There has been quite a long time between "The place where the black stars hang" and "Metavoid". What have you been doing in between?

Seven years...so let me see... I've been very active, but not necessarily on Lustmord. I worked on something like 30 movies during that time, which was very time consuming. Did some remixes (some unreleased), the "Lustmord vs. Metal Beast" album, various things that turned up on "Purifying Fire...and the Stalker album with Robert Rich
But not only was I busy, but I didn't want the album after "Black Stars" to use the same approach, I wanted to develop the sound and try to create the same mood but with a different method. It took a while to find the time and the inclination to record "Metavoid", and since I've never felt the need or desire to release an album just because of the time, I tend to not worry about such details.
I rather record an album when I feel I have something worthwhile to say, as it were.

I think this different approach you are referring to is obvious. The sounds on "Metavoid" sound less "acoustic" than before, and more done in a studio. What made you choose to give up the old caves and bunkers and record an album like this one?

The caves and bunkers was a great idea, but on a practical level it's a logistical nightmare. And besides, I've been there, done that... Time to explore different ways of doing things. I might go back to more location based recordings at some stage, but at the moment I'm enjoying working away from all the problems that location recordings can bring.

I did it for two reasons, one being for the sound, and the other for the concept, but that particular concept has been done now.

Do you think the fact that you have been working for movies, in which the sound have to be very clear and clean, had an influence on how "Metavoid" sounds?

Yes to some degree, but it has more to do with my recording ability (hopefully!) improving.
Movies have more of an influence as inspiration sonically, in that I've always been interested in movie sound design, long before I did any myself. "Metavoid" used a more "movie-like" approach (for want of a better term) because I wanted to use it for Lustmord to see what would develop. With Lustmord, I've always tried (and not always succeeded) in creating a real, palatable, sense of place, one that only exists when the music is playing.
Ironically, the next album is an actual soundtrack (expanded and revised) but is, as un-movie like, as you're likely to hear. The approach on "Metavoid" was an exercise that I'm not sure if it's entirely successful (only time will tell), and I'm not sure if I will use that technique again for Lustmord.

Lots of interesting things here. First, you say that "Metavoid" is "movie-like". What kind of movie is it? Or, better said, to what kind of movie should it be the soundtrack?

Ha! It's movie like, it's not for or inspired by a particular type of movie... It's "cinematic" that's all.

I suppose people find it "movie like" because it features elements that you often hear in soundtracks... Then let's speak about this new album that you just finished. You said it's a revised soundtrack. What was it done for in the first place?

I t's material for a short movie called "Zoetrope", a very intense piece loosely based on Kafka's "The Penal Colony". The movie is only 18 minutes long, but has an incredible number of edits, effects, montages etc, much more than in a regular two-hour feature.
Sound is as important as picture in Zoetrope, and it features extensive sound design and manipulation. I've extended the material from the movie so that it is now album length, and rather than being a literal "soundtrack" it is more of a realization of the sound of the world within which Zoetrope takes place. It's closer to "Stalker" and "Purifying Fire" than anything else that I've done. There was a very conscious effort to create sound for the picture that wasn't a traditional score.

Who will be able to see "Zoetrope"? Will it be only played in some artsy movie theatres in San Francisco, or will it be available for a wide audience?

I'm not really sure; the details are long and complicated. It was shown in some private screening here in Hollywood for studio executives with very positive responses. Everyone who's seen it has been very impressed (as they should, it's quite an experience), but they don't quite know what to make of it.
The general conclusion is that it’s a great short movie, but the people who made it might be a little strange.
So far, the only work that came directly from it was when we all worked on a TV series for the producers of The Blair Witch Project, but that series was canceled by the television network before being shown because although they asked for something a little weird, apparently it was a little bit too weird for them.
There have been talks about the distribution of Zoetrope, but a couple of deals fell through.
And while it's definitely created interest, an 18-minute short is difficult to find a place for.
The director is getting a lot of meetings as a result of making it, but his style is very individual and fucked-up (in a good way), so they don't know what to do with him, even though they love his work.
It did screen online for a couple of weeks as part of a film festival, which apparently it would have won if the producers hadn't decided to withdraw it.
We're going to try and master a DVD of it this weekend to see what the quality will look like, so we may distribute a few to friends and take it from there.

I hope you will do a DVD that can be watched in Europe.

It'll probably be NTSC. At the moment it's all on very high-end, expensive, professional digital format, so there are logistical and financial issues unfortunately.
But if it gets released on DVD in Region 1, the rest of the world would be a logical follow-up.

Last question about your movie works: when you design sounds for a movie, do you create all the sounds electronically, or do you use samples? I read somewhere that Graeme Revell used some African language for the aliens in Titan AE. Is it also how you work?

