OHNE
"from a very early age I was attracted to sonic abberations"
Q. Hello David, can you tell us more about your musical origins and inspirations? Was it dada, surrealism, futurism, bruitism, cut-ups...?
DP: my first musical obsession was KISS, at the age of 7. my first main influence however, from the age of 10 on, was thrash/death metal and more importantly, punk and hardcore.
Dada and surrealism for me are a part of history that was and still is very important and also interesting, but not of greater direct influence to me. i was and am more influenced by that which surrounds me, especially the sounds of nature, detecting the musical quality of, for example, insect sounds and bird-song, or wind in the trees, or water on stone.
I am interested in/influenced by many different musical areas. contemporary classical music has always interested me, stockhausen, cage, xenakis, penderecki, ligeti and feldman, just to name a few. but also traditional music from around the world, swiss folk-traditions (the cracking of whips, the banging of brooms and the sounding of cow-bells), tibetan chanting, balinese kecak, peking opera, polyphonic chants of the pygmies, japanese no-theatre, drumming from burundi, et cetera. or jazz and free jazz, from ornette coleman to AMM and peter broetzmann. but also 60's/70's "prog" as done by faust, neu, white noise or captain beefheart. then of course punk and hardcore/grind, and of course, for lack of a better word, "noise" music and all its very wide varieties has always tickled my fancy, from the early sounds of music concrete by pierre henry and pierre schaeffer, or field recordings such as luc ferrari incorporated them, or groups like nurse with wound or even early throbbing gristle, but also stuff like hanatarash, masonna, lt caramel, ghedalia tazartes et cetera. i also like wild electronic beats, early hard techno, recent breakcore, but some pop stuff as well, like bjork. i have always been interested in and curious about all sorts of music, so i guess all i hear and like influences me in one way or another.
TS: I was born in Adel, a very smallfarming town in the southeastern corner of Georgia, about 40 miles northof the Florida border.
From a very early age I was attractedto sonic abberations. The "South Pacific" soundtrack playedat the "wrong" speed on my parents' Sylvania hi-fi console;the roar of the stock cars and the crackling PA system of the variousdirt tracks on the Southern racing circuit (for a few years my fatherowned and managed a racing team); the mornful sounds of 18-wheel tractor-trailersas they sped along Highway 37 late at night;
the buzzing of the high-tension power lines in the cotton and soybeanfields on the horizon beyond our modest housing "subdivision."These were the sounds which most fascinated me. I was immersed in thea sort of "rural avant-garde" without even trying.
At the age of eight, three of my fellowCub Scouts and I received a standing ovation after singing The Beatles'arrangement of The Shirelles' "Boys" at a primary school talentcontest. From that moment, I was hooked.
Q. Can you remember the most powerful of them? the "grinding impulse" making you to start your own creativity?
DP: i think what set me off more thananything else was the "do-it-yourself"-spirit that came withpunk & hardcore. i made my first sounds with an old revox reel-to-reeltapemachine, and a microphone, at the age of 16.
TS: From the age of eight it's beenfull steam ahead, really. I can't recall a time when I wasn't makingmusic.
Q. Can you reveal more about yourartistic concept ? your complete background? i.e. certain philosophy,other artistic influences etc?
DP: an important input was when i metjoke lanz (sudden infant) and rudolf eb.er (runzelstirn & gurgelstock),circa 1988/89. we soon became good friends; together we form the schimpfluch-gruppe.with schimpfluch we conduct "psycho-physical test and trainings",which, for me, is to test borders, limitations and forms of expression,driven by instinctive curiosity. schimpfluch, and what it implies forme, has since always been an important point of focus. but i don't reallyfollow any concept, i just lead and follow myself. a certain dissatisfactionwith the world-order is definately a driving force, since expressionfor me is directly connected to communication. what i want to communicateis as important, maybe even more, than the music i do. i want the allegedhuman intelligence to finally be capable of something that will do justiceto life, all life. i'm talking of alienation from a species that inflictsburdening bigotry on itself and hate, sufferance, destruction and deathon others. i criticise what this human species seems to be trying toachieve with its material enrichment and environmental carelessness,the false consciousness of the capitalist ideology, the social inadequacyof economic globalisation, the arrogance of technocracy and bureaucracy,the horror of domestication, the rape of nature, the consumation ofdead flesh, the disrespect for life. i want to point out who the onesare who are missing out, demanding respect for ourselves and especiallyfor mother nature: i demand responsibility, not selfishness. i supportthe abolition of religion, leaders, doctrine and unnatural systems -i support the freedom of an autonomous lifestyle of sentient beings.i question twisted thought-patterns that have been inveterated intoour minds, which to me is a corrupted value-system. i question lawsthat are just patterns we impose on nature. i object the sensory conditioningwhich tries to force a "reality" that is a comic-tragic farce-illusion.....oops... i might have drifted off... but i suppose that's (part of) myphilosophy. as for influences, see above.
