Keeping Time with Wolfgang Flür | The Sharp Notes Interview

Exploring the Past, Present, and Future of Electronic Music with His New Album, TIMES and with His Longtime Producer and Musical Compatriot, Peter Duggal.

Time has always been at the heart of electronic music—its steady pulses, mechanical rhythms, and futuristic vision shaped the way we listen and move. Few artists understand this better than Wolfgang Flür. As a member of Kraftwerk during their most defining years, from Autobahn (1974) to Electric Café (1986), he played a role in setting the tempo for an entire musical movement. Decades later, he continues to explore the ever-accelerating relationship between music, technology, and the passage of time.

His latest album, TIMES (Cherry Red Records) brings this theme to the forefront. A collaboration spanning generations of electronic pioneers and a blend of retro-futuristic elements with contemporary production, TIMES acts as both a reflection on the past and a step into the future—capturing the cyclical nature of electronic music and the way it continues to evolve.

Joining us also is Peter Duggal, the producer behind TIMES and a longtime innovator in electronic music. With a career spanning back to the early ‘90s, Duggal has produced for Nintendo, remixed for Island Records, and contributed music to PlayStation VR. His collaboration with Flür began in 2015 and with TIMES, Duggal helps bridge past and future, blending classic electronic textures with modern production techniques.

Much like time itself, Flür’s approach to music refuses to stand still. While TIMES acknowledges the nostalgia of classic electronic sounds, it also embraces new ideas, new collaborators, and new sonic landscapes. It’s an album that looks back while moving forward, reminding us that in music—as in life—yesterday, today, and tomorrow are always connected.

Join us for an evening with Wolfgang Flür as we explore TIMES, discuss his career, and consider how electronic music continues to tick forward into the future.

Wolfgang Flür: How many vinyls do you have behind you? Have you counted?

Evan Toth: Oh. Well, we're going to talk about it. I've got about 8,000, I think. Roughly 8,000 records here. Wow.

wf: That's a lot. You are topping us all. [laughs]

ezt: Well, okay, that's good. I'm flattered to hear that. In fact, maybe that's a good jumping-off point. Wolfgang, one of the things that interests me about your new project, and it's coming out on vinyl and, of course, all electronic music that's been released on vinyl, and you're a DJ as well, how do you think about that dichotomy between the groundbreaking work you did and are doing in electronics also being presented as an analog format?

Do you feel a difference there with the two things? Do you prefer listening to digital or electronic music digitally or in analog? Do you have a thought about that?

wf: Oh, I don't make that big difference of technology. I listen to the content, what brings the music. What is the artist telling me? What is his theme? What is his story? What is the melodies? At least I'm not that technical-orientated guy who thinks how much generates this music more with vinyl or with a turntable or on a CD. Of course, there is a difference. I know that. I listen, mostly, on my iPhone that is MP3, even less the quality.

Anyway, I know that people have both chances and they can also download it online, my music and what we did together.

"Groundbreaking" is maybe a little bit too much, the word you used, but anyway [chuckles] a lot of fun music. Yes, I think I cannot say that more to your question.

ezt: Well, your new album, Times, is described really as a reflection on change and celebration of creativity. After all these years in the music industry, what were some of the surprising revelations you had while working on this project that were maybe different from other work that you'd completed up until now?

wf: The freedom I have now with Peter and working with all the other artists I want to work with, or who are asking me to work with them, so there is no boundary. No one can stop me. The freedom I have since I left Kraftwerk so many years ago, I can't remember how long that is ago, but that is the most important thing to me, to be free.

Absolutely free, and to find people who have a similar chemistry in music and art, and that we are on the same level working, as in our personality and in our themes to a thing that is important or that's fun to make music on, like I do with Peter. We are very similar. When we met together, that was so suddenly that we felt like brothers. There's another story, but Peter can tell you that later if you want.

Wolfgang and his Kraftwerk compatriots, he's last on the right. This is ezt's first UK pressing.

ezt: Sure. Well, where did you record this album? Where was it? Peter, certainly feel free to jump in any time. You guys can just volley the answers here, but where did you record? What was the process of recording this record, and was it different from how you'd done it in the past?