I use absolutely anything as raw material for manipulation. The source is only the beginning. One's imagination is the limiting factor not technology. It all depends on what's required and what might be the best approach to achieve that.
It’s important to point out that while obviously the movie work does have a similarity to what I do with Lustmord etc, there is no real connection either conceptually or artistically (if I can say artistic without sounding pretentious), it's simply a day job.
For movies you do what is required by the movie and by the people paying for it (and often, as you know, they're idiots) Lustmord is an entirely different thing.

Have you ever sampled something from a Lustmord CD to put it in a movie?

No. Though individual sounds that I created for use in Lustmord have appeared in movies though, and didn't get used in Lustmord as a result.
I was working on a Lustmord album when approached by Interplay to compose music for their gamer "Planescape: Torment". Quite a few elements from that album ended up being used on Planescape (they liked it and wanted to use it). Later, after a new producer decided to change musical direction and didn't use the work that I'd done, some of that music ended up being reworked back into Lustmord again and about 10 minutes of it is in "Metavoid".

Was it the first time you were working on a video game?

Yes, and it was a terrible experience.

Why?

It was very enjoyable to start with, but then the original producer quit and things changed. The company responsible is very corporate, lots of attorneys in suits etc
Originally they loved what I was doing, then, after four months of work, and six weeks before the game was released, they decided on a completely different musical direction and said they were "now thinking more along the lines of John Williams " (!)
I suggested that in that case they hire John Williams and pay him his usual $1M fee
So I was out, and my work, about 46 pieces of music in all, went unused.

According to other interviews I have read, you seem to be one of these musicians who is never satisfied with his previous works... What do you think now of "Heresy" or "Monstrous Soul" ?.

I find it ironic that while that one of the main reasons I do what I do is because this is the sound that I want to hear, and I figured I'd have to do it myself if I wanted to hear it, but once it's done, I can't listen to it, all I hear are the things that could have been better. "Heresy" is a surprisingly decent album, and it does do what I set out to achieve, but the sound quality is a big disappointment. I haven't heard it for many years.
"The Monstrous Soul" has it moments, and I have fond memories of working on it as during that period I was spending a lot of time with Adi Newton and the rest of Clock DVA, and it was mostly recorded at their studio.
I often try to create a deep, hypnotic mood with repetition, but it's something that isn't as easy as it appears. There's a very fine line between "hypnotic" and plain old "boring", and in hindsight, I'm not sure if "The Monstrous Soul" always keeps on the right side of that line. It was a lot of fun to work on though.

And, some months after its release, how do you look back at "Metavoid"?

I haven't listened to it since I finished it, by that stage I’ve usually hear enough!
I think there's some good work there, particularly the overall sound quality, but it's too early for me to be removed enough from it to be able to give an honest perspective.
At the moment I'm too close to it to be able to really hear it fresh. I like to be able to listen back to some of my albums and not be able to remember how I achieved a certain sound, it’s much more interesting for me that way.

At the beginning of this interview, you said "I've been there, done that". What haven't you done that you would like to try?

There are many things I haven't done...far too many, and unfortunately there just isn't enough time to even scratch the surface of what's possible.
So in the meantime, I'll just enjoy the journey. There are a few musical ideas I'd like to explore, but for those I'd like to collaborate with others, and finding people with the right attitude, the right ideas, and the right motivation is always a problem.
When I said "I've been there, done that" I wasn't necessarily implying that there are specific things that I want to do, though there are, but that there are specifics things that I'd like to avoid, and repetition is one of those.

May it be with Lustmord or Aricebo, you are usually described as somebody who writes dark, brooding music. Is it something you are comfortable with? Or will you one day record a happy hip-hop record just to break the cliché?

I'm not uncomfortable with it. But I do find it both strange and amusing... I can see why people might find Lustmord dark, but Aricebo? Seems that anything I do is called dark. It's not something that I do consciously, and I don't think of Arecibo for example as being dark. What funny about it is that my friends know me for my constant wit and ironic humor, and for my ability to have fun, so it is an interesting contradiction.
I am getting tired of being asked that question though, and probably will just ignore it next time it’s asked, they can read my response here!
I did do a "happy" hip-hop track once, a TV commercial. But they thought it was too "dark", so I had to laugh. It doesn’t worry me it just amuses me. I'll never record something just to conform to, or break away from what others expect.

"Heresy", "The Eliminating Angel"... Are you a religious person?

I'm quite the opposite, and think religion is pretty silly really. I can see why some people feel the need to believe in some of those things and I can respect that, though it’s not something I feel the need for, and they better not try and impose their beliefs on me.
I have views of my own about such things but that's all they are, views, not truths, and I don't try to impose them on anyone, unless they specifically ask.

