Were you formally trained in music?
 RJ >
Long story short, no. I moved from the bay area to central Oregon when I was young. Spent my vacations in the east bay but for the most part my environment in the 80's was a cultural black hole. I can't remember anyone who played music until I got into hardcore. My first instrument was a broken radio, then I graduated to a delay pedal...

Could you name some of your favorite composers and artists-sound collagists?
 RJ >
So many to list but here goes, SWANS, SPK, NW/W, C∴93, VIVENZA, P16.D4, LE SYNDICAT, S.B.O.T.H.I., NON, DAS SYNTHETISCHE MISCHGEWEBE, TEST DEPT., NEUBAUTEN, KORPSES KATATONIK, KRAANG, TNB, ESPLENDOR GEOMÉTRICO, TIETCHENS, ZOVIET*FRANCE, ÉTANT DONNÉS, CABARET VOLTAIRE, TG, ANENZEPHALIA, BRIGHTER DEATH NOW, CRAWL UNIT, ORGANUM, BRUME, AUBE, ETAT BRUT, G*PARK, ILLUSION OF SAFETY, HUNTING LODGE, ENTRE VIFS, KONSTRUKTIVITS, FLX çèЯêBRI, PROIEKT HAT, KAPOTTE MUZIEK, CONTAGIOUS ORGASM, CONTROLLED BLEEDING, M.B., J DUNCAN, EINLEITUNGZEIT, GERECHTIGKEITS LIGA, ETHNIC ACID, XX COMMITTEE, SCHIMPFLUCH-GRUPPE, CORE, etc...

Do you write as well as record music?
 RJ >
I approach music the same way I would a piece of artwork which usually involves layering scrap metal, debris, corrosion, probably blood, rust and maybe some other solvents, soil &/or fluids. My sounds are one in the same...

Your music has changed from the days of Crash Worship and Physics-do you see your music as ever evolving?
 RJ >
I like to think of the creative process as an avalanche, of course you are going to pick up a few things along the way...

Have you ever been approached to record a soundscore for a film?
 RJ >
I have but am yet to see any footage...

Are you influenced by movies at all-do you see your music as cinematic?
 RJ >
I am influenced by the crushed metal debris scattered along the railway, bombed out cars set ablaze, the sound of an accident, natural disaster, erosion, inner city, blood and fire. Basically my environment. I guess the answer is no and yes, although a cult classic may yield a viewing now and again...

How do audiences respond to your music? Does the music put them in a certain kind of mood?
 RJ >
Reactions have been all across the board over the last two decades. Anything from hecklers, cops shutting down gigs, fights with club owners, to audience members engaging in the sex act. I can't remember the last time I received any constructive criticism (until recently) since I've been playing with bands again the last few years. I don't know what that means as far as my experimental projects go. Maybe they don't get it, can't put it into words, compartmentalize or explain it. Or it simply sucks. I suppose there is little use describing an experience or atmosphere. Either way I continue doing what I do, performing is for my own benefit in the end. Now that I think about it, A. Ortmann when playing my house last January said Deathroes in 2007 was one of the most psychedelic experiences of his life...

Could you tell us about your latest creation?
 RJ >
Over the course of 2011 I've focused primarily on BURMESE and PREYERS. Also a RUDIMENTARY PENI cover-band which performs almost all of CACOPHONY. Every voice, blurp, gasp, noise, girgle, tyrade, tantrum, fit, episode, impossible bat-wing, flame-like sunset, HPL paraphrased phobias, somnambulistic shaggots, even hellish barb bifid!!!

What lies in the future for you?
 RJ >
What lies in the future for all of us...