Your last album release was six years ago – what have you done since then?

I did a lot of live gigs as Consequence, as Moogulator with a lot of new material and as part of “dAdA iNN”. I also have produced film-scores, e.g. for “458nm”, an award-winning animated short-film.

As for what has influenced my music during those years I would certainly name the live-gigs and jams with “dAdA iNN”. We have tried out a lot of innovative techniques and sounds. We have left old concepts behind for they have mostly been too studio-focused and developed a new approach to live electronics. That was a very good time and will be continued in the future. During all this time I somehow must have lost my voice, compared with the last album, but who knows, maybe that’s just temporarily.

I also did a lot of sound-programming for hardware and software brands and have founded a new print magazine for synthesizers and analogue technique. I bet in the end it all comes down to that one writing on my grave-stone “His life was all about synthesizers”. But seriously – our societies’ death cult with all its pecuniary moments is just overrated! Let’s not make a big deal about this body, let’s just enjoy the people with some good old electronic music!

Since seven years you have a new name – how did that happen?

Well. First of all the music still is what i have started as „consequence“, but during the last decade I have evolved and all this former studio-work has turned into a more live-based electronic sound. So it sometimes makes more sense to finish a chapter and start reading the new one with a different name.
The name Moogulator came to me while i had to register somewhere in some dubious web 2.0 community. At first I only used it there but then I started to like it and used it ever since.

Maybe I will have to register somewhere else and choose a different name and maybe this will lead to another project – with me, you never know. I’m not tied to one genre or style, so most of the time I am caught between two stools, well, to be honest, most of the time it’s between three or four stools, and I absolutely got no clue if I am between, over or under them, or even if you call that thing next to me a stool at all. So the more I hear, the more I produce, the more stools – or better – artist names I will probably need…

But right now everything’s fine with me being Moogulator. That’s just perfect for now.

You are known as the typical live-musician, why did you make a record?

I just do what i do what i do. I have to make music, I have to create! It doesn’t matter if it’s for a crowd or for a website, for a 12” or for a CD – It’s all about generating good output and sharing that with the world. If a CD helps – well, why not! And isn’t it nice to finally have the current sound on a record so people can take it home after a gig? I think it’s just right.

How do you develop your tracks – what is the story behind that?

The basic feeling while producing new material? The older and the more experienced I get, the more I feel secure on stage, and the more I feel that my music belongs there. That’s what gives me the kick. And that’s what comes with every approach to a song. It’s all about what one man can perform at one time.

As regards content, I always have this one idea of what I want to try, most of the time it’s something new, just a thought, a special sound or rhythm – that’s where I start. It’s really thrilling to know what this or that sounds in your head and then reproducing it, recording it and telling stories with it. For me music also has to be more than just the good sounding in your ear. Even if I am producing instrumental tracks, I live of the fascination to tell stories, to help reflecting or experiencing – in a good track, the listener can decide if he wants to just experience the sound, or if wants to get to another level and dive into the story behind it. That’s what I try to provide.

But don’t take it too serious, after all it’s just music! Some bands really give themselves a hard time by going on about their life in jail, a bad childhood, their ghetto neighborhood and so on. That’s anything but interesting to me – better focus on experiences and trivial things like a job at the patent-office and your experience with the ink-pad there! There are absolutely not enough songs about ink-pads! Or what about religion? What about everyday experiences? I don’t share the idea of abusing music for interaction about car-crashes, sluts and garbage. Hate doesn’t bring you anywhere. Being stuck in the hate-thing just to make music that sells? Bullshit!

Well, I always try to provide the listeners' mental movie projector with fresh reels and make them spin, pulling a strip of pictures through their lenses so fast something starts moving. It’s all about the sparkling sound-experience!

The interview was held in german. Translated & adapted by AENTITAINMENT

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