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> 1*typical one:vienna scene (it is supposed to be a very fruitful and
> growing scene but most of the viennese artists are quite esceptic about
> it...). can you picture it?

there is a bunch of people intensively involved with (mostly) sound, but
also visuals, "art", digital media-technology etc... though it seems to be
divided into
different subscenes and for us/fm we re located on the more
technology/internet oriented side of it all
its not surprising anyhow that viewed from "outside", vienna scene appears
to be a hippiesque, idea-sharing and each other fertilizing
"all-together-community", but geographical coexistence doesnt mean
ideal/ideell coexstnce.

> 2*since the very first fm record there has been a quite obvious
> transgression of musical genres. something like a musical anti-purism.

technically a move from hybrid analogue/digital production to
almost entire digtal production, exploration of more sophisticated
software, and loads of additional external media inputted

> 3*you have released stuff in mego, tray, touch, and now or. different but
> quite close labels. do you feel part of this kind of "scene"? what about
> sub rosa? (there's a track on the last compilation... )

hm, tray-touch-or is in fact almost the same labels, there are sligfhtly
different concepts behind each, but no organisational differences...
sub_rosa: its just one track, no longlasting obligations yet with them...
anyway, i think we do feel quite "at home" within the touch/mego way of
understanding and presenting sounds/ideas, though of course our ideas
arent 100% overlaid and there's times we d have decided different on how
doing this or that, nevertheless i doubt there's many other labels around
which woulkd fit fm-way of making music that much, except our "virtual"
own label, ... ;)

> 4*i think mathias is involved in skot. is there any other parallel project
> (musical or not) besides fm?
> any links/connection in your plastic world and music world to comment?

jes, mathias is about half of skot in fact
and jes again, there are quite a few other parallel projects going on but
its the same as it was with farmers initially, when the project was already
runnning for some time without any "label" or name until the first release
on mego was due so we had to htink some up..

generally all these projects orbit around sound-optix-video/film,
future-media, advanced computer aided design of the former and networking
in all aspects...
we re also seeking to work within a larger international network of
people concerned with similar problems...

> 5*anonimity thing. when u conatcted mego for th firts time i think you send
> tapes without any info about you. in the electronica potent festival you
> only plugged the computer. comment it.

we met the mego-crowd in a viennese club and started talking. so in fact
there was some pre-info for those tapes we sent them...
and anyway, the sound is THE info, if you know how to decode it, obviously
they knew, though the code is probably ambiguous and can attain different

its just not always necessary to have humans involved within a musical
performance. when we do play "ourselves" we just decide on when a change
in params occurs, but we have no control over how exactly it is changed.
so if you randomize/automatize the time structure theres nothing left to

> 6*sonar concert, have u planned it yet.


> 7*filiations/connectios that you feel towards other musiscians.

je, totally. and not only musicians but generally the more radical
and original participants in the global idea-market... ;)
but i dont start the effort involved with an exact listing here...

> 6*future plans

sampling god (as pita does already), a gig in hell, a journey to
another galaxy and total immersion into cyberspace

> more ultra-short-not-very-peace-disturbing questions:
> ****...names of each FM member. I got some info but i'm sure it's wrong
> cause its handwrited and your names are qute unusual in spanien.
this should do...

> ***** what can you tell me about this "virtual" label?

the will of putting out records against the financial/organisational
disabiltiy of doing it
further: the ability to publish music on the web without the
productional overheads (cd pressing, print, filling, distribution, etc...)
the not existing acceptance of web-music by the "audience"
due to overprized/insufficient connectivity on the client-side
and connectivity correlating to sound-quality




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