DH: At first can you tell us something about yourselfs and your artistically development. When and how did start BOOLE?
I've been playing music since 1980, making electronic music since 1986, and EBM/dance since 1996, which is when Boole was formed.
DH: Why did you choose the name BOOLE and what do you try to express by this?
Boole is named after George Boole, the father of boolean algebra. His work led to the invention of computers, which I believe to be one of the most significant mixed blessings in the history of civilization, probably matched only by the printing press. Anyone who can envision the world living on alternate paths can imagine what computers have done to us, and what we might have been without them commoditizing us while they entertain us. Boole likes to explore that ambivalence.
DH: How would you decribe your music in your own words?
Urgent apocalyptic, sardonic, sometimes goofy, sometimes complex, dance music.
DH: How is the feedback on the new CD Pheromones? Is this your first CD or does other releases exist?
This is the third boole CD. The response to it has been phenomenal, just amazing. The first CD was an EP called "Wooper Du" (a take on Husker Du obviously,) and the second was a self titled LP. The EP is really hard to find, there are only 111 copies. Ronan Harris has one, probably under his coffee cup. The LP is still for sale, but will need to be reprinted soon.
DH: How did you get the record deal with Dancing Bull Productions?
Dancing Bull is our own label, created in 1990.
DH: How did it take recording the new CD? Where and how has it been recorded? Which equipment you used?
How long? About two years, off and on. In between the LP and Pheromones I released an Apologizers double CD. Suitor and Alphamale are the two oldest tracks, Blow Up The World is the newest. Equipment is mainly A Virus and a Roland XP-30, sometimes VSTi/software synths. I own and have owned a lot of gear, but I keep it deliberately minimalistic these days. Beware technical ecstacy.
DH: How does a new track come to life? And where do the ideas for the lyrics come from? Tell us something about ...
My tracks are like exorcisms of themes or concepts that usually won't leave my head. Like every prolific artist I get plenty of ideas, but the ones that usually come to life are the pesky ones. I also believe in the muse and the channeling of divine will. And natural theatrics, ala Bowie.
DH: How important is your artistically work for yourself?
It's the most important thing in my life, right after family, friends, and health. Well, sometimes ahead of health. It's a way of life, and always has been.
DH: Do you play live and how does a BOOLE live gig look like?
We do play live, but we are on hiatus right now until we can tour or do some festivals. Playing around the DC area over and over gets a bit like running around a hamster wheel. Our shows are usually pretty insane, active, and sometimes frightening.
DH: What are you doing apart from music?
Assloads of reading and assloads of listening to trance and soul, mainly. Playing foosball, tracking politics, studying history.
DH: Is BOOLE your only musical band?
www.apologizers.com, for the artsy, esoteric people. Some people don't like the apologizers because they think that silly music weakens their soul. Ultimately, as with the KLF, the joke's on them. I've also played in punk, metal, and hardcore bands before. I like to break guitars like Pete Townshend.
DH: Are there any concrete plans for future (new releases, sampler contributions, tour, ...)
Doing several remixes right now, probably going to end up touring at some point. We've had a lot of gig requests, and I feel bad about not being able to fulfill them, but most American employers think 1 month of vacation is called laziness instead of living.
DH: What can you tell us about the american EBM and Futurepop-scene? Are there any clubs in your region where you can hear such music? How big is the dark scene in America these days?
America is beginning to pick up now, for a while it seemed like most of our EBM culture had to be imported, and there were very few exports. Now Tom Shear of A23 is ripping up the "futurepop/ebm with melodies" scene, and Ned Kirby of Stromkern is writing some of the most pertinent EBM/rock crossover music I have heard in years. And a lot of other American acts are maturing and developing identities. I tend to think this is because most of us middle class semi-intellectuals are not pleased that our corporate government trying to suck our blood, make us poor, and bleed the planet, whereas in 1998 we were working cushy tech jobs and dreaming about getting blown in the oval office. So angst has returned to America, and thank god for that. I was really beginning to miss the Waxtrax era.
DH: Thank you very much for this interview and go on having fun and success with BOOLE. Any further statements or is there anything else you'd like to tell us?
Pheromones can be ordered here:
Interview: Andreas Ohle