Which hands us the next question. What is “Tuxedomoon music”?
Was there a founding philosophy? SB: Our philosophy in the beginning was to take the electronic and experimental music we were learning at the time out of the staid academic halls and play it in the clubs where the real people were. Unwittingly, we were continuing in the tradition begun by the likes of physicist, composer and musician Wendy Carlos, who in the 60s also wanted to take electronic music out of the hallowed academic halls of atonal serial dissonance and “make music that wasn’t ugly.” Or Warhol, who succeeded in dissolving the boundaries between high- and low-brow art. Our philosophy was born in the late 70s and out of our unique personal situation. The question could be asked: is this idea still valid today when anyone with a computer is an electronic musician? But trends come and go. In the 50s the only way to hear the new-born electronic music was on tape. People would go to a concert hall and the composer would push “play” on the tape recorder. Loudspeaker music, it was
