The title of your last album would tend to make us shiver. Of or in is your motivation today?

You want to say that the title frightens you because it announces an end?

Not inevitably can an end but what it imply that the end could be close?

Not, it was especially not our intention. I reassure those which could think that.

Your albums are increasingly experimental. Until where hope you to go in this direction?

Already, if you them judges thus, it is cool. I do not know what will be done the next compositions. We have already four songs for the next record but none of them is finished because we are far from finished. We cannot give a musical direction as long teh album is not recorded. We assemble musical parts which at the end form a song. We record the repetitions and we make a sorting to know which parts we must keep, replace or exclude. They are the listeners who conclude on the fact that the albums are increasingly experimental or not. I include/understand what you want to say and it is true that since Red Medicine, the compositions changed a little because certain recordings result from the repetitions. We have from now on more facilities to be able to record than one wants or one wants. I at least appreciate much that bus, when the albums are listened to, one always does not expect the end of a song. The transitions are more interesting. I thus do not know how will be the next album but in all the cases, it will be open thanks to this manner of working.

Did you already compose for artists not-resulting from the musical medium? I think in particular of the spectacles of dance or the film musics. The original band of "Instrument" could stick very well on this kind of spectacle...

The songs of "Instrument" are in fact of the demonstrations and some of them were recorded that only once in repetition and we practically do not play them. They were not composed to become songs. They are ideas per Ci by there which were not joined together to become a composition with whole share. This original band is in fact a panel of ideas, without more. To come to your question, personally, I never composed for original bands. Brendan has several times, in particular for the Discovery channel.

Never one came to see you all for a band composed by Fugazi?

Until now not. People made already spectacles of dance or appeared two of our songs but they ever asked it to us. It would be interesting but nobody still did us call for this kind of thing.

Did you already achieve your goal? So not, which is it?

We fix ourselves that only one goal at the same time. At the beginning, the goal was to compose, play the songs and to have some to propose good concerts enough. I suppose that c?est what we continue to do in this moment. Our goal is always the same one: to record albums and them to play into live or we everywhere can. That can appear tedious but it is our goal and we l?atteignons tous.les.jours.

On the video, one sees you much playing for causes. Do you always do it?

Apart from Washington, it is rather difficult to organize things as that because we are not there. So that that takes place than with cd. elsewhere, we must know people well in order to rely on them. We want to know with whom will be transferred l?argent and if it is it really. In Washington, we play only for causes, elsewhere it is rarer. We do it approximately four times annually for our local community. II is obvious that we must do it. Or that you are, there is a community which does not obtain enough support on behalf of the town hall or l?Etat. That must then be done by someone else.

Do you always improvise your sets? If so, are there songs which you are sure to play each evening?

Yes, we do not make a list before beginning the concert. It is rather free. This tour is different on this point. First, we decided which songs were to be played at beginning. With each tour, songs s?ajoutent with the others since one leaves new albums. One improvises qu?on as much can it. It is especially Ian and Guy who pick the songs once the set is started. We put ourselves in agreement about the first song. All the remainder is spontaneous. That requires a little work before beginning the tour. I must sit down, to re-examine the titles of the songs because it may be that I forgot those which I have not played for a certain time. The list starts to be long (90 songs approximately, ndr). I do not have a great memory. I thus do not have really technique only the transitions from Ian and Guy puts the chip with the ear to me. Sometimes in concert, I listen to a certain time to be sure not to mislead me in song. I spend much time to that before leaving in tour.

According to you, is the success of Fugazi due to the quality of each member who makes that none among you is replaceable?

It is true that if one among us stops, the others will yield and Fugazi will not exist any more. I have evil to include/understand this concept of success. The success of a group is not really a goal. II is difficult to say if a group has such or such success. People consider us known because we sold a certain number of discs (300,000 per album in the whole world, ndr). That made twelve years that we are together and it is not because we reached a certain stage of popularity which we enjoy a certain success inevitably. Fugazi is Fugazi and if one among us from goes away, Fugazi will not be right any more of hearth. I think of not having been very clearly but good...

In dries up that artist, you made a success of the difficult compromise between l??uvre individual and l??uvre universal. In are you conscious and how you live it?

I do not know too much how to see that. I of it am conscious because I am always surprised to see that people continue to come to our concerts and that we continue to go in many countries. The discs continue to be sold and that especially surprises me after twelve years. The tastes of people change, some listen to such style at one time later then another. I am surprised to see that people are always interested by what we do. It is my way of seeing the things...

Dischord and Fugazi have bound an enough course. Do you think that it is about a single or shared success?