TS: I ascribe to no philosophy, no school,save for that of "PRE." (As opposed to "post-" movements,of course.) I see only beginnings, possibilities, multiplicities.
My background is not yet complete!
Influences are grand things to list,aren't they? Lessee... Duchamp, Burroughs, Henry Miller, Beatles, earlyKing Crimson, Miles Davis, Sun Ra, Albert Ayler, Lee Perry, Sex Pistols/earlyPIL, Slits, The Pop Group, TG, the operas of Berg and Bartok, Fela,Russ Meyer, Nuggets/Crypt-style trash, Link Wray, early 60s George Jones,The Bomb Squad, Ut, Ed Rush/No U-Turn. By no means comprehensive. Eyeswide open, always.
Q. Is OHNE a first project you havecreated?
DP: no, i have been involved with differentprojects over the course of time. first FEAR OF GOD, a quartet playinghardcore using bass, drums, guitar and vocals. since 1988 i have beenworking on and off with stephen thomas, a canadian living in switzerland,playing around with different studio-equipment doing dance/ballet- andfilm-music. between 1991 - 1993 i was part of PK, a trio for conceptualmusic (with former FEAR OF GOD-guitarist reto kuehne), privately stagedritualistic performances and improvisations. then of course there'smy connection to schimpfluch.'inbetween 1990 and 1996 i took part insome performances and recordings with Joke Lanz�s Sudden Infant. withJoke i also initiated a short-lived live-project called SHITFUN. i alsospin records at events, you might call it dj-ing, under the name EVAD.
TS: No. Pre-Cave, then Prepared Party,which morphed into Boat Of, which morphed into Peach of Immortality,which morphed into To Live and Shave in L.A. (1990s sidetrips: MissHigh Heel, which served its purpose and flamed out, and then A-AAL AachenNevada Jim, which did likewise, sort
of.) Along the way I joined Pussy Galore and Velvet Monkees. Both visitationswere short-lived, but quite interesting.
Q. How the current set-up has emerged?
DP: the idea for OHNE was born by tomsmith and myself, about 2 years ago. we first met in 1997 when we both,schimpfluch-gruppe and TO LIVE AND SHAVE IN L.A., played together inparis. we stayed in touch since, and at some point we decided we wouldlike to do something together. since the idea was to create a live-project,i then asked people personally close to me, and thus daniel loewenbrueckfrom berlin, with whom i share a strong musical and aesthetic like-mindedness,agreed to join. so we had three people, working mainly "organically",with the voice. to create a counterbalance i asked reto maeder to join.his musical and aesthetic approach is quite different from mine. thusthe line-up of OHNE was completed and complemented.
TS: Dave and I had been keen on workingtogether since we met in Paris in 1997. The opportunity arose in 2000,and we leapt at the chance. Et viola!
Q. Do you remember the moment whenyou decided to use OHNE (= without; remark for our readers) as a namefor your project?
DP: yep. this was tom's suggestion.we spent a while, and many enjoyable moments, to find an appropriatename for our project, but with no satisfactoy result. then the nameOHNE appeared - it seemed to sum it all up.
TS: Yes. I'd been killing Dave withall manner of suggestions, each of which he'd rejected out of hand.When I offered "OHNE," he was at last appeased.
