Although Inter*Face wasn't a typical 80's record of mine you can notice in what era it was made. The tracks really do not sound like what the press called the Berliner Schule. By the way, we musicians never used this term, we all just happened to live in Berlin myself, Ash Ra Tempel and Tangerine Dream. The Simmons drums by Ulli Schober were pretty new at the time. They weren't digital drums but I have alienated them in a way that they sounded slightly digital. The analogue sound was forbidden for a while during the early Eighties, and therefore, it was forbidden for me to sound analogue. I had already recorded a piece entitled Death Of An Analogue on Dig It [1980, No. 13 in this edition] because I didn't like the analogue sounds any more. I had exclusively worked with analogue gear for over a decade and I couldn't stand those floating oscillators, that out-of-tune sound and all the whining anymore! Today people consider that sound to be beautiful but in the 80's it was a pain in the ass. In contrast to many people who found the digital sound cold, I found it more interesting than the rumbling analogue sound just because of it's clear transparency. You can use both sounds together wonderfully. Percussionist Ulli Schober lived here near the town of Celle. Ulli could also play percussively and that was exactly what I wanted on Inter*Face. UIli came into the studio and played the fills with the Simmons drums. We met several times afterwards but we later lost touch with each other somehow. The bonus tracks The Real Colours In The Darkness and Nichtarische Arie are pretty different. The first one is very quiet, the second is pretty rhythmical because of the percussion and there are also vocals. The vocalist, incidentally, was Rainer Bloss.