Last Sigh: Could you tell us about your music background? When did you start producing music and what was that music like in terms of sound and equipment and persons (if any) you were involved with? Any formal training with music in your past or present?

LAW: I've been listening seriously to music, consciously seeking out specific, unconventional audio and not just blank-mindedly humming and whistling to whatever sonic swill happened to be playing on the radio, since approximately 1980. "Punk Rock" was mainstream enough by then to be accessible to a young kid growing up in the American Midwest, and odd, off-center groups such as Devo and the B-52's were occasionally appearing on television, giving me exposure to options beyond mainstream music. After a few false starts and talking myself out of the idea, I finally began making my own audio at the beginning of 1993. My mate at that time was the other half of LAW, but she's long since departed the LAW camp.

The first LAW release was the "Malediction" cassette fromearly '94, and that material isn't incredibly different from the releases of the last few years. With improved audio equipment and composition skills, the sound of LAW has become more complex, refined and effective. I've replaced and upgraded nearly all of the original sonic arsenal over the years, but I'll mention that "Malediction" was built around an ancient Ensoniq Mirage sampler and a Fostex 4-track tape recorder, among other items. I have no formal training in music theory or instrumentation -- just a sharp ear for quality music and effective technique.

Last Sigh: How did your musical tastes and production change over the past with the onset of so much technology at your disposal? Do you have any specific means by which you write/compose? Are you more of an improvisationalist or do you have some method by which you compose?

LAW: LAW wouldn't be possible without the arrival of powerful, relatively affordable digital sound equipment in the early 90s. The drastic sound manipulations I perform and the composition methods I use would simply be out of reach if the gear I've used were priced at pre-1990 levels, and even if I *could* afford it, most of the equipment isn't nearly as potent or interesting as today's. The unfortunate downside to such affordable availability of pro-level audio equipment is that virtually anyone with an above-minimum-wage job and just enough discipline to buy the stuff and slap together a recording can do so. This has lead to an even greater glut of  TOTALLY UNNECESSARY CDs and LPs by talentless hacks and idiot sound noodlers. My recording process is fairly structured, with some room left for experimentation and limited spontaneity. In the months preceding the recording sessions for the next full length body of work, I'll collect, program, and hone hundreds of sounds, samples, and sequences which are ideally all interesting in their own right, and can be combined with each other to form complex layers of audio. Since my digital recorder is limited to eight tracks, I do lay out an audio schematic of what elements will go where, and the rough points at which they'll start and stop, plus plotting how each layer will interact with the others. I usually have each song planned out thoroughly enough that I rarely need to do retakes or encounter many unpleasant surprises while recording.

Last Sigh: How long have you been doing LAW? Is LAW a solo project of yours or are there contributing members? Why the name, LAW?

LAW: LAW is the banner under which I've produced my own music since the very beginning in 1993. There have been no other members of LAW since the departure of my former mate in '96. Realistically, I doubt I could tolerate working with another person, giving them any meaningful say in the creative process and final decisions, and to be honest, I'm sure I'd be just as difficult for another person to work with. At one point we were faced with the problem that any artist serious about there music encounters; choosing an appropriate, meaningful name for their project. A number of options were tried and rejected, and after a few months of debate I came up with "LAW" because of it's personal connections to some of my personal principles, as well as references to the works of the author Franz Kafka and the performer Diamanda Galas.

Last Sigh: How would you describe the sounds of LAW to someone who had never heard the music?

LAW: "Better than most of the crap you're listening to now." I'd suggest that thinking hard, unsettling, unpredictable experimental electronics might lead them in the right direction. The sounds of your expectations imploding...

Last Sigh: Do you have any side projects going on besides LAW?

LAW: No, everything I want to try within the realm of audio can be contained within the perimeters of LAW. However, I'm seriously considering halting my use of "LAW" and working under another moniker with the release of whatever is recorded after "The Black Lodge".

Last Sigh: What type of equipment do you use to produce the music of LAW?

LAW: The main component is a digital sampler, augmented by several synthesizers and sound modules. The sounds produced by these are heavily
altered by a variety of multi-effects processors, captured on the aforementioned digital multi-track recorder, and finally mixed down to a DAT recorder. Basically, I've built up a rudimentary yet effective home recording "studio".

Last Sigh: If you could choose one musician to work with in the studio or live who would that be and why?

LAW: Well, as I mentioned earlier, because of my personal nature I doubt a true collaboration would be very feasible; insults and/or bullets would probably eventually start flying. My original partner in LAW and I often had a hard enough time agreeing when constructing the audio, and we were fucking and living together. Having said that, the only person that comes immediately to mind as a potential co-conspirator on an individual release is Michael Gira. Not that we have enough in common musically to make such a pairing even remotely possible, but rather, I've appreciated his work for so many years, and Gira is so far ahead of most other artists in nearly anything he does, that I'd be willing to risk the hazards and disappointments of dealing with another person in a room full of sonic equipment for the sake of the possible results. The only person I'd be interested in working with live is someone who'd
actually kill them self on stage...

Last Sigh: If you had to name one person in your past who was a great influence on you to be a musician/composer, who would that be and why?