Peter Duggal: No, it's always been the same, really. I have a studio here in the UK, and Wolfgang has a little setup in his place in Dusseldorf, and we transfer files back and forth. We transfer ideas. It can be anything, from a little voice note of a melody to a full-blown WAV of a backing track or something. We have a constant stream of information going between from him to me and me to him, and it can be anything. That could be the spark that lights a whole idea for a song sometimes.

Might be out on a walk and just send a little voice memo to Wolfgang and go, "Oh, I've had this idea," and he does the same to me. We don't actually sit in a studio together and work together in that way because we both work at different times, and we both have different-- Sometimes I like to write very late at night when everyone's asleep. Sometimes in the morning. It just gives you that freedom to work whenever. There's no need to be sat together in a studio.

ezt: It's interesting to think about. A lot of folks, of course, that I interview, they say, "Oh, we've got to get--," but it's more of a rock-band thing. "We're going to get together in the same room," like the old days, but I see, especially since the pandemic, a lot of people have really embraced this remote recording and production process.

What are some of the pros and cons that you see in that process? Peter, you just mentioned it, whereas different time zones and, of course, working late at night, working on your own hours, I guess the benefits of all remote workers, but what do you guys see as the pros and cons of that process?

wf: Peter?

pd: For me, I think a lot of musicians are-- like you alluded to the rock band there, and obviously when you're in a band and you're playing music like that, you need to be together. You need that energy. You need to bounce off each other. I've been in bands as well, and I know what you mean there. That energy is very important. It can make or break a performance. It's very different in the music we do because I personally got into music for it's a very solitary thing, originally, because it's an escape, and electronic music can be a really beautiful escape.

You've got this entire orchestra in your headphones and you can do whatever you like. It's an absolute dream. That's always been a natural thing for me, so I'm used to working like that. Obviously, it gives you more freedom to work on ideas without someone sitting next to you and you might really get into something and I always have the next day to...

wf: Well, Peter, I'm always next to you.

pd: You're always next to me in spirit.

[laughter]

pd: Yes. Well, I have the next-day rule, where you listen to it the next morning, and if it still sounds good, it's good.

ezt: Well, and in a way, with our phones and our internet connections, we are all next to each other all the time.

wf: Yes, that's a good thing and in the modern, very strong internet, which we have today. Otherwise, that would not work, function so well that we can send very big files so fast and get it back and send it back and rework them and say, "What do you think about that? That is a little bit too high. This is too strong. I think, can you make it--?" Peter is more the technician, and I do some faults or mistakes and, "Can you correct that for me or can you pitch it?"

He has more technique. I'm more the visionary. I write the the lyrics, the tellings, the narration, and I sing. I sing more than in the past. I have my recording studio here next to me with my microphone and everything, what is needed, and I can sing often and so long not disturbed by anyone. In a studio, that would make me nervous with all the technicians, the engineers behind the-- I don't need that. I'm a technician, a recording technician myself.

I can be very vain during recording and, "This word and this word is not so nice. I can sing it better." I decide what I record, and at least I make all these cuts and send it to Peter and say, "What do you think?" Then he can make his points and say, "That's okay, but you did not speak this word correct. In English, it sounds so," and then I correct it. We are always working like this as he was in the next room. That's the good thing, and we have very good ideas about what we are in our personalities.

We can have the same fun and strength with each other because we know us so long since nine years meanwhile, or 10 years. Sorry, 10 years, and it's unbelievable how this time ran away. It was so fast. I think sometimes it was yesterday when we met the first time in Hebden Bridge when he invited me.

ezt: Yes, tell me the story. What was the connection?

wf: He invited me to play my Musik Soldat live show at the Hebden Bridge Arts Festival in a very hot and steamy June in 2015. Then he picked me up at the airport in Leeds, and it needs 55 minutes to go there through a wonderful landscape to his town where he lives and where this festival was organized in the famous Trades Club. The Trades Club is a wonderful place to be and for artists to play. Yes, we got to learn each other so rapidly, it's unbelievable.

