The public parts of my notebook.
“I try to be more structured in my approach. Because I want to avoid the great danger of being arbitrary. Let’s say this is pretty and this is pretty, and this and this. I’ll combine them. You can do that for one album, but if you do it for your entire career, I think the chance is relatively big that you’re producing an arbitrary output of exchangeable stuff. So I try to find a context of some sort into which I can put my own creation while I’m creating it. This context then becomes an auxiliary construction which excludes certain things.”
“With music I’m primarily interested in timbre. What does it sound like? Which overtones happen when and why? And then there is rhythm. And then nothing for a long time.”
“I remember creating a piece at some point. It was a Saturday or Friday night. I finished it at two a.m. I put it on a DAT tape, put my portable DAT recorder under my arm, went to Panasonic, said hello to Mo and Kotai, and bang! the track was playing. I never wondered if this would work at Berghain at three a.m.”