1999 was your last recorded output, and then Porter Ricks was put on hold until 2012.

I would almost say that in our solo activities there is an overarching line of thought that is Porter Ricks itself. Our solo work delivers the details. So occasionally we have to go back to our corners and study and research these details to be able to bring it back into the Porter Ricks project, and into the dialogue.

We allow the sonic qualities themselves to develop their own momentum. It's a kind of humbling experience to put the sound first instead of the statement.

If you spent your weekends in the clubs, you could see the change in the eyes of the people. They became merciless, in a way, in their desire to be entertained.

Maybe it's good that we are so slow with everything. We were saved from the damages that took place in the last 10 or 15 years in the scene.

Our intention is to develop more subtlety in contemporary electronic sounds. We don't like nostalgic projects. We have disparate interests and many philosophical concerns. In the past 10 years, I have realized music in the classical tradition - I have composed for strings, brass, and electronic, and alp-horn!

I remember periods where we didn't even have beats in our club sets, but people kept dancing. The beat wasn't even necessary, because it was a biokinetic experience - that's our metaphor for the dance and the body and all its expressions. From today's point of view, this would be totally impossible.