In the car, we spoke and had joy together as he was knowing me since much longer. Then he gave me some music and I listened to SoundCloud tracks from him, "Wow, what wonderful music." He made so many soundtracks. It was film music to me. Really film music and I had, in some of his tracks, immediately an idea and asked him, "Shall we not make a pop song from that?" That is how we got together.

pd: It's a very natural thing the way it all happened and the way we write is very natural as well. We just have ideas. Wolfgang heard one of my ideas and we just started working on it, not with any grand intention of releasing it or doing anything, just as friends.

ezt: Sure. Yes, so you never know what might come from a simple ride from the airport, right?

pd: That's right, yes.

Photo by Markus Luigs 

ezt: Wolfgang, you've collaborated with really an incredible lineup of electronic musicians on your new album. How did these collaborations come about? What were some of the unexpected artistic connections that you made during the process? And, what excites you about working with other musicians, Peter included, of course, but the other folks that were on your album as well? How do you go through that process of finding people and saying, "Hey, this might work on my next record"?

wf: I could say now, yes, it's just always on the drive from the airport to the hotel, you meet some people on the airport or from the airport like Peter. Did I know him before? No. Did I know Thomas Bangalter before? No. He gave me a message on Instagram and wanted to have a signed album from me because he liked the Magazine one so much.

He said, "I'm a collector of signed albums, Wolfgang, especially of yours. With your past for Kraftwerk band back then-," he said, "-you made us, my partner and me, big artists because if you were not that style, we had not found our robot DJ techno thing," if he didn't know Kraftwerk. Yes, they admired us much and he made me big compliments.

Then I said, "No problem." I said, "Where shall I send you the album?" And I sent it to him. On the same day, or on another day, he asked me, "Should we not do something together?" Then I said, "I like your music anyway." He does not only make disco music, you know that, and club music, but he's also a composer of music, which is more into classical music.

He writes music for operas. He writes music for ballets. He's studied music like Karl Bartos, and I found that very interesting because I said, "We are just working on a track on space, on the theme of space because I'm a big space fan, absolutely," and I wanted to do something like we did with Kraftwerk. We all were space fans then. I said to Peter, "When we do this track--," which, in the first place, we called it "Starship Universe". We had at least two versions like Kometenmelodie 1 and Kometenmelodie 2 from Kraftwerk, on one album, so we said we make also two versions.

Then Thomas Bangalter said, "I'm a space fan, too, and I have, already immediately, a thing in my head, which I could give you maybe to try to work with that." It was interesting because on the first listen, it did not fit, but it was only the pitch didn't fit and the tempo, but that's Peter's thing.

He said, "No problem. I have my machines and I can make it fitting to that what we have that it fits on the musical pitch."

ezt: Peter solved the problem, yes?

wf: Yes, and then I decided which part of his offer we could cut in into a middle part. I always take middle parts of these guys from outside and ask them, "Could you think--"-- because I like to go away in the middle of a track, anywhere, to go on a completely third level that the music completely changes and maybe also in another tonality and comes back at least and we bring something else.

Some more information, some new sounds inside, and something which is strange, maybe, or work, and the people must think, "Oh, how can we come back into the chorus?" And it works. Mostly, it works. We make it fit. The crazy thing, there is another very famous artist also accompanying in the same part. It's Peter Hook with his normal e-bass, his high bass line. He and Thomas Bangalter from Daft Punk, would you believe, in the past, that they would bring music together in our music?

It's so wonderful how that works and how that fits. They both know it from each other now that they are all in the same track.

ezt: Peter, maybe you could weigh in about these guests. It sounds like you're the technical guy doing some of these-- getting all of this information probably from different people, all of them remotely. How do you juggle all this information? Is it you're just downloading this stuff and sticking it in whatever you're recording it with or how does that work?

pd: Essentially, yes. That's another advantage of the transferring files thing. Obviously, to get Wolfgang, Peter Hook, and Thomas all into a studio together at the same time with all their schedules, it would just take forever. That's the other beautiful thing about working asynchronously like this. Yes, I will get all the parts sometimes. I'm a bit of a nerd, to be honest, when it comes to this stuff anyway. I really love all the technology. It's a really beautiful part of the process for me, making something fit into something it didn't originally quite fit.

