Why techno? What makes you unique as a producer of _techno_?

KG: Unfortunately for marketing purposes, I'm forced to settle with catch all's like "techno" or "tekhouse" for now. Actually it kinda bugs me cause most techno gets chucked in the trash, you really can't find it in second hand stores. I don't think many electronic composers working in the progressive scene are concerned with making tracks that are timeless.

Rock 'n' Roll not your fancy?

KG: I tend to look at composing and production as scientific research. What you discover may give other artist new ideas and inspiration. I listen to rock bands and can't find the inspiration, not that you should be digging deep anyways.

Are you an artist?

KG: Sure. Want some background? When I was 10 or so I took some piano lessons, but I really didn't see any reason to learn how to read, If I could see the keys and listen to the music that was great. I really didn't see the art in playing other peoples music at the time. I got a cheap guitar in junior high (1984) played that for awhile then I layed my hands on a CS80 in a local shop and it facinated me. That's when I decided to ditch the guitar, and I got my hands on a CS01 (had to start somewhere). From there I picked up a Juno-106, since then it's been a never ending battle of having too much gear and too little. Although, I've always found that my best stuff was done with less. I think it has to do with learning something completely because that is all you've got, or learning too many pieces at one time. The first nationally distributed record I put out (KG Beat "breathing engine EP" - 1995) sold more than anything else. I think it had to do with having sold my entire studio to buy an Emulator III. That's all I had, and I made the best of it. The whole record is out of the E3 straight to DAT. Adamski Style.

How do you express yourself through your music?

KG: I really try to get all the studio BS out of the way before I sit down to compose anything. It's a murder of inspiration to have to get behind a rack and break your back trying to patch something up. After that I try and work as fast as I can initially. I like to keep a DAT running the whole time in case I hear something kewl. As far as the expression goes, It took me years to become proficient enough to use the gear good enough to forget that it's even there. Once you reach that point, that when the juices really start flowing.

What does your music say?

KG: I think it reflects on how things are changing so fast, and that we need to take time once and a while to step back, relax, groove and get a new perspective. I tend to do it more often than most, I think it is cause I'm easily bored.

How does it fit into today's world?

KG: I'm really not to concerned with today's world, I'm concerned with tomorrow's and the process of getting there. If the cycles/trends happen to sync with my own, then I'll probably do something completely different to augment it. I think that chasing trends is bullshit. It's impossible to transcend when you take that approach. I want to make stuff like Samuel Barber or even Kraftwerk--timeless.

Where do you see this stuff going... The music, the culture. Is "rave" dying? Dead? Progressing...?

KG: Good question, I think that the _scene_ is quite unique in that the cycles are getting faster. I rarely see any true progression however. It seems that most productions here in LA cater to tourists or first time ravers. Kids that get into it for a few months then revert back to alternative or rock. I think it's because it takes a lot of patience to understand great music, let alone find it amongst the crap. Most kids don't stay in the scene long enough to understand anything more than the superficial.

Any comments on all of this talk about minimal being dead?

KG: Some call what I do minimal. I think it's because I don't use a shitload of percussion. I like to leave room for the nuances to shine. So I guess I'm dead. I think minimal is stuff like Profan or Studio 1. I think everything has a place. I think everyone should work on their own distinct styles of expression, reguardless if it's dead or not. Right now I'm working with David (Alvarado) on some deeper stuff, unfortunately England is on a harder tip. Which make getting the stuff licenced difficult. The whole thing can be really depressing when your in love with a track that no-one else understands. A producer must be aware of certain trends, but I don't think marketing belong in a studio, thats the job of an agent after the fact.

Are DJs artists? Are they cyborgs?

KG: I didn't use to think so until I set out to program my first tape a few years ago. There was a time when people used to paint on walls in caves, I'm sure it wasn't taken seriously at the time. But now we have a record of their existence. I think you know where I'm going with this. I think that most DJ's don't really understand that what they are doing is making a difference and should take some time to define their message, not simply looking for Breaks or Trance and sticking with buying a particular style. That's how the great legends stay alive. Trance will die, breaks will die, everything dies.

Are you an activist? Politically involved? Promoter of social change? Or are you just one of those apathetic Gen Xers? ;)

KG: I get so riled up about certain things. Especially conspiracys and the new world order. But for now I'm really in no position to do anything about it.

What's the deal with Control Team? Who's involved, what do you guys do,is it making you rich...?

KG: The original Control Team started out as and H/P crew on the Atari Platform. Which eventually led to the label. I always wanted to make music to represent the H/P heads, but got sidetracked when I discovered house. For awhile we ran a live netcast called Terraforms on our website for a year or so, but had to let it go do to financial problems. As far as making money, it's never been about that, just doing something kewl and different. I really need to start thinking about money now cause I've gotta think about buying a house and supporting a family.

Who gets more action: You, or Bill Clinton?

KG: People say that the problem in Iraq has been manufactured to draw the publics attention away from the issues (like in "wag the Dog"), but I think it's the other way around.