many people feel a very real need to believe in a god, and of course they have every right to do so, whatever god that may be. As long as they don’t try to persuade me of the “truth” of their opinion, or they don’t try to impose their will on mine I have no problem with it. And likewise, while I think such beliefs are foolish, I have enough respect of others that I have no wish to impose my views on them.

What function do the texts on the albums have? There is a kind of division between some lines that seem to be poems and others that appear to be statements (on "Heresy", "The place..." and "Metavoid")?

They are clues and keys to the meanings behind the albums.
I rather people use them as starting points for their own interpretations and perspective of what I’m doing rather than give specifics.

To what extent have the accompanying sentences on "Metavoid" bee influenced by constructivist ideas or philosophers like Immanuel Kant or Hans Vaihinger?

While such theories are interesting, they have no influence on my work.

What "larger forces" should "best remain unknown"?

By definition that question must remain unanswered.

The sound of the new album is less reduced. I remember you saying once that you didn't want to use keyboards on your Lustmord-releases. What made you change your attitude?

Though I don’t remember saying that I probably did, but at the moment, with the almost exclusive use of computers to produce my albums, a keyboard has become a very useful tool, and I see no problem with that.
The first two albums didn’t use any keyboards, but now they’re used extensively.
Also, I’m as liable to be guilty of contradiction as anyone, I see no shame in that.
Incidentally also said I’d never use guitar, but recently did for the theme of a TV show I worked on, - but I did last 20 years without using one and doubt I will again !

I get the impression that the new album has been strongly influenced by your work on movies, as it seems to have an almost soundtrack like quality. Is their a mutual connection between your film work and the Lustmord etc. releases or do you (try to) keep these realms absolutely separate?

They’re totally separate, other than the fact that I use the same tools and techniques. Conceptually they are very separate.

You said that you don't like the term dark ambient for your music that much and I think you are absolutely right as such a label doesn't do your sound justice. There is definitely more in the Lustmord sound than just darkness. Yet I feel an ever constant presence of disturbing and unsettling elements in your work (e. g. "Blood deep in dread") Would you agree and if yes what are the reasons for this?

To be honest, this question no longer interests me, I’ve been asked it too many times.
I make no apology for darkness.

Why did you decide to close down Side Effects and where will the announced releases (Monte Cazazza/The Cynic etc.) be released?

It wasn’t fun anymore and it was time to move on.
I have no idea what Monte is going to do with The Cynic, I ask him about it from time to time, and he has no idea if he’ll even finish it.

Why did you decide to change your label with the release of "Metavoid"?

I liked the idea of releasing an album on a Eastern European label for a change and Nextera are good people.

What can we expect from the future (the new Arecibo-album, the new Lustmord album to the film that's based on Kafka's "In the panel colony etc.)?

I’ve just finished a Lustmord album that is an extended version of the music for Zoetrope (the short film you mentioned) and am about to start work on music for a computer game. I’m going to work with Rachael Kozak (Hecate) on a new project with hard beats, and on a dub album with Twilight Circus.

You seem to be interested in remixing or rather reworking other artists' material. Is this work of any inspiration for your own music or does it serve as a kind of break from your own composing?

The music I listen to is very different from Lustmord, and is mostly beats.
I enjoy the opportunity to work with beats for remixes, and particularly enjoy reinterpreting and deconstructing the work of others.

Have you ever thought of changing the name of your project as is seems to be strongly rooted in the early industrial scene?

I’ve never thought of doing anything based on what others might perceive.
This is who I am, that is where I’m from.