I mean, I learned how to work in a studio when everything was due to multi tracks, analogue sequencing and when sampling technology began to become affordable for us. I bought my first sampler in 1985 and it was so expensive. Delicate, it was very delicate. Now everything is sort of digital and pro tools. We do not use any software synth at all. The only thing that we ever used was one kind of soft synth because my real synth is broken. I like hardware. I like to have machines. I like to have buttons and knobs. I am not really big on the working with the things on screen. Alot of the quality of KMFDM comes from the recording techniques. We actually still know how to record something. Now most kids know how to make a techno record but they have no clue and they do not know how to use the microphone.For us capturing real sound is still very central point in making of what we are doing. And it just happened that Joolz is an excellent recording engineer. I mean, it's hardly that anyone can record drums better than he does. And that was a very lucky coincidence that came from that meeting we had.

That's really great. But what's your favorite synthesizer so far?

My favorite synth is probably Nord Lead 2. That is the one I used the most on this record and interestingly enough, there is no midi programming, almost no midi programming on WORLD WAR III. Everything was played live and then taken and put into a place. Now I cannot say that analogue Nord lead is my very favorite. It's a very useful machine. You can do stuff really really quick that sounds very very rewarding and satisfying. It's pretty fat sound. I have bunch of like old analogue synthesizers sitting around. Sometimes it's not convenient to wait for like a half an hour for oscillator to warm up and that kind of stuff.

I must ask you this funny question about your decision to do KMFDM again, even though you said many times during MDFMK that it was over and then MDFMK became KMFDM.

Well it was a ... I should probably give you a run back through a history and a sort of internal dynamics. In 1991 we started recording MONEY. MONEY was not supposed to be called MONEY. It was supposed to be called SPLIT because En Esch and I decided to break up during the tour with Thrill Kill Kult in 1990. So we decided that our next recording budget would split half and a half. I would get one half and he would get one half and we would both make 5 songs. Back on those days it was all still on vinyl. So he made 5 songs, I made 5 songs and we threw the coin and decided who gets the A and who gets the B side of the record. WAX TRAX rejected B side which was the En Esch's side. They said it didn't sound like KMFDM at all and that they didn't like it.They didn't want to put it out because it didn't meet the criteria of the label. So they gave us more money. That's why we called it MONEY. That record was all about the money. And I finished up the album without En Esch and certainly that was kinda really bad blood between us because he felt sort of rejected. Then I made a real effort to put the band back together and we recorded ANGST and NIHIL which re-involved Raymond Watts (PIG) who had left KMFDM back in 1988. In the meantime Raymond and I did KMFDM vs. PIG - Sin, Sex & Salvation, only with Günther on the guitar. The return of Raymond was something En Esch didn't like. He felt kinda upstaged by Raymond.We toured whole 1995 when we did two huge tours, IN YOUR FACE and BEAT BY BEAT. And with all these so-ego kinda strong people together for a year, it caused alot of problems and the band did fall apart again. After that I did XTORT totaly by myself. Without Raymond and En Esch who actually did only a guitar solo played over the telephone and a bit of phone conversation " hmmmm ja, OK .... OK ... OK ... OK,OK .... OK " what has been used as a sample at the very beginning of the album. After XTORT the album I was again like - " Let's one more time ", because it didn't work with En Esch. He had become a heavy alcoholic and drug user at the early 90's. It was very difficult to work with him. So I wanted to see, one more time, what was going on there. I got everyone to work on SYMBOLS album and it was disaster. That was full of problems. We had alot of arguments, fighting and the record suffered from it. It didn't turn out in the way I wanted it to be. It showed on the record. There were good tracks. There is Megalomaniac which was written and done by myself, even without Günther. 'Torture', I did only with Ogre ( SKINNY PUPPY ). 'Waste', I did with Bill Rieflin. 'Spit Sperm' with Raymond and I. But all the other stuff ... like 'Stray Bullet', 'Mercy' ... a fucking crap ! ... Down & Out, man! .. what the fuck ! ...