Chain D.L.K.: Hello Andreas, back with your latest album “Mechanisms of Faith”, so I’d like to ask at first: how are you and how does it feel to hold the result in your hands?

Object: I’m fine, thank you. It’s of course a fantastic feeling to hold this new and hard worked-out double CD in my hands. I’m very pleased with the album, because the result matches my aspirations.


Chain D.L.K.: “MOF” got released as a 2CD set, which offers asides the normal album a kind of remix collection, the “Old School Conspiracy”. Please explain us a bit the sense for you to collect  remix work from other bands, because I find it striking, that not only tracks of “MOF” got reworked, but also older, previously released tracks.

Object: Actually I wanted to feature more tracks off “MOF” on “Old School Conspiracy”, but unfortunately I’ve lost most of the Midi files. So I was only able to send out the remix kits of three tracks from “MOF” and had to look for older and different alternatives in my archives. It is one of my bad habits to delete all Midi files after completion of a track. But sometimes I forget to delete the files of one or another track… 🙂


Chain D.L.K.: Talking on the main album, you once explained in a different interview, that it mixes the different featured influences of the first three Object-albums. That needs to be explained with more details especially to those listeners who haven’t heard your previous albums…

Object: The longer I have worked on the production of “MOF”, the more it turned into a real old-school release. This wasn’t planned initially, because I usually don’t have the slightest idea how my album will sound in the end. Somehow “MOF” encompasses my whole musical journey in a compressed form. Listeners can discover the fiddly element of “Part-Time Paranoia”, the melodic aspect of “The Reflecting Skin” as well as some harsher sounds of “The Ethane Asylum” on “MOF”.


Chain D.L.K.: In our last interview you explained us, that you haven’t written “thoughtful” lyrics for “The Ethane Asylum”. How is it with “MOF”, any differences regarding this compositional process?

Object: Ha-ha, no, my “lyrics” are still rather text fragments out of my head and how they come to my mind. Mostly I write them down and compile them randomly. There’s no real context, also a concept is not available. Exceptions are of course the lyrics of FIX8:SED8 and LPF 12…


Chain D.L.K.: As mentioned above, “MOF” features two interesting collaborations with Martin Sane (FIX8:SED8) for “Mescaline Crisis” and Sascha Lemon (LPF 12) for “Soul Seeking”. How did you get introduced to both artists? Please explain us a bit about the technical side, which have been necessary to do such collaborations…

Object: I’ve known both of them for quite sometime and I really appreciate their music. So it was rather a natural process to ask both for collaboration. I find it kind of interesting to give the listener the chance to hear a different sounding voice.


Chain D.L.K.: The end-mastering of “MOF” got again provided by Dominique Debert of Brain Leisure. It seems you’ve been quite satisfied with his work, as he has had also your predecessor “The Ethane Asylum” under his magical fingers. So no need to change anything?


Object: Yep, the sound of „MOF“ meets my inner wishes. The mastering is nearly perfect compared to my “awful” production. “The Ethane Asylum“ sounded more raw and noisier because I wanted it that way. „MOF“ on the other hand,  sounds  more transparent than “The Ethane Asylum“ and a tad bit more melodic. And all that has been masterfully executed by Dom.


Chain D.L.K.: Object started it all with the release of demo-tapes many years ago. The formats to release music have obviously changed through the years, but you’ve been always faithful in your style to express yourself. Have you ever seriously thought about to re-release any of your older recordings? In which kind and format would you like to re-release your hidden treasures?

Object: Nader and I have already talked about re-releasing the first two albums on a DCD set filled with bonus stuff and completely re-mastered. But unfortunately we had to cancel the re-releases due to technical difficulties. But whoever has an interest in my first 2 albums and all my demos is now invited to download it here: www.object1.bandcamp.com for free or as pay-what-you-want download.


Chain D.L.K.: There’s another story I remember a while before regarding your track “Dying Planet”. There was a sort of a remix contest in the making with the plan to lay more recognition on one of your best tracks ever, originally released on your “Sink of Iniquity” demo-tape. Whatever happened with these plans?

Object: Wow, that was planned a long time before, but unfortunately it didn’t materialize… 🙂


Chain D.L.K.: In recent news some mindful visitors of a known online forum could already get a pre-listen to a new side-project, which you are currently working on with Dominique Debert. Would you like to share the things around this project with our readers and introduce it to us?

Object: No, there aren’t plans for project with Dom, that is only a rumor and I don’t know how it came up. But I am definitely doing a longer pause under Object, so I have started a new project entitled Borderlands. Under this project I will explore my beloved music styles such as Drone /Ambient / Dub-Techno und Shoegazer. One or another influence of Object will be available and cannot completely vanish, so Object-fans may should check it out too. The 100% music will be completely instrumental and available digitally via Soundcloud or Bandcamp


Chain D.L.K.: It’s not a secret, that you have also a preference for modern IDM/Dark Ambient/Electronica-artists like Access To Arasaka, or projects inspired by the Gridlock-formula. What can a Dark Electro music-producer extract and learn from bands out of this genre? What are your non-plus-ultra favorite releases of this special kind of music?


Object: Yes, I like that stuff, but it doesn’t necessarily inspire me when I work on Object. Same goes for Borderlands. The Gridlock-/Tympanik-styles have no direct impact on my music. As for inspiration I’d rather name artists/projects like Tim Hecker, BVDUB or The Sight Below. I’m fascinated by the sound-scaping Tim Hecker or the monotonous element in the melancholic compositions of BVDUB. My favorite albums of these genres? Well, surely „Harmony in Ultraviolet“ (Tim Hecker), „Serenity“ (BVDUB) or Yagya’s „Rigning“.


Chain D.L.K.: I need to ask you again for some upcoming plans, maybe new releases, additional projects, live gigs, etc., you like to confirm here? I hope we don’t need to wait another 4 years until you’ll be able to return with a new Object-album…

Object: As I said, Object is currently on hold. As far as re-releases goes, “Part-time Paranoia“ and „The Reflecting Skin“ are planned. Maybe one or another goody taken out of the Object-archive will be available as a download. Borderlands has recently started and live performances are as usual not planned. For new and sound examples just click on www.soundcloud.com/demog.
Chain D.L.K.: Some final words to our readers to conclude this interview?

Object: Thank you for the interview


visit the artist on the web at: www.object1.bandcamp.com


interview by Marc Tater, proofread by Jean Mason


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