Q. When Tom Smith ? (ex Pussy Galoremember) -is in the band ? are you connected to New York scene?
DP: i have no connection to any newyork scene. i met tom in 1997 and we've been in touch since (see above).we like each others work so it was just a question of time until wegot toghether for a project.
TS: Dave and I began OHNE together inAugust 2000. Reto and Daniel were immediately brought on board.
I was a member of Pussy Galore duringtheir initial, Washington-DC period (mid-85 to mid-86). I was invitedby Jon to join in October 1985, and I left after the Peach of Immortality/PussyGalore "Fuck Sky Bear" tour of the States in January 1986.
I have many friends in the New York"scene," and my primary label in the States, Menlo Park Recordings,is based in Manhattan. But, apart from friendships, a stint as a DJat WFMU-FM, and my work as a producer and mixer to various New York-basedperformers, I have no formal connection to any NYC scene. I prefer Miami.Almost nothing in the way of culture, radical or otherwise, but a lovelyplace to reside.
Q. Are you connected in some wayto Missing Foundation? (remark for our readers-today non-existing NYband, forbidden in NY for some time due to "extreme" shows? I was awitness once in Praha back in 1992 and I can´t forget this great experience? ONE OF BEST SHOWS I´VE EVER SEEN)
DP: i have no connection to MissingFoundation, except for having talked to Peter Missing on some occasionsduring their concerts in switzerland in the early 90's. i saw them maybe5 or 6 times, and one of their concerts (in Bern), i agree with you,was one of the best shows i've ever seen as well!
TS: Not in the least. With the exceptionof their "1933" album, I found their work to be obvious, insipid,and dreary. Joy is the benchmark of genius. Grim tidings serve the statusquo. (No offense intended - it's my opinion alone.)
Q. Do you know Roli Mosiman, alsoSwiss who was connected to New York scene collaborating with MichaelGira in his band Swans where he was a drummer?
DP: i've never met Roli Mosimann. buttalking about great shows, seeing the Swans in 1987 (in Geneva) wasa most memorable and intense experience!! it was for sure one of theloudest concerts i was able to witness. the Swans played for about 20minutes, after which the police stopped the concert, due to complaintsfrom all over Geneva! everyone was very angry, yet still induced andseduced by the sheer intensity of what just had been witnessed, so theremaining crowd banged, screamed, smashed and made a hell of a noisefor about an hour, in rhythm to the last piece ("coward")that the Swans had played... the police didn't stand a chance.
TS: I may have met him once. The coolestthing I ever saw in NYC, apart from Suicide live at CBGB in '76, wasThe Pop Group at the Mudd Club in July 1980. They ripped themselvesto shreds that evening, all with big smiles throughout. Tremendous!(Not Manhattan natives, of course.)
Q. Which label is releasing yourstuff?
DP: my first home was SCHIMPFLUCH, thelabel founded in 1987 by rudolf eb.er. he released my "III"tape in 1997. rudolf and me toured japan in 1997 as schimpfluch-gruppe,and our subsequent collaboration, together with masonna, was releasedby the people who organised our tour of japan, JAPAN OVERSEAS. a shorttime later i got in touch with daniel loewenbrueck, or better said,he got in touch with me. he liked my "III" tape a lot andwanted to release it as a CD on his TOCHNIT ALEPH label, which he thendid. we have since kept very close contact. i now regard TOCHNIT ALEPHas my home-base, since the SCHIMPFLUCH label doesn't exist anymore (rudolfeb.er never returned from japan. he now lives in osaka, and has longsince started new labels, first CHI-PFLUG, then A.MARSCH). my last disc"IIII" was released by MANUFRACTURE, the label of eric boros/hermit,who has until recently lived in the french part of switzerland. othernew bits and bobs will turn up here and there. for the OHNE album weare working with the lovely people of MEGO in vienna, the contact arosein different ways: daniel had been in touch with them for a while already(one of TOCHNIT ALEPH's recent releases is of Pita/Peter Rehberg, whois one of the main people behind MEGO, and Zbigniew Karkowski). i wasin touch with Pita in connection with my tour-organisation. and RetoMaeder/rm74 has been in touch with Ramon Bauer, another head of MEGO,due to concerts of General Magic (one of Bauer's musical projects) inswitzerland, which Reto recorded for our monthly radio-show.
