Peter, a man responsible for many projects on the label, has continued to work at a rapid pace, either on his solo projects or for collaborations. With FAX presence having been established in the United States through Charles Uzzell Edwards in San Francisco, americans have forgotten about paying import prices for FAX cds. This increase in exposure, and the presence of FAX on the world-wide-web has inspired many individuals to follow suit and start up their own label, attesting to Peter's "do it yourself" attitude and his high regard for origninality.
What follows is a discussion about various aspects of a label that has produced many fans and internet discussions worldwide, a label that has jump started many artist's careers, and a label that has many avid collectors of the fairly limited cds...individuals who happen to be willing to look worldwide for some of the more rare releases and shell out big bucks for them too. Now, on with the interview.
Aguanaut: At one time you were known to complete an entire project in as little as one day. Do you still maintain such a rigorous schedule?
Peter: It depends on the project...there are still CDs that are recorded in even a shorter period of time, but meanwhile I work longer on CDs and projects...like 3 to 14 days.
Aguanaut: Which two projects are your personal favorites that fall under the two types of recording methods mentioned above?
Peter: There are no favourites...it would be the same if you asked someone who has a lot of children which of them he likes most.
Aguanaut: How do you come up with the names for your different projects?
Peter: I think about it when they are finished (musically).
Aguanaut: Is the title "Dark Side of the Moog" related to Pink Floyd's release titled "Dark Side of the Moon" in any way?
Peter: Noooo...how come you ask? (Writers note: Just because of the similarity between the titles...okay, moving on to the next question) .
Aguanaut: In the years that FAX has existed, the listener has seen everything from trance to the depths of ambient. What should be expected from future FAX releases?
Peter: Mainly the unexpected...you will always hear that it is a project of mine due to my personal musical fingerprints...the will to create new, innovative sounds and styles is very strong in me. I will always have to take a certain risk. The listener may not always appreciate that. Until now everything worked out ok...we will see what the future brings.
Aguanaut: Can you think of any release that has taken those risks and has not been well received, or a release that seemed particularly unpredictable in its appeal yet ended up becoming well liked?
Peter: Koolfang 2 was in my eyes a brilliant record and a funny persiflage on commercial Jazz. It was not so well received, thus we expected noone ever understood what happened. On the other hand...Namlook III "Aliens in my Suitcase" was one of my more experimental- releases and was so well received that it was sold out soon after the release and collectors pay 100 USD meanwhile to buy a copy second hand.
Aguanaut: It seems that as FAX continues to release more releases, they have continued to add artists to the roster. Is this the result of the artists sending in unsolicited material, or is it based on recommendations to you from other musicians, or merely running across some of their previous tracks?
Peter: It is mostly based on recommendations to me as well as me running across some of their material. In the past also unsolicited material was interesting as a source for licensing or collaboration....but nowadays I don't have the time any more to listen to material. Often artists like Bill Laswell, Klaus Schulze or Alex Azary recommend somebody for collaboration and then I start to think about it.
Aguanaut: I've noticed that some of the new FAX artists go by certain aliases, but no information as to the real artist name seem to be evident. Are projects such as Redeye and Spyra from electronic artists that are already known by another name?
Peter: No comment...but it is *very* interesting how important a name is...if someone with a BIG name releases under a *noname*...the record is hard to sell even up to its limitation. I wished the people would listen more and go less for the name on the cover.
Aguanaut: Speaking of other artists, are there any that you will be collaborating with in the near future? If so, will they be continuations of previous collaborations or will you embark on new collaborations with other artists who you have not previously worked with?
Peter: Both will be the case...
Aguanaut: What are some of the older contributors to the FAX label up to these days? On the ambient mailing list there was a discussion some time ago about Dr. Atmo appearing on another label...any knowledge of his current involvement with electronic music?
Peter: About Dr. Atmo...I know that he is focussing on architecture nowadays... about others I have no idea...
Aguanaut: That brings up an interesting point. Sometimes (more than not) people find electronic music hard to buy because of limited access to hearing it beforehand. Since radio exposure (at least here in the States) focuses more on other forms of music, what do you think is necessary to help out potential buyers?
Peter: To provide high quality sound and the will to innovate and to move more than just chords. A long time FAX listener and collector will not stop to be interested in the music and how the label develops as there are always new aspects and directions in my music.The problem with a lot of the 70's -big artists and groups- was that -thanks to major record companies- their output got more and more money orientated than music orientated. As a collector of music from different bands I got very disappointed as the music didnt improve...only the sales did. At the point I started FAX I was sure that I would never tolerate a development like this... I got into huge discussions with some collaborators and even had to stop the collaboration because the will to make money in the first place was too big from their side. I want to change the music. Moneywise I am fine as long as I can survive and have enough to invest in new/old machines.
Aguanaut: Do you think having a presence on the world wide web helps promote your music more than if the FAX website did not exist?
Peter: The FAX-WWW is a very good information source and I think that its significance is growing. At first I didn't even know that I have a WWW page at all. A true FAX Fan and Web-head Will-E build this page up without my knowledge. I have deep respect for him and I can't thank the Hyperreal people enough for providing this space for our music. If we had to run this commercially...FAX would not have the money to be on the Internet.
Aguanaut: Does the FAX website make use of the real audio technology?
Peter: Not yet... but who knows what happens in the future.... (Writers note: Upon checking the FAX website out just before this interview went to print I did notice that there are links to certain samples and sounds from the FAX label.)
Aguanaut: Do you think there is a different outlook on electronic music in Europe than elsewhere, lets say than from here in the States?
Peter: I guess it has something to do with the different possibilities of the markets. In the US it is very hard to establish a NEW style in music as all the normal chains and retailers would not take any risk. In Europe the subculture and individual sales are much stronger. If you want to sell in the US you need a one-person company who brings the music to individuals and independent stores. Only through FAX Label USA with Charles Uzzell-Edwards was I able to bring my music to the listeners in America.
Aguanaut: Will there be forthcoming releases on the Yesterday/Tomorrow sublabel?
Peter: Yes
Aguanaut: Which previous solo release series will you continue to record as? Will you form new solo projects to carry out new interests?
Peter: I will continue to release the diverse solo projects that I use as channels for different areas in music and I will create new projects according to new styles in music that I constantly work on.