We reject restrictive practices in music making. Some people state proudly that they do not use samplers or computers. To us, historically, this is a little like rejecting the idea that the circular wheel might be a good idea. Technology has always been adapted by artists and ignorance of technology or refusal to acknowledge technology is a restrictive practice. When we started to make music, we used everything we had at our disposal. Those people who only use equipment that was available in the seventies or eighties are nostalgia and restriction fetishists. That might be acceptable to some but it does not interest us. We use everything at our disposal. Holger contributed to the invention of sampling with nothing more than a Dictaphone and a pair of scissors. Perhaps the nostalgia fetishists would have preferred he hadn’t bothered. Restriction is probably the mother of invention but in the wrong hands, a single plucked-resonant note from a guitar can be a horrible jarring noise.

We are not post-anything. We are not industrial. We are not noise. We are not soundscape. We are not atmospheric. We are not tribal. We are not ambient. We are Reformed Faction.

We use our own names on album sleeves. We were born with them. Life is mysterious enough without us claiming to be part of the puzzle. We do not talk about our life away from music. It is nobody’s business but our own.

We do not tell people what our music is about. Primarily because it is about nothing in particular, secondly because to do so would be to affect the way it is heard and lastly because that is an example of reductive thinking, which is a restrictive practice and against just about everything that drives us to make music.

Our only expectation from an audience is that they listen with thirsty ears but of more importance, we seek to engage with them and the performing environment. When we connect with the audience it is also because we understand and connect with the environment. We like to think that we have a respect for the audience, even though some of our sounds may be somewhat uncomfortable to live with, at times

If there is an unconscious (we tend to treat such concepts as examples of comfortable middle-class parlour game style preoccupations) we are not going to tell you or anyone that we are able to tap into it. That would be presumptive and narcissistic.

We assimilate ideas from all sources, regurgitate at will but It would be wrong of us to suggest that what we do is unique. We make music.
We are a product of our time and culture and its inherent possibilities and limitations.

The definition of ‘improviser’ essentially states that you are able to critically evaluate your own work. You just have to learn how to spontaneously do this. We are really not terribly interested in post-mortems. If you communicate effectively, it is most noticeable and should always be malleable in the here and now. If not, you beget mess.