TS: Mego, for starters. Good one, Daniel!Perhaps others in the future...
Q. Do you consider yourself to bea part of any artistic movement? Are you working in a frame of any "culturalautonomous zone" or "autonomous cultural unit"?
DP: no. i'm not really aware of anyartistic movement. i feel some strong personal, emotional, aestheticand other connections to certain musically active people, however, i'dcall these connections friendships.
TS: Nah, just PRE. I'm not too big onnuturing formalisms. I've no interest in TAZs.
Q. Whom do you collaborate with inSwiss or abroad?
DP: with different people at differenttimes. i have collaborated (or am collaborating) with rudolf eb.er/R&G,joke lanz/sudden infant, maso yamazaki/masonna, daniel loewenbrueck,reto maeder, tom smith, tomasz twardawa, randy h.y. yau, kid commando,humectant interruption ...
TS: Dave Phillips and Reto Mader inSwitzerland, Daniel Lowenbruck in Germany (all fellow OHNE peepz), anda variety of twisted Brits (Evil Moisture, Project Dark, Prick Decay/DecaerPinga, on and on...).
Q. Are you connected to Joke Lanz(Sudden Infant)?
DP: yes. we shared a job together (inthe late 80's/early 90's, working for an independant music-distributionin zurich), we made recordings and performances together, we lived together,we drink together.... we are good friends!
TS: By a catheter. No, we've exchangeda few emails, but that's about it. Dave and Joke are mates...
Q. Can you tell us more about thecommon release with Polish bruitist project Genetic Transmission? -Where the idea has grown? Who´s Rudolf E.ber, whom is this recordingdedicated to?
DP: tomasz twardawa/genetic transmissionapproached me, after we had been in contact and exchanged music fora while, regarding a collaboration, which i was more than pleased todo! we exchanged and worked on each others sounds by mail. the ideawas to pay tribute, by use our own subjective interpretations, to thesound-aesthetics of runzelstirn & gurgelstock, which is the projectof my Schimpfluch-Gruppe-partner Rudolf Eb.er.
TS: An evil kung-fu troll and brilliantfucking performance artiste.
Q. Are you born in Zurich - dadaCabaret Voltaire city? Can you feel the tradition of this movement inthe city´s artistic atmosphere?
DP: i was born in Zug, which is abouthalfway between Zurich and Lucerne, 20 minutes on the train. i livedin Zurich for a couple of years, and i know the city fairly well. inever really detected this city's artistic heritage of dadaism, butthen i might have not paid proper attention. what remained of the cabaretvoltaire was just a sign on the wall.
a few months ago however, the cabaretvoltaire has been squatted by a group of activists, in the name of dada.they are protesting the plans of the owners of the building to turnit into a pharmacy (can you imagine?!?!). the squatters/protesters offera wide variety of events, they're doing a really fantastic job. theyget a lot of support from the general people. but, it is still unclearas to what will finally happen with the cabaret voltaire.
Q. How can you see the undergroundmusical situation in Swiss?
DP: there are a lot of active peoplearound, and swiss culture is blessed with comparatively good support,however this concerns more commercial or popular branches of the undergroundculture. zurich is infamous for its techno-movement, out of which wasborn a large mass-culture, but also some interesting activites in thegrey areas of electronic music. besides that, there are quite a fewpeople active on the difficult side of music. switzerland is small,so we are all befriended and more or less aware of each other's activities.
Q. Have you discovered any new interesting& original band in Swiss? We don´t know much bands from your countryhere ? just for example Yello, Krokus, The Young Gods, Celtic Frostetc.
DP: celtic frost rock, but more so didhellhammer (pre-CF)! as for more recent swiss acoustic activists inswitzerland, check out teleform & marcus maeder (domizil label),joke lanz/sudden infant, reto maeder/rm74, roger rotor, herpes o deluxe,NID, christoph fringeli (praxis label), NOS, jason kahn, steinbruechel,batchas, and of course voice crack..... (this list is not complete)
TS: I always fancied Kleenex.