Do you think that the recent terrorist attacks from Sept. 11 (if it is proven that they were committed by religious extremists) will have an impact on how religion is treated in music?

No I don't, not directly, but I do think that for a while at least, such issues will be more open to discussion, politically, privately, and in popular "art”, and that can only be a good thing.

Aren't you afraid of a rise in censorship in America after these events?

No, not at all. Free speech rights are protected in America more than anywhere else, and it would be a very difficult thing to change. Of course, as we all know, there's plenty of things wrong with America, and I'm the first one to say that (hey, I'm nothing if not opinionated) but there's also a lot of good things about America too, more so in fact, and the protection that the constitution enjoys is one of them. Coming from the UK, where there's no legal protection of free speech, I appreciate that.

I just saw "A.I." yesterday, and I guess Spielberg wouldn't have shot a scene in a destroyed NYC after these attacks...

I haven't seen A.I., but I've heard very bad things about it. I'm not a Spielberg fan; most of his movies are way too sentimental for me.

It's been a really long time since you haven't played live, I believe (except for the "Lustmord vs. Metal Beast" thing). Any plan on going back on stage?

Last time I played as Lustmord was in 1981 I think... Been on stage many times as part of SPK, but not Lustmord. The Metal Beast thing was live in a radio station, so not the same.
I miss the days of touring (also having toured with Chris & Cosey and Clock DVA).
I like the idea of playing live as Lustmord, but some of the practical realities might be a problem. I'm not sure if Lustmord live would be a particularly interesting thing to see, It made much more sense with something like "Metal Beast", as it was more of a "show" and we did discuss doing more, but Shad (Metal Beast) moved to New York before we did. If I did any live Lustmord it would have to be special, or there's no point. I sometimes get asked, but nothing really serious. And I'd prefer to be involved in something involving friends rather than Lustmord alone. It would be fun to play live again though...

Like collaborations, finding the right people to do it with is the issue.What would you need? An orchestra?

Hell no. A way of making it work technically, and it would require a different approach to that I use in the studio, where I can spend days working on small details, which I somehow doubt would make a very interesting live performance.
It wouldn’t be very interesting to see me standing on stage either, much more interesting to find a good location and create a mood with sound. The main considerations would be how to create what I do in the studio live, for that I would need a couple of people to help, as I'm not really interested in just playing everything back from DAT or a hard drive.

Speaking of SPK, there has been a crazy rumor according to which Disney was to make a movie about Graeme Revell and SPK... Is it true or is it just a crazy invention?

It's based on the truth. Graeme Revell wrote a synopsis (a basic outline for a future script) about a fictional band formed in an asylum. This was based on his own experience working as a psychiatric nurse and forming SPK with a patient. The idea was sold a couple of years ago to one of the film companies owned by Disney; I can't remember which one, possibly Touchstone. Last I heard that was as far as it had gotten.
One of the characters in the Revell story was based on me, "the funny manic one who destroys things" as it was written, but I doubt that the character would be in any version if it was made.

You're a maniac who destroys things?

Oh...that was one of my job descriptions when I was in SPK. I was pretty good at it too! Let's just say that when I was younger I used to get up to a few things here and there. Of course, now I'm older, but no wiser, and I still manage to create mischief when required.

Speaking of people from this kind of "scene" popping up in film business, what about Lisa Gerrard of Dead Can Dance, who has been working on movies, like "Gladiator". Is there a "Lustmord vs. Lisa Gerrard" CD in preparation?

No, not that I'm aware of …Last time I spoke to her was a couple of years ago. I used to know the Dead Can Dance crowd in the early days as most of them used to live in a squat around the corner from ours when we lived in London.
I find her stuff rather pretentious myself.
More interesting is that I was supposed to remix Billy Idol once, some dub mixes, and Lustmord vs. Billy Idol would have been fun, but that fell through when his record label at the time restructured and dropped a bunch of artists including him.
It was going to be me and Shad T. Scott (Metal Beast) vs. Billy.

That would have rocked.

Yea... He's a very funny guy...I've lost touch with him now though.

Speaking of Dead Can Dance, there is something I'd like to ask you about your sounds. DCD is an example of a band that has focused on using acoustic instruments, when, on the other hand, you've been always using electronic, synthesized ones. Have you ever thought of playing music with sounds you could actually play without a power plug?

See the second album "Paradise Disowned"...the first half of that is 80% acoustic, so is a large part of The Monstrous Soul, but that one was heavily manipulated.
I have thought about doing that again, but I don't know if I ever will, as the sounds available are much more limited. I also like to create sounds that are unrecognizable. And note that Dead Can Dance does use electronic effects and some manipulation on their sounds, including on Lisa's voice.

