Can you give a brief introduction to the band?
EE: Well, while I’ve been at this for 15 years now, the current live lineup is Jon Billian and Joe Dobise on live keyboards, and Justin Parker on electronic drums.
You started with Interface in 1993, we want to discuss all changes that music made in those 15 years but in what way have you changed?
EE: Well, I’ve certainly learned a lot about music, technology, and most importantly life in all that time, that’s for sure. As time has gone on I think I’ve learned the most about becoming more self-contained as a businessman and promoter.
In my mind these days computers have a much bigger role compared to 1993, is that true? Did it change composing music and in what way?
EE: It’s heavily simplified the ways and methods in which I create my art! I use Cubase to compose and record, and have done so for roughly a decade now. The old days with using all music hardware (like sequencing on a Roland workstation) had plenty of limitations that I can’t imagine going back to nowadays. I also have an easier time exploring new instruments and sounds, since software instruments and libraries are so much easier to buy than their older hardware counterparts.
Synths and keyboards have developed as well, in what way did this affect Interface?
EE: Well, for one, as far as being cheaper to get now, new samples and instruments are starting to explore new types of sound that hardware didn’t do too well, if at all. Some of what I hear now is stuff I’d only dreamed of 10 years ago.
EE: I’ve openly embraced every new twist and turn in the industry these days, and have always been willing to adapt to them. Whether its promotion, distribution, networking, or just finding new fans, everything is different now than it was when I started. In many ways I think it’s for the better.
When we take conclusions of the 4 previous questions, what would do the conclusions be?
EE: My conclusion is that we’re very much a product of our time.
You have a bachelor’s degree in music and a minor in audio production. Do you think this is a pre you have compared to many other electro acts? In what way does Interface benefit from it?
EE: Perhaps, perhaps not, as far as having an advantage. Does it matter that I know about the structures of songs in a traditional sense? Maybe, maybe not. It all depends on the opinions and beliefs of the listener. What I value the most of my background is that a lot of electronic music is written off as relying on the production and the sounds to get by. In many cases that may be true, but I’d like to think that my material can hold its own if, for example, a rock band were to cover it.
Producing the material is just as much the years of experience and seeing what works in the real world just as much as any class on audio will teach you. It was only basic concepts that were mastered over countless hours in the studio (both mine and others). It also comes with my desire to always find new gear and ways in which to use them – those things that keep it fresh for me each day.
You have just released your latest album “Visions of Modern Life” on Nilaihah Records, how are the comments on the album so far?
EE: I’m quite pleased to see the rather full list of positive reviews, and people who can see the “point” behind the music.
EE: Yes indeed – my specific goal was that I wanted to simplify the creation of the album in many different ways. There were many aspects to it, but that was the overriding theme, keep it simple. Both Angels in Disguise and Beyond Humanity took a rather long time to complete, and I think some of those factors were internal just as much as external. This time I wanted to really focus on every aspect – the writing, recording, production, post-production, and so on. That was very important to me and I think the songs all had a great benefit from that approach. I really felt the need when I was in the process of shortening my turnaround times for remixes I was doing. I thought that I could apply the same guidelines to my own material.
What progress did you make for this album?
EE: First, I re-organized everything in my studio both in hardware and software. I had spent a lot of the time since the last release getting new gear, new instruments (real and software) and sound libraries, and didn’t have the greatest of integration between them. So I finally took a few good solid weeks and categorized tons of samples, lots of sounds, etc. It really helped me when it came time to take the basic songs and actually turn them into what appeared on the album.
In my mind this is a real album, not just a collection of songs, it’s homogenic, like all pieces of the puzzle fall together, do you agree on this?
EE: I always seem to write songs in bunches. When I see enough of a relationship between them to see a common theme, I then know that I can produce an album. I can then weed out the ones that don’t fit the theme, saving them for other use. The last album Beyond Humanity had a very distinct theme going on pretty early on, and I actually wrote more as I recorded to fit them. This time around, I let the songs determine the theme. I think the result is a theme that can be more open to the listener’s belief.
Interface is known for both dance floor tracks as well as ballads, is there any difference for you in composing it or does it work the same?
EE: Not much really, except that maybe the slower material is sometimes worked on a little harder and therefore slower to produce a final recording. I notice that I can listen to a lot of good club-style music, and get inspired to create something to go in that atmosphere pretty quickly. I know I had “Destination” written and studio-ready in just over an hour. I thought the message and the feel of the song were so simple and straight-forward, that I didn’t want to give myself the chance to complicate it. Compare that to “Indecision”, which took a long time to mix and match different elements into what was still a very simple song. “Voices” also took a long time in finding the right fit musically as a whole, and was probably the largest difference in overall sound from beginning to end.
The lyrics are well thought, what inspires you and how do you transfer thoughts, observations into lyrics?
EE: I wish I knew the secret! My lyrics are always a stream of consciousness, from mind to paper. Sometimes I don’t even know what they mean right away until I read them a few times over. I find I usually take events in my life, or the lives of others, and alter the meanings and descriptions into something more “universal” that anyone can relate to.
EE: Apart from the obvious fun of taking someone else’s music and leading it in a different direction, it’s become sort of a way for me to show respect and support for bands that I like, or who like me. I would hardly want to remix an artist that I despise or don’t feel any inspiration from. I also get a chance to refine my production and mixing skills. I have begun to time myself more strictly these days in getting a good turnaround, which I think was an enormous help on the new disc.
You have just made a remix for Lacuna Coil, is it hard to transform a metal track into a dance floor anthem?
EE: It was quite an honor and a challenge I was eager to accept. I’ve really tried hard lately to find artists in different musical styles to take on more often. What makes LC so interesting is how they use quite a few songwriting and production methods on their latest album that made the transition into an Interface remix that much better.
Is there any chance the European audience will see Interface someday soon?
EE: I am certainly hoping so! I’m still working hard at speaking to the European promoters and labels about gaining a wider audience over there. My advice to our Euro fans is to keep asking them yourselves to have us there, and one day soon we shall.
What will be the next step for Interface?
EE: We have several tour dates in the works for the US as this year goes on. Only fate knows the rest!
Do you have any last words for the readers?
EE: As the inside of the new album says, thanks everyone for supporting us. We can’t do it without you!