Q. Can you present a more detaileddescription on your live performance? What are the points you are themost focused?
DP: our performance is constantly growingand changing, so there's no way of giving any descriptions, besides,that would be giving away too much too soon. there are a few main pointsof focus, but again, mentioning these would be giving it away...
TS: I'm always focused. I live for it.Live performances will be disciplined, and exceedingly fluid.
Q. Is it more static or dynamic (iguess pretty dynamic)? Are you attacking the audience in the best futuristtradition?
DP: maybe sort of inbetween? who knows... ;o)
the futurist tradition is nearly a century old. attacking implies anagressive motion, and personally i don't wish to be aggressive in anysense. i opt for the language of humour and hormone. humour can be blackthough...
TS: Both, everything."Attackingthe auidence" is a dreadful, fatigued concept. Much better to seducethan repel. Sex is the new violence. We'll make love to 'em instead.
Q. Is it necessary for the audienceto be actively involved in the performance?
DP: that is entirely up to the audience....
TS: Yes, and no. It's an uncontrollableconstant. Their interest ebbs and flows, often in the space of a measureor phrase. I enjoy looking at the audience, touching them, speakingto them. Even when they are hostile.
Q. Are there any goals you wish tobe achieved during a live show?
DP: as said, music for me is communication,on the level of a live-performance this implies a personal component.there's a connection between my musical expression and my personal beliefs,even if this is not obvious. one goal is an exchange, not only on stage,but with the all people we encounter during this tour, maybe causingpeople to reflect, surely to enjoy. other than that, i'll be pleasedif we can present something that is to our complete satisfaction.
TS: Peace on Earth is an unlikely by-product.I usually shoot for "rockin' the house."
Q. How long do you plan this tour?It looks very well organized and really long. What can you see specialabout this event?
DP: i started planning in spring 2001,but then the tour had to be postponed, for reasons stated elsewhere.a lot of contacts had been established, and we had also received supportfrom the swiss arts councils "Pro Helvetia" and "MigrosCulture Percentage", which thus allowed us to venture into countries(east europe) where otherwise financial limitations would have not madeit possible. also, since the members of this tour come from 3 differentcountries, this tour implies grand organisational efforts. being a bitof a perfectionist, i want to do everything as good as possible. asit now looks, the tour will take us through latvia, lithuania, belarus,russia, poland, the czech and slovak republics, austria, slovenia, switzerlandand france, lasting approximately two months.
on a more personal level, i simply wantedto get back on the road again. i suffered a bad back-injury 4 yearsago, and hardly couldn't move for 6 months. i have since been buildingmyself up again, but consequently i couldn't avoid seeking new challenges,though being forced to leave the heavy physical component aside. thistour is a gift! from us to the people attending our shows but also fromus to us.
TS: The tour will last for two months.Dave has done a wonderful job of planning and organizing the OHNE freakshow. Everything about it is very special to me.
Q. Also last year tour was planned?but it was cancelled ? why?
DP: the main problem was that the visa's(for russia and the republic of belarus) arrived too late. this madethe tour-preparations a fierce battle with time. more little problemsarose. at that time american hysteria broke loose due to the eventsof the 11/09/01. all the problems as a sum pointed out that we wouldbe running against walls and that we would end up doing what we hadplanned only half-baked, if at all. the only reasonable move was topostpone the tour.
TS: September 11th chaos and visa applicationwoes.
Q. Can you put an in-depth depictionhow do you create your unusual compositions?
DP: to start i have chosen a sound aroundwhich i want to build a piece. i chose another maybe 10 to 20 recordedbits that i think will fit to the chosen sound. then i listen to thebits and the chosen sound next to each other, over each other et cetera,to see how what fits and in what way certain combinations of soundswork, using the tolls that i favour at the moment. this process is aleatoric,meaning that through this listening-process new ideas and possibilitiesevolve. so it all happens step by step, constantly changing as the piecegrows. usually i end up with a result that is quite different from whati had in mind. the process from the idea in mind to the finished pieceis a rather long one. but exceptions are always possible. sometimesa chosen sound is so good that not much else, or very little, needsto be added.