We are dependent. I suppose that it is about the same thing as with another headlight group of a label. It is a group which returns a label recognized. I do not know how to explain that. The label is recognized even without Fugazi. People of the label fixed themselves like mission of emphasizing the scene of Washington until making a kind of documentary of it since 1980. Dischord could live without Fugazi since they are able to be financed, to sell discs and to leave others there. The success of both is related to that, with the fact that the means are there so that both can live. One profits from it like all the other groups from the label. It is a shared success because the two parts are happy together to be.

Do you feel you responsible with respect to people who work or dependent on Dischord? If so, how do you live it when you far from them are turned from there?

I do not know if the word responsibility is in its context. It is in Ian that you should ask that! I feel related to these people from the fact that I am in Fugazi which is on Dischord. I do not feel the same responsibility as Ian. I do not manage to imagine which kind of responsibility I could have at Dischord. Ian has responsibilities whereas me I have some just within Fugazi. It is a difficult question...

Out put to be of Washington, of what does a group need to be signed at Dischord? Does there have to be a friendly relation between Ian and the group for example?

Ca makes odd statement that a group must be friendly with Ian to be on Dischord. To work with a group, a label must have unspecified interests towards him. II must y have a certain enthusiasm of the label to wish to leave the discs a group. Dischord functions like all the independent labels. Since the beginning, Ian and people of Dischord decided to leave the discs their friends. They live in the world of their friends or among those which thus become it it is inevitable that there is a friendly relation between the two. You, you live in the world of your friends who them also make things. II is that in the case of Ian, they are groups and that it spends time with them. If you want to begin a business with people whom you do not know, you are obliged to sign contracts for step that one of the two parts is not réglo. In addition to the friendship, it is normal that Ian is also attracted by the music to want to leave it and justified to make its job à.fond. II does not have there financial interest between the label and any group. I created myself a label, Tolotta Records. I am happy to be able to leave the disc an old friend who returned to Washington. II a group went up which was signed on a major. II constant by anyone it was not smelled then stopped and went up a group. II has there a very strong bond between me and him and its music. I never wanted to realize of CDs before, just 45t. And then, I am say that to carry out CD was a longer-term project because it was to be always available near people. I want nothing to sign with anyone, I want just that this disc left just like them. It is a different project. You t?engages really. I adore their music, I do not know how to leave CD but I will do all that is in my capacity to carry out that. II acts of a style different from what l?on can find at Fugazi. I had some contacts with American independent distributors but it is Dischord which will be occupied some for the United States and Southern for l?Europe. The style will be different from the other productions that l?on can find on their premises but they are my two true bonds. They will avoid to me giving tons of phone calls like much of other constraints. I cannot imagine to work as a nutcase for the label whereas half of time I am in tour. That requires too much work for time that I have and all will be done better by them. All that to return from there to the concept of friendship at Dischord, even if that can appear élitiste. You are motivated when you really believe in a group and his music. I prefer to work with only one group which I cornais although with several that I do not know. It is for that which if a German group for example sends a demonstration to me, I will do nothing with him because I do not know them and that would not return in my step. Imagine the number of faxs or telephone calls between the USA and l?Allemagne to speak about the design about the small pockets for example. It would be a true nightmare for somebody as me which is not a business man as Ian can be it. To work with close people is much simpler for everyone. It was a really long answer...

Does Y have T-it groups of Washington which already refused to form part of Dischord?

I suppose. Those which are not d.accord with the step of Dischord which produces only local groups. They must undoubtedly have good reasons whereas they go elsewhere, that does not have importance

Will we more regularly see Fugazi in France?

Oh, this would astonish me! As I said to you, we fix ourselves that only one goal at the same time. That of the moment is to make our European tour. We have time bus Brendan less and less will have a second child the next year. II A a life of family which he does not want to put on side and let us include/understand we it. The group did not splitté yet because he wants to continue both. Can be that somebody of other in the group a child and will have to be reconciled all that will have. At the beginning, there was nothing which can thus stop us we turned as far as we could it, practically six months per annum.

I have a question for you especially: why do you never move on stage?

I cannot move and play well at the same time. It is the principal reason. I want to play well. The others in the group can be rather free from the instruments which they play. They can improvise. I think that my role within the group must be constant to make it possible the others to be released. I must be concentrated on all that occurs and what is played, especially that we never know which song will come afterwards. I do not think that my scenic presence either so important that that with respect to the public. Work is not always a terrible thing and mine, I l.adore thus that I want to make it of best than I can. I realize that I must be a true statue but that has its charm. II a beautiful contrast between me and Guy has there for example, but if everyone moved like him, can be that that would be tedious...