wf: The more difficult it is to you, the more you like it, right?

pd: Yes, the more I like it. [laughs]

ezt: Right, which is antithetical to my 8,000 records back here.

pd: Yes. I've been in music and technology for 30, 35 years, and some of the things you can do now I used to only dream about. It's like it still wows me every time, the technology wows me. It's amazing.

ezt: It's interesting and maybe this is another segue here, and back to Wolfgang. A lot of this record-- there's always been an emotionality with your electronic music, maybe more so on this record than in your other projects. I wonder how you think about that fusion of emotion and digital electronics.

I wanted to say this the right way because I've really been thinking about this. Especially with AI, have we found-- and certainly, Peter, to you on the production end as well, but maybe to Wolfgang first on the composition front, do you find that some of these new AI tools, are they here to really make humans-- give them a better tool to express emotions electronically or are they there keeping some of those emotions down?

Are they coming up with our emotions for us? I think back to your work. where it was this fusion of humans making electronics create music that humans wanted to listen to. Now we have almost the opposite where there's electronic plug-ins and music that can change us, who we are, and what our viewpoints are.

wf: Yes, I think I understand what you are asking me. I think we cannot produce anything with AI emotionally. That must come from the soul of the musician himself. You cannot reproduce something with artificial intelligence in music. It may be better in film or in videos. We have just completed a video for the first single. The single will be "Posh" and it's the first track on the album. We made a short version on "Posh". My graphic designer who made also the sleeve and the cover design of the Times album-- It's that one. Have you seen that already?

ezt: Yes, I have. Very cool cover.

wf: He makes also videos for me, and that is completely constructed with AI. As we say in Germany, intelligence are a technique for the whole video because it fits so good to the theme of "Posh", intelligent and arrogant, and it's so good. There is no human person in. It's like the whole scene, posh scenes, so the rich kids of London.

Oh my goodness, how that could work. I cannot believe that we can do something like that with music and I would not be interested, by the way. We have enough in our heart and in our heads to construct music and to make a composition, and finding a fitting melody and the romantic. I would say I have, always, these romantic melodies in me, and this was already before Kraftwerk, I must tell you.

One of the points I joined the band because it was that togetherness of Teknik and romance. That was the thing for me. We are living all in an area which has romantic surroundings, Dusseldorf on the River Rhine, and all this wonderful nature behind us, and even more in the south when you go southern the River Rhine. where I lived, in Koblenz and in Frankfurt, it's even more with all these wineries and the castles and everything. I grew up with so much melodies, so much music given from my grandma, with classical music, and from my own mother, with the enjoyable music of the South American Schlager.

You know what they say, the limbo, the mambo, the foxtrot, and all of this wonderful melodies. That is my youth, it's really trained with that, and so I must not think long, if we work on a theme, to have a fitting melody on that. This is my talent. It's just talent. It's given you, I cannot do against that. I cannot believe that in intelligence, technique could help by that. I cannot, I would not believe it.

ezt: Very good. What about you, Peter, from the production point of view? Of course, I'm sure it's shaved a lot of time off of, as you were alluding to, some tasks that you've been used to over the past few years, but what about it as a co-writer or a co-producer, or someone who's influencing some of those thoughts?

pd: I think it's very good at things that are definite, things that can be done in a perfect way. I think AI can do things like find the best frequency spectrum for this kick drum, for example. Even though that's subjective as well, but it can help you a bit of the way. When it comes to writing, I agree with Wolf. I don't see the point of it. I don't think it will ever do anything interesting like that because surely art and music and emotion is how we make sense of things like AI entering the world.

I can see how it will suit the money men because it means they've already marginalized all the money that musicians make anyway, and this is just one extra step where they don't even need to have musicians anymore and just stream out AI-generated music and rake in the money, but I personally don't think it will work.