TS: I'm not certain if a detailed depictionwould serve your readership. It's a very personal process. I use a varietyof media, from the most abject lo-fi devices, PC and Mac-based studioapplications, and physical, 24 and 48-track digital consoles. I fearno format, reject none. An artist uses all the pallets, paints, andcanvases he wishes to use. No limitation.
Q. Where are you collecting all soundsources assemblaged into single tracks? Is there used a lot of fieldrecordings in them?
DP: yes, i use a lot of field recordingsfor my pieces, most of which i collect during my travels in asia. ialso have a vast bank of recorded bits and pieces of voice sounds thati can incorporate, plus i use some effects, or desk-feedback, or cheapmicrophones, or other electronics. it also depends on what tools i likeplaying with at the time. sometimes i feed sounds into the computerand cut them into tiny parts. in the end all components get fed intoa hard-disc-recorder. editing and arranging is a more time-consumingmatter than chosing the right sounds!
TS: Everything is blended into everythingelse. I've used a few field recordings, the odd sample, and a lot ofkeyboard and vocal work. Each of us has our own work ethic, our distinctivemodus operandi.
Q. What do you consider unique inyour music / creative output?
DP: all the sounds i use are entirelymy own sounds, either made or recorded by me; i guess that's a characteristic.my use of natural sounds in combination with my voice is probably anotherdistinguishing mark. i guess it's all pretty organic too. the strongdynamic juxtapositioning is another favoured element.
TS: I have my own voice. Most fans ofmy work know it's me straight away. That's the best one can ever hopefor.
Q. How would you describe your musicby own words ? do you consider it music or anti.-music, or do you considerit just a sound matter?
DP: it's a personal and emotional expression,and since it's of an acoustic nature, i guess you can call it sound,or music. i don't think it's necessary to put any other label on it.
TS: It's almost impossible for me todescribe what I do - it's so intrinsically ingrained, so central tomy existence. It's music, it's anti-music, it's sound. Everything andnothing, all intertwined. No labels necessary. It just is.
Q. Most bizzare musical experience in your life?
DP: probably the schimpfluch-gruppe(rudolf eb.er & me) performance in tainan/taiwan, in 1997. we reachedhighest levels of intensity. we worked ourselves into a state of frenziedblissful insanity. we were as amazed as the audience was!
TS: They've always seemed so curiouslynormal to me. "Real life" is far more bizarre.
Q. How audiences mostly react onyour music?
DP: quite differently... they hardlyseem untouched, either they love it or hate it, but no one is indifferent.that's good. i see a lot of smiles, that pleases me a lot too.
TS: It depends. I've seen every possiblereaction. I prefer hysteria to glowering silence!
Q. Your top 5 (both your "all time stars"and "last week top five")
DP: ALL TIME TOP 5. uuh-huuuh. this is totally incomplete. only 5 as well....difficult...
1. extreme noise terror - earslaughter, and other early HC (discharge, rattus, siege, amebix, laerm..)
2. anything by Runzelstirn & Gurgelstock
3. nurse with wound - homotopy to marie
4. morton feldman - untitled composition for cello and piano, three voices
5. gyorgy ligeti - string quartet no. 1, requiem
LAST WEEK'S TOP 5:
1. rudolf eb.er - die gesaenge des trotzkopf (split with kouhei matsunaga)
2. corrupted - la victima es tu mismo 7"
3. venetian snares - doll doll doll
4. arsedestroyer & teenassrevolt
5. destiny's child - survivor
TS: Top Five (although I'm probably forgetting something, so not definitive)
01 Lee Perry - most Black Ark dubs
02 Miles Davis - 1970-1975, especially when he eschewed trumpet for organ
03 Dennis Bovell's production of The Slits' "Cut" and The Pop Group's "Y."
04 The Junior Raymen - 1966 demos
05 Ed Rush / No U-Turn track "Crystal"
Last Week (in no particular order)
01 Second episode of "The Osbornes"
02 sandwich my girlfriend made for me on Wednesday
03 remix of Nas track "One Mic" (from "Stillmatic" album)
04 dancing to the Neptunes remix of Busta Rhymes' "Pass the Courvosier, Pt. 2" at a swank Boca Raton dinner party
05 sex, Tuesday through Thursday
Q. Is it music only artistic formyou are devoted to? Another words, are there any other artistic formsyou are involved in? I found some writing of yours on the net....maybepoetry? painting? video art?
