A. Well good, that’s sort of the purpose. So, these things that are available that we can find as audio or video, that exist and have their own context and purpose, they were basically used in a commercial sense. The purpose of that “ahh” was to connect to the collective “ahh” — the collective response that “this is refreshing and I want to buy this thing.” But if you can turn that “ahh” into a type of material object, when it’s just another texture, like the color mauve, when you put “ahh” and mauve on the same level — suddenly you have something interesting. You’re using things that don’t want to be treated like objects as objects. You’re no longer letting them do what they want to do. I find that gives me an interesting jumping-off point to figure out how I want to use them. To me everything is a material, and everything is subject to change. When I work with found sounds, I’m trying to figure out how do I make this come from me?
Q. Is music enough for you, or do you feel like you have things you need to express visually? When I look at the releases Software has issued, there’s an aesthetic in place that, erroneously or not, I trace back to you.
A. I don’t know, it’s a good question. It’s prohibitive for me to basically just continue to encroach on anything I want to. Because a.) There’s a lot of people that do it better; and b.) What am I trying to say? If I can’t really answer that, I try not to do it. Either way you cut it, there’s a visual aspect that I can’t escape, because I think my roots in terms of creating things and making things was primarily based on my love of film. Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of ‘What is in this room? What is the shot? Who are the characters? What is the conversation here?’ My sense of pacing is very filmlike, it’s not musical. If you close your eyes and listen to a film, that’s the way I want it to sound. It’s not about a soundtrack, but the intrinsic pacing of film teaches me a lot about what music can do. It’s important, but I’m pretty much a horrible visual artist.
Q. Are there any mission statements, precautions, or ideas that you’re stabling yourself with going forward?
A. Yeah, I guess generally I don’t want things ever to be easy. While there’s some danger of doing something that loses your personal stamp on things, I’d rather take the chance of doing that and do something slightly uncomfortable or hard for myself. Because otherwise, it really just becomes the Harlem Globetrotters of whatever you’re doing. You just become really good at it, and it’s a show, and there’s no fight. That, to me, is a boring form of entertainment. I don’t really want to do that. This new stuff is weird. I don’t really know what it is yet. I think I have to hear it first to know what it is.