There are some things AI is amazing at. I think in medicine and health, it's going to be incredible, but I think those repetitive tasks that are very formulaic, it can definitely replace. I always say I think it's going to revolutionize medicine, and we're all going to live forever, but none of us will have any jobs.

ezt: Right. One of the songs on the album, "Cinema", it really got me thinking about your compositional writing process. I know we talked about that, but can you tell me a little bit about that song and how it came to be?

wf: Yes. It was produced with another friend of mine who is a very famous DJ in Belgium, Fabrice Lig. I once asked him to make a club version from one of my songs for me because all the tracks which I play live in my Musik Soldat show are club versions from the album. Because the album are pop versions and they are slower, they have not that speed fits to clubbing. The club shows we do together are faster, they are 130 or 132 BPM. He did something for me, and he also asked me, "Can we do something together, Wolfgang? I said, "Yes, send me something. If you inspire me with a little bit of music--"

It's all DJ music. It is background music, it is film music. He sent me something which I immediately found this is old French music from the '60s. "Well, why do you think that?" Yes, that's what I hear in that. It was really that, what was my feeling about it, and I said, "We do something," because I'm a very big cinema fan.

I go, often, to cinemas, and especially I like the French music, especially from the old parts, the black and whites, and all the older registers and actors, which I call out with their names inside. Yes, I think that worked on it. He said, "That's a very good idea," so it worked. It went very fast. That is one of the fastest productions I did with him, only on that little background.

Maybe we should once release an album where the parts are just shown, which I had given, and what we made out of them. That would be also interesting on a B-side or so, but that would be a four-track album then. However, that is how it worked at least, and it became such a wonderful track which is one of my favorites on the album. Also, my wife likes that most.

ezt: Well, it's interesting because when you say "Well, so and so sent me this, and then I thought about that," it makes the listener or the outsider wonder what is it that you got? And it would be interesting to see that progression.

wf: Yes, that is the thing. I must be inspired by something. I said I'm a visionary. I have, very fast, an idea about something. If someone sends me what touches me, it is like a stage where I can walk, where I can act. I wanted to be an actor when I was a young man, and a musician is also an actor always. I think every musician who goes on a stage does act in that moment, and if he's back home or in the dressing room, he's completely different then.

I know many, many of them, they are very, very different after the stage appearance or at home, at least. I'm a cook at home, I'm a family man, and my wife loves that. She has luck with me that I'm, at home, completely different, and then, on the stage, I play a role. If I get such a little soundtrack as, let us say, Birmingham on the first version, what I heard from Peter on Soundcloud, he called it, already, Birmingham because it was an homage on his hometown where he was born, I had that idea to make a pop song from that.

When Fabrice sent me a little track, it was a minute or minute-and-a-half, I thought, "This is France. This is French music," and I can also describe it, why it is so, why I feel so. Then I said, "Give me a day or two and I write some lyrics and I sing it or speak my narrations in, and then you can understand better." I sent it to them, and I already make a draft arrangement. Then, from that, we can spread it to both sides, on the start or on the end, or develop some more parts of it, middle parts or, say, the 3D part, which go up into another space and coming back with another artist, maybe, to invite it.

Sometimes it's very fast, like this track. Sometimes it needs some months, even, to work, put it aside, and take another one. Peter says the same, it's so different how the tracks develop in the time we needed for it.

ezt: Yes, and interesting, maybe it's a good segue into "Magazine", which is another favorite of mine on the album. It makes me think about the comparison with German or European press and what's left of physical press, or physical media, and, of course, our American media machine, what it is. Can you tell us about that track and maybe the production behind it, too, there?

wf: Yes. "Magazine" developed as a track when all the others were nearly done. We had not the title for the album, and we were with my art designer, with my graphic designer in a bar on that evening, and were drinking some beer and some cocktails, and we had the goal to find a title for the album. He asked me, "Yes, what is about all of these different tracks?"

I told him, "You must see it is like a magazine, a culture magazine or a people magazine, when you leaf through the pages, every page has another story on politics, on crime, on arts and cars and technique and anything, and maybe literature." He said, "Yes, that's a good idea. Then call it Magazine." "Huh?" "Then take that name. It's wonderful. It's a sonic magazine. Every page sounds different, and you are the narrator. You are a talker."

