For me, there is a strong hypnotic power in noise-music, and that's something I don't want to leave out of my music anymore.
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I don't release many records just as "Fennesz," so when I do, I want to plan everything in detail. It's not that I want to really lead the listener somewhere; it's more about me being satisfied with a project.
It's amazing. It's actually build from old Siemens Telefunken transistors from the 60ties. There is like 10 in there. It's the most powerful distortion you can have. It does not only do distortion, it does so many weird things. You can't control it, it's sound different all the time. But it's an endless source for fantastic sounds. For example the track "Transit" is entirely made with this box. You have to put the guitar sound in. It's like a pedal.
I really don't want to become a "member" of a band anymore. I really enjoy having total control over my music and productions.
I was really a big fan of Loveless. At [the time it came out], I made music that was not too far away from [what they were doing], but we were stuck in Austria. There was no way to get attention from the outside world. Maybe it's a generational thing.
For me, there is a strong hypnotic power in noise-music, and that's something I don't want to leave out of my music anymore.
I grew up in a small village close to a big lake. There are heavy winds there, and they always sound different. I like these sounds best.
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