Can we start by way of an introduction – you’re well known and highly regarded in techno circles for a string of releases in the early 90s as part of the second wave of the Detroit techno strand, particularly the acclaimed Azimuth album, but you’ve also expanded your own musical horizons in recent years under the Dark Comedy moniker which has seen you depart from the more stripped down sound of past releases. In addition to all this you’ve become a regular fixture on the comedy circuit in LA. And lest we forget you’ve also served time in the US Airforce, ran your own label and stated your ambition to move into acting at some stage – you’ve become many things to many people over the years – techno guru, funny-man, free-spirit, survivor  - is there any of these one associations you are more comfortable with and do any of the above not sit right with you?

At this stage in my life, I am looking for something that constantly challenges me, and allows me to grow in a way that may not be apparent to my friends, and others who have followed my career. In saying that, comedy, and eventually acting is what I feel will give me that. 17 years of doing dj’ing and making dance music was a very fun thing for me to do, and I’ve done as much as I could with it. Now, it’s time to do the same with comedy. But, I will never give up doing music though, as a lot of people assumed I would do.

The original Detroit techno movement has become legendary following the influential contributions made by the likes of Derrick May, Juan Atkins and Kevin Saunderson to  electronic and dance music – looking back, what are your thoughts on those early days? Had anybody back then any idea that the scene would go on to become so influential? What was it about that particular form of music that grabbed you to begin with?

I don’t think any of those guys knew what was going to happen with the sound they pioneered. In my opinion, that’s when you get the best form of art/expression. I totally believe that art is formed out of chaos, by accident, and on a deeper level that most people don’t understand. But, who cares, as long as what comes out of it is brilliance. With the Detroit techno movement, for me, it was magic. I can’t explain why…I just knew it was something about it that made me want to be attached to it in anyway I could.  It’s not often that you can say you were in the backyard where a genre of music was formed.

You came to prominence on what is now commonly referred to as the ‘second wave of Detroit techno’ along with Richie Hawtin and Jeff Mills on the + 8 label – that particular period is now commonly regarded as being the beginning of the ‘minimalist movement’, where the elegance and melody of earlier techno was substituted for harder, faster more clinically ‘sterile’ sounds and beat’s, a sound that is at odds with your own musical output on albums such as Azimuth. Techno’s crossover to minimalism coincided with you taking a break from making music – were the two incidents linked? Looking back, what are your thoughts now on the music you were making back in the early and mid 90s? Does Azimuth for example still stand up in your own eyes?