When I came back I had to realize that IC was not in a very good shape - all the much money that we had because of the huge Ideal success, was gone. I was very upset.
How did this or that change my music? The only time I have to think about it is when an interviewer asks me that.
Everything changes permantly. How boring if it wouldn't.
I listened to the rock music of that time, but as you know and can easily hear: my music of that era had nothing to do with the common music of this era. I was experimenting, I was searching for something new.
Manuel is still today a good friend. The others I see rarely, but with Edgar I phone from time to time.
Every music - except dance music, which is for dancing, I suppose - is for the spirit of the human being, and not for the body.
I did not start IC and Inteam to have control over my music. I had control before and after.
I never had many problems to do my music and to give it to a record company. Rarely do they try to argue with me about my music, probably because it's still too far-out.
Most of today's music is done electronically.
My interest in his new toy, the Theremin, isn't very big. It simply does not fit into my way of playing music. I do not want to fiddle around with my hands in the air.
Sometimes I like to make music together with a singer or with singers.
The problem was the journalists who also did not understand much of my music, but they wrote about it. I think you fell into the usual trap laid out by parts of the press and other writers: that the poor musician has always to fight the evil companies and managers.
I had to realize that the use of samples has its rules, too.
Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.
We are all part of a tradition, at least we depend on the past.