01. Tell us how Endif started?
Endif started as me experimenting for hours on end in a makeshift music studio. Over the last 15 years that studio has become less and less pawnshop-and-yardsale, but that core facet remains the same and always will. The name itself came from the end-of-loop command in many programming languages, such as c++ or xml. If blah blah, then blah blah, end if.
02. What does music, in its entirety, mean to you?
Music is life. It allows emotional and artistic and conceptual expression in an extremely dense package. It contextualizes everything, and is itself informed at the same time. The energy interchange between artist and audience is almost sexual.
03. What do you use for equipment? Computers, keyboards? What specifically do you use?
I’ve got this studio-as-instrument gestalt thing going on.
I currently do all my editing and assembly and mixing on an Intel-based MacBookPro, which I dual boot between OSX and Windows XP. This dual boot approach allows me to use the broad palette of effects and instruments I require, plus once I’m done in XP I can reboot and do the rest of my work in a modern, stable, and secure OS on the mac side.
I currently edit and multitrack in Cool Edit Pro2, but do all my construction and most of the mixing in FruityLoops7, which I use as a sequencing environment for a few of its built in instruments (sampler, granulator, slicer) and for third party VST plug ins (Korg Legacy, Vanguard, Reaktor, etc.).
I plan on reinforcing (or replacing?) Fruit7 with Ableton Live soon, which will run on both OSX and XP. Eventually I’d like to add MAX/MSP and Jitter to the arsenal.
Away from the computer, I also have a few remaining bits of hardware; Emu e6400 rack sampler, Rhodes Chroma Polaris (last thing ARP ever designed), Simmons SDSV, Roland SPD-11, Kawaii and Future Retro sequencers, Moog Taurus II. Just recently sold my trusty old Korg Mono/Poly to Prophei. Lately I’ve been lusting after some of the new modular stuff – Cwejman and Cyndustries and Bananalogue, oh my!
And lastly, over the years I’ve owned and recorded a wide variety of other equipment that now manifest as a gigantic self generated sample library; tb303, Oberheim OBX-A and DMX, DR660/110/55, Mirage, EPS16+, tr909, w-30, ASR10, Prophet 600, etc etc. I frequently dig into my sample library, its the thirty-gigabyte-and-counting backbone Endif is built around, so in my mind and ears they live on.
04. Have you ever thought about making a side-project?
I’ve never seen the point. Waste of good marketing time. I make what I make. If that means Endif’s sound swings wildly from one song to the next, so be it.
The only possible reason I can see for a ‘side project’ is if I were to collaborate with someone else for an extended period and the output was too good to ignore and distinct enough in and of itself to warrant that kind of effort. Otherwise I’d just fold it back into Endif.
Sometimes I think that people get so wrapped up in spraying the genre-spectrum with sound in the hopes of finding something that will stick that they lose sight of what matters – making the music they love, and getting it out there.
05. What are some of your favorite Rythmic Noise projects?
I actually dont listen to that much, but some of my favorite projects in that realm so far are: W.A.S.T.E, Cacophony, Terrorfakt, Victo Ecret, Converter, 1000 blumen, Hazing Ritual, The Operative, Manufactura, S.K.E.T., Greyhound, Winterkalte, Mono No Aware, S.I.N.A. .
In that same vein, but outside that genre, I really like artists like Haujobb, Download, CTRLSHFT, Aphex Twin, Kobold, old MBM, AZ Rotator, Nerve Filter..
As you can see, I like stuff that goes beyond merely some dude running a groovebox through a distortion pedal. Thought and effort, not mere sound and fury. Hypercontext wins every time.
06. What inspires to keep pumping out your sounds?
Honestly, I don’t know that I can stop. This is what keeps me something like sane.
07. What’s your favorite book and author?
Douglas Copeland, Ray Kurzweil, Chuck Palahniuk, Philip K Dick, Frank Herbert, William Burroughs, Stephen King, Margaret Atwood, David Brin, William Gibson, Octavia Butler, Charles Bukowski, Greg Bear, Bruce Sterling, Neal Stephenson..
08. Is there a new album in the works?
Yes! Carbon. It came together pretty quickly too. Some cut-offs that didn’t fit on Meta, one or two older pre-millenium tracks, but mostly shiny new tracks from the last year. I have yet to sign any deals to put it out, but I know I have several takers already to release it. Crunch Pod, of course, gets first crack, but I also need European/Rest of World distro, so I go from there.
09. What do you do with your spare or free time?
This IS my free time! Well, not all of it, heh. When I’m not working a full time IT job, running a small business, or working on music, I like to ride my bike, walk my little dogs (a yorkie and a shih tzu), pet my 5 cats, cook, hang out with my girlfriend, go to the gym, read, watch movies, go to restaurants, drink beer, surf the intarwebs, somtimes a little camping or volunteer work for animals or biofuels.
11. What bands have you remixed?
Terrorfakt, Y-Luk-O, E-Craft, Unter Null, Nachtmahr, W.A.S.T.E. , Divider, ClarkKent, Hypofixx, Marching Dynamics, Prometheus Burning, Brainclaw, The Operative, Crystalline Effect, Diverje vs. Soul Circuit, C/A/T, Caustic, Wraith, CTRLSHFT, Cervello Elettronico, Paraclude, UV.
In the pipe are Controlled Collapse, Assemblage 23, Kobold, Free Death, To Mega Therion, Alter Der Ruine, RAM.. I need to slow down, heheh. Or speed up. Something.
12. How did you get signed to Crunchpod records?
I just went to Ben and said ‘I have this stuff and I’d like to release it on Crunch Pod, take a listen and get back to me.’ I had footprinted all the other prospective labels and none fit where Endif was at the time and where it needed to go better than Crunch Pod, so once Ben showed interest I didnt even shop it around. And the deal was exactly what I wanted, so Crunch Pod was just a natural fit.
13. Anything you’d like to add to this interview?
Live like there’s no tomorrow – you may be right. Oh, and stop stealing music, ya pissants; if you liked it, buy it, whatever it was. Also, DEATHKEY.