Another thing about which you have a rather original opinion is your preference for digital devices and CDs (you told me you don't even own a turntable). What would you answer to all the vinyl freaks telling you that a good old black record sounds better than a CD?

I'd tell them they were talking shit, ha ha ! Mine is neither an original nor a lone opinion! – And I don’t prefer digital devices so don’t misquote me!
In theory vinyl can sound better than CD (early CDs in particular) but…
Analog recording has the ability to record much more detail than 16 bit digital (as used by CD, though most professional digital recording is of a much higher quality than CD), and I have no argument with that. But recordings are made on a high quality analog system, when they're transferred to a piece of vinyl, and then a needle is dragged across it, well, that is not high quality analog reproduction and does not come anywhere close to the master recording.
I used to have a $750 turntable, with a $300 cartridge, and it did have the ability to get a good sound from vinyl, but I also heard, rumble, pop's, clicks etc, and lost many of the things from my original recordings when transferred to test pressings. I could go on. But I can get a little anal about such things...having invested a lot of money in a high-end sound system.

Then could you just recommend a really good brand of sound system to some poor guy who is desperately hoping to have an excellent one, one day?

Sure...we can do that, but it’s the kind of conversation that needs to spread over a period of time. Me, I love my Dunlavy SC III speakers, but they're 3.5 meters high and cost $4,000 so perhaps not for you.
All depends on the money you have to spend really. Just decide how much good sound means to you and how much you’re prepared to spend to get it. Best bet is to buy separate components over a few years, upgrade as and when you can afford.
There are many variables, but the ideal is to recreate the original sound as faithfully as possible, and using high quality acoustic recordings as reference best does this.
It’s impossible to recreate exactly, due to several technical limitations. So the aim is to achieve the closest to that.
Compromises have to be made due to one's budget and on one's tastes and priorities. Buying quality audio components does make a difference though, and that difference is very noticeable.

In your opinion, what would be the best context to listen to Lustmord? To be in your studio? In an open air place? Intoxicated in a cave?

Of those three, in my studio. Though I have a better sound in my TV / music room.
The acoustics in a cave are terribly for listening to recorded music, and so is the open space. A professional recording studio would be best, if you happen to have one of those at hand. You can create something very similar at home though. The advantage a professional studio has is that is has been built from the ground up with acoustics in mind.
We never go to the movies anymore, by the way, as they sound (and often look) so much better at our home.

We're slowly reaching the end of the interview. Could you tell me what's next in store for Lustmord?

T he usual things, World Domination, fame and fortune… I hope...
As you know, I'm currently preparing to start on collaboration with Hecate, and another with Twilight Circus. I've been asked to compose music for another video game, and it looks like I’ll have to start on that real soon, so that might affect plans.

Speaking of video games, what did you think of the score Trent Reznor wrote for the first Quake?

Well...I'm told by people that worked on that game that Reznor was given copies of some of my albums and copied that style, though I haven’t heard the results. A compliment of sorts I suppose, but since I have no respect for his work, it would have been nice if they'd asked me to do it, but that's how these things often work.

When is the "Zoetrope" album going to be released?

N o definite release date for but scheduled for January /February 2002

And you have a new Aricebo CD coming soon, am I right?

Ah... I lost a large part of the album I was working on when the heads on a 9 Gig hard drive crashed...so a big delays there. I was going to start work again on Arecibo now that I've finished Zoetrope, but at the moment I think it'll be more fun to work with Hecate.
There's another computer game too by the way, that specifically want the "Lustmord" sound, and it's a very interesting and exciting project, but that's not planned until 2003, so who knows what might happen before then.

PC or Mac?

MAC!

Beer or wine?

Both

Vodka or whisky?

Whisky. Though why limit it to one?

Elvis or The Beatles?

The Clash

Johnny Depp or Brad Pitt.

Mmm..That’s a tough one...they're both as good...unfair to choose.

Britney Spears or The Spice Girls?

Hecate

Dario Argento or Clive Barker?

A rgento, by a long shot, though recent Argento is shit.

The Return of the Jedi or The Empire Strikes Back.

Empire definitely... fucking Ewoks. (Had to go with Empire, to go with my image, seeing as it's the "dark" one).
But then... the emperor or Darth Vader?
Actually, I'm not a fan... I think Star Wars is definitely overrated as filmmaking and as science fiction. I'd go with the original “inspiration” : Kurosawa’s "Hidden Fortress".

What to do the morning of a big, heavy hangover?

I haven't had a hangover since...mmm...well…Sunday (question asked on Tuesday morning)
Personally, since a major factor of a bad hangover is the body going through acute alcohol withdrawal, I go for a large shot of whatever made you drunk the night before.
It works well for me...you still feel like shit but less so...and you get to carry on...but best to take it easy and not drink too much or it'll be a never-ending circle.