By the way, I do book readings, chapter readings, also, in Germany from different literature guys and from my own book, so I can speak well to the people and they like to listen to me. I have a little bit training in that. The narrations in my music, where I tell something about is sometimes like a reporter.

In "Magazine", it was that we have to do, then, a track which is called "Magazine". We had to work on that and thought about, what is a magazine to the people? Everyone has a favorite magazine. Maybe he's in cycling, and he buys, always, his new cycling magazine. The other one is in vinyl. The other one is in cars. Another one into dogs. Women and Dogs in Germany is very famous. Women and Dogs, or something. Gardening and Furniture all were so valuable, made of in very big colors of very elegant and experienced printings.

I think everyone has such a thing. It must not be always everything on your notebook or in your paper. To leaf the paper pages is still something different, and it works still. We thought we made something like that, where everyone finds his own field for a magazine of his delight, monthly, weekly, now and then or anything like that, yes.

ezt: That's interesting. I love magazines. Certainly, when I was younger and it was a different world, but magazines were much more popular than they were now. I think people have lost that art of flipping through something, and, as you say...

wf: Yes, we have all disregarded this leafing papers, the [mimics page-turning sound]. This was, always, a little bit problem. It's also inside, when you listen properly to it, what do you think about this Mannesmann typewriter, this old machine? [mimics typewriter sound] Found that on the internet. I found two days, I discovered the internet to find an old typewriter or a sound machine who makes these things. The crazy thing is that it fitted, already, from the tonality, right into the track. I did not have to change anything. [mimics typewriter sound] We did not have to pitch it. It was in. It was a wonder.

ezt: It's perfect. Peter, can you weigh in on the production of "Magazine" and maybe "Cinema" as well?

Peter Duggal

pd: Yes. "Magazine", the version on Times is a remix of the original version on the original Magazine album. Yes, that was done towards the end of the Magazine album, the first record. Wolfgang, as he mentioned, he found some of these wonderful noises and we slowly built the track up along with a friend from Mexico, Ramon, his name is. The idea for the newer version, which I think is the one you're specifically referring to, was there was a competition to see who could come up with the best rework of it.

Production-wise, that it was quite a quick one, I would say. One of the quicker tracks we worked on, Wolfgang, right? Because some of them can take a very long time. Some of them we have worked on for two or three years, maybe. Maybe even more, but "Magazine" was done and dusted within a few weeks, I think.

"Cinema" was a track that I wasn't involved with at all, actually. That was all Fabrice and Wolfgang, so I'm afraid I can't add anything to that one.

ezt: That's all right. We can't do everything here, Peter. Wolfgang--

pd: Yes.

[laughter]

ezt: Wolfgang, you've been an innovator for decades in the electronic music field, of course, and looking ahead while honoring the past. If we move from "Magazine" to the title of your new work here, Times, it's a bridge between nostalgia and yet at the future. What do you hope listeners will take away from this, and maybe has working on this project informed where you think your next project may go?

wf: Ah, good thing, what should they take from them? They must decide themselves. There is so much in every track. From the lyrics. From theme at all, we have narrations and we have little radio plays, and we have reporters from the TV or from the radio. There is so much talks in this and so much to think about. Especially on the Magazine album, we have a very important and very famous song on literature with the track "Say No".

This is a political thing that came very from my heart to say something for the people, to think about being a soldier, to be good to the military, to say no instead of that. This is Wolfgang Borchert, a very famous German author to write these things.

"There is only one thing to do, say no to that. Say no." I'll make book readings, chapter readings from this in churches, in schools, and it's very dramatic. The whole thing is very long. I took only, I think, five examples for what to say no. We played that also live in my show on the first track, which we bring after Peter played his support, I'm on the stage, and they have a very, very dramatic video playing there. It's only a little boy, a soldier boy from the First World War, in his uniform, specially suit uniform for a 10-year boy, can you believe that? With an original spiked helmet on from the Kaiser-Wilhelm era, and with his gun.

Showing his head and his shoulders, he's very afraid, "Papa, don't let me do that. Please no, please no." You can see that in his face, a boy soldier, so how crazy that always is. We bring that in the whole screen from black. It's only black when I start and the boy appears very, very slowly with a very long crossover from the black until you see the boy, and on the back, the song "Say No" is running.

