I think I discovered downbeat and chill more or less when I found out that thething I wrote at that time, was what you call downbeat or chill. I was just writingand producing my tracks and was not that interested in how you would categorizeit in a certain style. Even today I think this genre is defined by a huge diversity instyle – which is great. I must have come across ambient or chill in the start of thenineties at the raveparties and so…Brian Eno, Philip Glass and Steve Reich aresome of my oldest and biggest heroes, so in a way it goes even further back..tothe eighties.
How is your relationship with other exponents of CHILL OUT andDOWNBEAT music scene? I’m talking of Josè Padilla, Bonobo, Bent,Banzai Republic, Bliss and people like that…I have good relationship with Banzai Republic, they (Buda) alsomade additional production on five tracks on “I Dream About Trees”. Ifeel much more related to their music than f. ex. Bliss. We have a lot incommon musically, and I am working with him right now on some newGanga tracks. DJ Ravin also is a good collaborator and I definitely wantto write some tracks with him sometime in the future.And what about producers from abroad? Who are those you appreciatethe most and that you feel “close” to your musical vision?Murcof is one artist I admire a lot. I think his work is fantastic. BanzaiRepublic, Cantoma, Luke Vibert, Deadbeat, Swayzak, ThieveryCorporation, Trentemoller. All of these I feel conenected to – in verydifferent ways and for different reasons.Tall me about your work with television and series of film and otherdocumentaries, culminating with the sound track for the movie"Metropolis"…A friend of mine asked me to score a short documentary back in 98, andfrom there on I started to get more and more into filmwork. I found outthat I really enjoyed writing music to accompany visuals. And it just tookoff from there.The last couple of years I´ve worked on a project called“Filmogmusiklive” (Film and music live). The concept is to write new