|Why did you choose the name
"fishmoon" instead release your albums|
under your personal name
simply represents this special selection of music best.
basically music which is related to moods and pictures in a fluent way,
so much to certained musical styles. Any musical language and root
interesting for me, as long as i'm able to bring it into a universal and
context. In other words, i always intend to destillate musical
to it's “metaphysical bones“ to be able to combine it with new
in a different environment than it's original tradition.
think that's one or the only way to keep traditions alive.
represents the openess in feel without limitation or condition,
can be dangerous for a human being - mentally and socially,
from the creative point
of view a higher goal.
sea is as deep, as the universe.
|Did you release any
soundtracks, considering your album's visual|
aren't any soundtrack releases, but you can achieve two
docus i produced with my partner from “phonoroid“,
Vassar. These are “American Waitress“ and “Cinderellas
Santa Fe", which have been produced in USA and won awards.
true : “no picture - no sound“ !
|Nine years between the
first and the second album, what's that about ?|
two reasons : First of all there was a business-contract problem.
former partner “Think Progressive“ held rights, and it wasn't possible
release somewhere else. Second, i was busy with other activities as
Beat, Phonoroid and the founding of my own publishing company
label “ Phonokultur".
|What have you been
influenced by in your music ?|
When i was a kid, the
start up was listening to the
“good vibrations“ - this
little opera ! Then the
from England around 69',
B.B King made me
wish to become
a guitarplayer - i was
very impressed by the John Mayall Band,
and later by Eric Clapton
with Cream. I thought the overdriven
guitarsound would be a
exotic instrument from India. I had no
idea till i saw the whole
thing in TV.
to the Progrock movement. King Crimson, Yes etc.
At that time i started my
first band in school. This was a duo
with a flute and
saxophoneplayer. We tried to play “21th century
schizoid man“ on a school
party, i had a acoustic guitar with a pickup
and my amp was a old
tube radio. There was no PA and we didn't
have a drummer, i didn't
went so well.
I became a big fan of
Grateful Dead and their psychedelic
improvisations. I liked
very much the sound quality they achieved.
Jerry Garcia and his band
were very much organized with their
and Robert Wyatt gave the initial link to the Jazz-world,
by John Mc Laughlin, Steve Khan, Ralph Towner and Larry
as guitarplayers - Wes Montgomery i heard through them.
Coltrane, Duke Ellington, Miles Davis became very important
well as the Ethno influences by Ravi Shankar and Don Cherry,
gave me some lessons later on in Sweden - i was very lucky !
was friend with Terry Riley and Steve Hillage, which rounded
picture up, since i was constantly influenced by the German
scene, Kraftwerk, Popul Vuh, Can (jamming and recording
time to time with Jacky Liebezeit, Rosko Gee and Damo Suzuki).
At that time i had with
my band “Foodband“ a first recording and
publishing contract in
England. Later on i was very busy in the german
sessionplayer and sonwriter - i brought some space
into this, till i started
to produce my own albums in the 90's.
this mix of meditative, ethno, electronic and jazz - rock - blues
with the early great like of orchestral pieces like
mussaget" from Stravinsky, or collaborations of Jehoudi
with Ravi Shankar for example, made it for me in the end.
think this list is so exceptional, but the mix of electric guitar
roots with the openess and spacyness of the symphonic
in contemporary modern music made the difference for myself.
got to have more than one dimension to attract my attention.
|How and on which media did
you produce your albums ?|
first album "music of a.m.h.“ was recorded 96-98' analog in the
step.I was using a Otari 24 track and a Akai 12+2 rack mountable
with a videotape like transport (this was adventure, but
good sounding). Next step had been a couple of Tascam DA 88
Lake People AD-DA conversion-cards - a definitly great sounding
which i still use in connection with my NUENDO - system.
STEINBERG software is, what i used for the “two moon music“ -
It ran on a PC system. While the first album was mastered on
Promaster 20 by Pro Tools, ran on a Mac, the new album was done
on PC, except some recording in other studios.
The first album
was partlially recorded in Santa Fe, the second partlially
New Zealand and Australia.
Steve Baltes programmed
zonata“ on the first album,
and “sniff“ and “lys
the second, so he is kind of
co-producer on these
like his wild beats, and it's fun for me
to edit these figures
later to some suitable climatics for my
guitar experiments. a
Him and Harald Grosskopf
are my Sunya Beat -
they are always around to
support my other
projects as well.
I worked basically on
first takes bases with
like Bertil Mark (Drummer
of Thomas D.)
or H.P. Salentin (trumpet),
on my recordings.
Important is the
initial “set up“ - room acoustics
and the simple situation
with people one likes. The atmosphere
of my personal studio
supports this a lot, i'm thankful for that.
I was lucky
abroad, too - with Latha Vegantha or Shawn Berid.
work on these long tracks is to build the fundament, which
to emphasize the later dynamics of the actual recording.
this with virtual sounds, which helps raising up the symphonic
of these long tracks. This is comparable to scores.
recording goes easy, a lot of work is the editing and mastering,
has to bring everything together into a fluent and understandable