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.

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.

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 hate the idea of repeating myself. I need new perspectives and challenges for each project, and I'm very happy that many people are able to follow me without any problem.

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 true that laptop performances can be boring for the audience. The problem is, the organizers of events are still putting us on the classic "rock stage," instead of trying to find new ways to present the music.

I started playing guitar at the age of 8 or 9 years. Very early, and I was like already into pop music and was just trying to copy what I heard on the radio. And at a very early age I started experimenting with old tape recorders from my parents. I was 11 or 12 at that time and then when I was like 14 or 15 I had a punk band. I made all the classic rock musician's evolutions and then in the early nineties I bought my first sampler and that is how I got into electronic music, because I was able to produce it on my own. That was quite a relief.