LAW: I suppose this former mate I keep mentioning. She reminded me that such an unlikely endeavor could indeed be possible, on a few occasions she helped me override some initial misgivings, and she supplied about a third of the cash needed during the first year to obtain the needed hardware.

Last Sigh: What type of music did you listen to when you were growing up?

LAW: In the early years, like most people in this culture I was barraged by an endless stream of vapid top forty hits puking from the radio and vile commercial jingles screeching from the television. Beyond that, I particularly remember a handful of albums and 8-track tapes my female parent insisted on playing ad nauseum, including Gladis Night and thePips, Bob Seager, Bachman Turner Overdrive, and an assortment of those infamous K-Tel collections. Despite those childhood traumas, I was able to go on and develop a taste for the earlier-described mainstreamed punk rock and "new wave" of the late 70s and early 80s. In addition, I recall listening to a lot of things like Pink Floyd, The Clash, and David Bowie in those days.

Last Sigh: What music/bands do you listen to in your leisure time? The last book you read or movie you have seen that left a lasting impression on you?

LAW: "Leisure Time"?? I think I vaguely remember something resembling that concept... Unfortunately, I don't have nearly enough time to rea and absorb music strictly for pleasure, but I try to take in as much as possible from a broad spectrum of sources. A recent audio purchase I'm particularly satisfied with is Scorn's "Anamnesis". Excellent "ambient dub" rhythm programming from Mick Harris, as usual, and a number of truly erie, shiver-inducing background loops as well. The last decent book that comes to mind is The Gulag Archipelago (parts I and II) by Solzhenitsyn which I picked up almost on a whim this past summer. Summer reading for the beach, you might say... A good lightweight comedy I finally got around to seeing a couple of months ago was something called "Schindler's List", by some Hollywood hack named Spielberg.

Last Sigh: Do you have any thoughts or concerns about the Y2K Millennium bug? Has the hype of this situation forthcoming changed your lifestyle in any way to prepare for the event of the new millennium?

LAW: I haven't really dwelled much on the whole matter. It's almost certain there'll be at least some minor to moderate disruptions here in this country, but I don't foresee massive disasters or social upheaval (which is almost regrettable, in some ways...). For years now I've tried to live prepared for any short-lived, unpleasant surprises. If I had more funds available at the moment I'd acquire more MRE's, drinking water, and ammunition to add to my current supplies, but as it stands, I'm not overly worried. In the days right before the 1st I'll be sure to fill up my car's gas tank and withdrawal some extra cash from my creditunion. On the 1st of January, 2000 I'll unplug my computer's modem before turning it on that morning, and most likely just stay in for the day (as I've often ended up doing in years past anyway).

Last Sigh: Any last comments or supportive words for others in the business?

LAW: Get out now, while you can. Besides, it'll leave more room in the field for TRIUMVIRATE -- the new audio label I've recently become a partner in. We don't need deadbeats, losers and amateurs in our way as we forge ahead. Artists and groups working in the genres of music "Last Sigh" covers can submit their work for possible release to:

TRIUMVIRATE
853 E. 3rd St.
Mishawaka, IN 46544

Contact LAW at:
Mitchell Altum
P.O. Box 6254
South bend, IN 46660

LAW: Goodnight, and good hunting.

The LAW Discography:

+ MALEDICTION - Self-released in 1994, this was the first sonic declaration of LAW. The cassette received a fair amount of positive feedback in Europe, Japan, and here in the US. Professionally duplicated on high quality chrome tape, and packaged with full color, pro-printed J-cards.

+ OKTAGON - LAW had three new pieces on this double-LP compilation put out in 1995 by Germany's ANT-ZEN. Oktagon was specially packaged, and pressed on red vinyl.

+ NUCLEAR ASSAULT - Released in early '96 by Art Konkret in Germany, this specially packaged (housed in a sealed metal canister) tape comp. Featured one new LAW track.

+ PARIAHS AMONG OUTCASTS - From 1996, this full length album was released by ANT-ZEN, and held within a special 12"x12" booklet made up of intense artwork, photos and text.

+ WAR AGAINST SOCIETY - An ambitious three LP compilation put out in 1997 by Germany's Praxis Dr. Bearmann, and containing an album's side worth of new work from LAW.

+ WADING KNEE-DEEP IN YOUR BLOOD -

Full length album from 1999 on Italy's Old Europa Cafe. Pressed on red vinyl and packaged in an elaborate four panel folder.

+ OUR LIFE THROUGH YOUR DEATH - The first LAW CD, to be released by the end of '99 by domestic label Malignant Records. With hard hitting graphics and sound, the disc represents LAW's continuing audio evolution.

+ VINDICATION AND CONTEMPT - An upcoming CD to be released by TRIUMVIRATE, a new label I am a partner in. Slated for unleashing in late 1999 or early 2000, this will be a strong, high quality title to launch Triumvirate.

+ THE BLACK LODGE - I'm currently working out the details for the CD release of this new work with Nuit Et Brouillard of France. A full length disc, it may be ready to fire by the early part of 2000.