![]() ![]() ![]() I learned a lot, in terms of technique, mixing, everything. Once you had finished Matter, what did you think afterward? What did you think when it was released? It has almost an ’80s pop sort of feel to it. When Matter was about to be finished, other kinds of music had happened – acid house, techno, so when that album was released, I was already somewhere else mentally, much more interested in techno. Until this point, I hadn’t realized there was something like an underground at all. Then these new friends I made were coming from a more alternative school and were listening to electronic underground music, like EBM or post-industrial. So my musical input, until that point, was very commercial, but always on the electronic side. Up until this point, around 15 or so, I was listening to the radio, mostly. When you were making this record, were you listening to lots of EBM? I was at the right place at the right time, I think. At that time, it was quite easy to have music released, because there was a lot of energy and people interested in the scene. After Matter came out, it worked really well for the record company, and at that moment in Frankfurt, it was a really exciting time, when techno started. Because there was no budget and no concrete plan, it took a really long time to do it. Then this friend of mine said we should record those tracks professionally. Recording ideas, making a cassette album. Is this how you started recording Matter? It just came together? He listened to some demos of mine, and said we should record it. But I really never had the plan to make an album, or record music. That was more or less when it started to come together. Eventually, I met some people who were already making music. I sold the drum kit, bought a little drum machine. Then I heard a drum machine on the radio, and I was really impressed. I never had the plan to make music, it was just a hobby. Well, I started to play drums when I was around 14, I think. That album in particular took a very long time to make I didn’t have a lot of equipment, or a studio, so we had to find somebody to produce it, to finance it. The whole project took a very long time to manifest. ![]() I just liked the sound and the look of it. That was an amalgamation, I think, from different sources. Where did the name Lassigue Bendthaus come from? ![]() In so doing, he revealed much about his working processes and also about why he is such a singular producer. Each time I’m met with the following response: “Where do I even begin?” This interview is an attempt to answer that question – I selected 12 albums from Schmidt’s discography, across many styles and genres, all of which are standouts in different ways, and chatted with Schmidt about how they came to be. Having been an avid fan of Schmidt’s music since the ’90s, I have on various occasions attempted to introduce his music to others. He’s dabbled in almost every sub-genre of electronic music imaginable, and has invented a few of his own. Schmidt is one of electronic music’s most prolific and idiosyncratic producers, releasing at least one album per month (not counting singles and EPs) for most of the 1990s, each record sounding completely unlike the next. Uwe Schmidt – also known as Lassigue Bendthaus, Atom Heart, Atom™, and literally dozens of other pseudonyms – has been producing music at a breakneck pace since his first album was released in 1991. ![]()
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