I am so excited about this week's "10 Questions" because it's with Matmos! Matmos is the experimental electronic project of M.C. Schmidt and Drew Daniel. Truth be told, the idea for "10 Questions" actually started with me wanting to ask Matmos some questions that only they could answer, so here we are now, fantastic! For those of you who are not familiar with the work of Matmos here are three things you should know. 1. They're revolutionary in the world of electronic music. 2. They worked with Bjork. 3. No two albums are ever the same.

For more info on Matmos visit:
www.brainwashed.com/matmos10 Questions for Matmos
1.
First off, I've wondered this for years…Why did you include a copy of the cd booklet for A Chance to Cut Is A Chance to Cure in the vinyl edition?
MCS: There is not enough space for complete liner notes on an LP sleeve and we consider the liner notes one of the integral values in owning the thing. I would have preferred to print them on an inner sleeve, but making vinyl is so expensive already that it is more expedient to just print more of the thing that you are already printing than to lay out a whole new thing and print it. I'm not a big fan of vinyl for making new albums, it may be more interesting to know (or not!), it really doesn't sound as good as a compact disc, especially for electronic music with a lot of crazy highs and lows and panning effects, etc...having taken the same pieces of music and putting them on both formats many times I feel like I should know, it's not just vague opinion. However, the, um, indefinable soul of a vinyl record is far superior...maybe it's the size (allowing for actual artwork) and/or the ritual of taking it out of the sleeve and putting it on, it's perfect length, it's intermission when you turn it over, the commitment...listening to a great record is a beautiful perfect act of art appreciation. All this is ENTIRELY missing by clicking on a list of sound files. It's like the difference between going to see a film in a theater and flipping through channels on TV...no one who MAKES art would prefer these horrible short attention span lack of commitment shit-formats. Rant rant rant.
2.
Do you see your music in the same category as Dada? What I mean by this is that Dada reacted to the established ideal of "what is" and "what is not" art, you seem to be doing that with music.Drew Daniel: I guess the historical twist in the story is that Dada started out as anti-art, a way to attack an entire bourgeois social order that had produced World War I, and it was only as it entered art history that suddenly Dada lost its fangs and became, retrospectively, an art movement. I think the moment that this happened for good was when Robert Motherwell's Dada book came out and some anarchists protested his lecture as a dry institutionalization of a once radical movement. I'm reminded also of the noise band New Blockaders, who had a record called "Even anti-art is art, that is why we reject it." I guess for Matmos I must admit that we didn't worry very much when we started out about whether or not what we were doing would count as "real music" and in fact things have gotten dangerous for us over the last few albums as we have started to encroach on musical territory. But we don't lose sleep about where we fall on the dividing line because we don't believe that there is one stable dividing line. "Musicality" is a quality you can detect in anything, and sometimes it's not an asset. There's a lot of bad music out there.
3.
Have you ever sampled a line from Barbarella in one of your songs?MCS: When we first started making music together we made a few songs with dialogue from the film, I don't think any of them ever made it to...the general public, but I do remember a song with Duran Duran shouting: "The Matmos will devour you!" at key moments. We were, uh, rave-y-er then.
Drew: There is a track we did for a compilation tribute dedicated to the Antonioni film "Blow UP"; we used a sample from "Barbarella" that interrupted our song with a voice saying "that's not what I want, THIS, THIS IS WHAT I WANT!!". It was our little tongue-in-cheek fuckup moment.
4.
Did you know Zeena Parkins before Vespertine?No. We knew *of* her, but we didn't know her. We're sure glad we do. She is an inspiration to us that one can live a quality, productive, appreciated art-life without working for the man.
5.
I listened to The Civil War everyday before class for over a month, it's really amazing. What was the idea behind that record?It started as an album about pianos, it was to be entirely made out of them. We bought a grand piano (on ebay) for a mere $800 expecting it to be a beater, a crappy piano and it turned out to be really nice, not, you know, "a fine instrument" but very nice. Our initial thought was to make sounds with it, destroy it a little, make more sounds made possible with that de-construction, take it down further, make sounds, and so on, but I just couldn't do it, it would have broken my heart. So on the way to that decision we got distracted by other instruments, I love playing steel string guitar for example, autoharp, hurdy-gurdy, recorders, we had a good song left over from "A Chance to Cut is a Chance to Cure" (The Struggle Against Unreality Begins) and it all started to fall together in a good, uh, old timey kind of way...we were using instruments the same way we would use non instruments, but they come with associations which we followed, the watercourse way, and that is the "idea" behind that record...?
6.
How do you decide what sounds to perform live and which ones to pre-record when you're on stage?Drew Daniel: You have to balance the pleasure the audience will get out of seeing an object create a sound and the pleasure the audience will get out of a structure that is thoughtfully composed. Ideally we can do both at once. Your phrase "pre-recorded" seems a little misleading. A sample can be already made ahead of time but still subjected to very live and on-the-fly manipulations and processing and musical choices; it's not an "either/or" binary anymore. I might have a bank of 120 samples and eighty different patterns to play them with and 16 fader controller inputs with independent realtime parameters modulating and tweeking any of those combinations on the fly. If you add up all those variables you can see that the possible outcomes are wide. So it's not as if samplers and sequencers somehow necessarily mean that a given song isn't "live".
7.
I couldn't wait to see you perform with Bjork, when I finally got the chance I was blown away (especially with the live version of It's In Our Hands - The Soft Pink Truth mix). It's one thing to collaborate on one song, but were you intimidated by working with her on a whole album?Drew Daniel: Well, the collaboration evolved gradually. We worked on one song, then another, then another. It's like the old paradox: how many pebbles are there in a pile? Before we knew it, we were in up to our necks. It was intimidating when we got to London and saw the enormous mixing desk at Olympic and met the rest of the people involved and realized how seriously they take things, but Bjork had a lot of experience in making these kinds of collaborative programming relationships graceful and inclusive and fair.
8.
Eraserhead or Naked Lunch?MCS: I've never seen the film of Naked Lunch, I gather it doesn't have much to do with the book, or does it? Eraserhead is certainly a cinema landmark, I was not as affected by it as much as I have been his later stuff, I really enjoyed Inland Empire, I love a good long film.
Drew Daniel: As much as I love that the film of "Naked Lunch" exists, I have some problems with it. It turns Burrough's homosexuality into some kind of grief formation about the death of his wife, which is a pretty lame heterosexist reading of Burroughs in my opinion. But the straight faced "talking asshole" monologue is genius.
9.
I never thought my music was the type to be covered, but someone is currently redoing an entire E.P. of mine. Considering how experimental you are, has anyone ever covered a Matmos song?Drew Daniel: We were in Italy and an early music ensemble covered one of the songs from "The Civil War". We were totally flattered, and shocked too.
10.
Kraftwerk, Depeche Mode, Matmos…What do you see electronic music evolving into in the future?Drew Daniel: I think it is in a state of decadence right now, people seem content to recycle older eras of production. The serpent is eating its tail at the moment. I do love people's willingness to put up with increasingly shitty formats of reproduction, but it's sad too. I hope that something virulently unpredictable emerges from South America, Asia, or Africa, because I think that the endless Detroit/Berlin recycling shtick is getting played out.