That all these very important stories, which I speak, I stand only on the side and watch my audience. I watch them, I do nothing. I'm like a statue until the end of this song. The boy disappears the same, very, very slowly again, and then comes very big in two letters, "Say No," and that's the end of the track.

Only then I start my show. Now comes the entertainment. First comes the statement that the people learn a little bit, and they love it. They clap their hands, and they go to the merch, the stall, afterwards, and they buy T-shirts with guns very big printed on, "Say No." They understand, then, that Musik Soldat is a statement where we both play under this theme. Peter and I, we are both very hard pacifists and humanists.

That is from the last album. When you ask, what can the people bring? What can they have at home? What can they learn from the songs? It's not only all entertainment or funny. Sometimes it's funny.

ezt: As I'm listening to you describe that, do you think that sort of performance art, multimedia thing is more of a direction that you'll continue to go to? Is there more of that, or what do you think your next project might be?

wf: A little both parallel. At the moment we don't record. We have stopped that now. That does not mean that we stopped that generally. It's too much fun for us, we cannot think to do no more music in the future. Unthinkable. Since we know each other, we are-- but at the moment, we must stop that for a while because these 13 tracks now, we must give them to people to get them to listen to them and to get into them, and they have a lot of music to go through that, and to listen more and more.

The more the people listen to it, the more they find out and hear something. What happens in the back is so much music, so much tones, so much tricks, and so much technique...

pd: Yes, which was the nicest thing, wasn't it? It was the nicest thing that people have said about the music that we've done together, is they often say, "Oh, I've listened to this track for the 100th time and I've just heard something new in it," because there are so many layers, the way we developed it over the years, and we have added bits and taken bits away that it's a really nice thing to get that feedback. It's always you feel immense pride when people discover this little thing that-- they're not hidden, but they're just part of the track, but they present themselves just at the right time for people.

wf: In the moment, you concentrate on live shows. Next month in April, we start the tour in England, of course, at first, and maybe I'm coming over to America. We have some offers, at the moment, for Chicago, Illinois, and I think New York, and some gigs in June maybe, but that's not still confirmed.

pd: Confirmed.

wf: Yes.

ezt: That'll be exciting.

wf: We have already 20 shows in England to do.

ezt: Yes, you're busy. You've got plenty of stuff to do.

wf: Absolutely, and we love that.

ezt: Your calendar's full for now, but it would be exciting to see you in the States, for sure.

wf: Correct, yes. We love that the same than producing music, but being on stage, we have the audience straight before us and we can see their reaction at once.

ezt: Right. Wolfgang, what's the best place for people to go to find out more about this album? The actual release date here is March, right? Early March?

wf: Yes, 28th March.

ezt: Oh, okay, late March? Where can people go to find out about this and find out more about your work?

wf: They find every information on my Instagram channel and Peter's Instagram channel. They find information on Cherry Red Records, who is the label to bring it out. They can buy it on Amazon. They can buy it on download on iTunes or straight away from Cherry Red, or they go to our concerts and they buy the record immediately afterwards and get it signed from me.

This is what they mostly love, but it's only in England or in Belgium or in Germany-- not so often in Germany, but, yes, and Holland and France, Spain. There are so many-- We go to Malta as well and we always have some records with us and some posters and the cards and some T-shirts, and the people, they buy it like crazy. That's good for us. A little bit money-making is not too bad.

ezt: It's not too bad.How about you, Peter? Where can people go to find out more about you and your work?

pd: I have a website, which is just my name, Peter Duggal. I think I'm the only person with that name in the UK, so if you type it into any social media, I'm the only one that comes up.

[laughter]

wf: You are special.

ezt: You're easy to find. You're easy to find.

pd: Yes, I'm easy to find.

ezt: Well, gentlemen, I thank you so much for your time today. Wolfgang, certainly it was a pleasure to meet you and, Peter, you as well. Best of luck with the new album, and I hope to follow your journey with this music throughout the year and see where it ends up. I'd love to see you guys.

wf: Okay, and thank you very much.