DP: music is definately my favouredform of expression. i have other ideas that i would like to realise,but due to lack of time i concentrate on music - at least for the timebeing. i have had a couple of tries at painting, but without any satisfactoryresult. one thing however i'd like to work on is some written output,not really poetry, just ... writing.
TS: I'm published frequently. Lots ofalternative newsweeklies, zines, online journals, and the odd glossyperiodical. I love writing. I've directed a few short films. Lots ofweb site stuff - graphics, coding, design in general.
Q. One question has naturally goto internet ? building your own electronic microspace ? you do use 3different pages at the moment. Don´t you think about using just 1 CentralOhne page?
DP: tom built the original site .daniel then re-directed it to , sincethis omits the commercial banners. the site was built by our friend david bluvstein, who organises our concertsin the baltic countries.
Q. OHNE about censorship ? what doyou think about free music distribution on the Net? Do you stand fora certain kind of restrictions or for full albums / tracks distribution?
DP: i believe music is public domain.to a certain extent! it should be freely available to anyone who wantsit. in this sense i support free music distribution. on the other hand,there will always be people who will try to profit from other people'sactivity, by stealing. this i oppose. where to draw the line?......
TS: I'm 100% in favor of free musicdistribution. No one can stop Internet piracy, so we might as well enjoyit.
Q.Last words of this interview?
DP: looking forward to play for you! thank you tomas for the interview.
TS: Can't wait to rock out for you guys! Keep the beers cold!!
Thanx for your answers and see you soon...
DAVE PHILIPS DISCOGRAPHY
Fear of God - Fear of God 7" 1988 (Temple of Love/D)
Fear of God - As Statues Fell 12" 1988 (Off The Disk/CH)
Fear of God - Pneumatic Slaughter/live 7" 1990 (Atrocious/US)
Fear of God - Fear of God (re-release) 7" 1990 (Far Out/CH)
Fear of God - Demos 7" 1992 (Two Sheds/CH)
Dave Phillips - I MC 1994 (private/CH)
Sudden Infant - Solothurn CD 1994 (pure/US)
Sudden Infant - Radiorgasm LP 1994 (Schimpfluch/CH)
Sudden Infant - Etat Bruit one 7" from 5x7"-box 1996 (ScrotumProd./CH)
Dave Phillips - II MC 1996 (private/CH)
Schimpfluch-Gruppe - Do-Ku VHS 1997 (GmbH/F)
Schimpfluch-Gruppe - Shitpflug CD 1997 (Ignomalous/US)
Dave Phillips - III MC 1997 (Schimpfluch/CH)
Dave Phillips/Rudolf Eb.er - MC 1998 (Chi.Pflug/JP)
Dave Phillips/Rudolf Eb.er/Maso Yamazaki - Arschloch-Onna CD 1998 (JapanOverseas/JP)
Schimpfluch-Gruppe/Peeled Hearts Paste - No more gun/live in Nippon7" 1999 (Dual Plover/AUS)
Dave Phillips - III+CD 2000 (Tochnit Aleph/D)
Dave Phillips/Genetic Transmission - for Rudolf Eb.er CD 2000 (Die SchoeneBlumen Musik Werk/PL)
DP/Kid Commando - half human, chair missing 7" 2000 (Lady Godiva/SWE)
Fear of God - CD 2001 (A.Marsch/JP)
Dave Phillips - IIII CD 2002 (Manufracture/CH)
OHNE - ohne1 CD 2002 (Ohne+Mego/A)
Randy H.Y.Yau & Dave Phillips - CD 2002 (Auscultare/US)
Dave Phillips - mountains of animal carcasses set alight: the goldenage of denial and avoidance 3"CD 2002 (Nautilus Comets/D)
Dave Phillips - Lausanne 011116 - 3"CD 2002 (Tochnit Aleph/D)
plus various contributions to compilations