Aural Fixation: Given your previous works' "shyness" on the dance floor, Egodram was a small transition toward club play accessibility. Two singles were released for that album as well, "Kindgott" and "Destillat," which seemed to be far and away the dance heights of Egodram. Is this a style you intend to work on in the future?

Bruno Kramm: Let's say it will be one element of the forthcoming work. We started pending extremely between atmosphere and beats and we want to force the strength of contrast in between. So stay tuned for our next album.

AF: What made you decide to move to FacEdown to release Egodram?

BK: A great advance and good distribution skills, and for sure a good definition of our musical freedom in the contract.

AF: Why the move back to Danse Macabre for Morgue? I recall reading that you were hesitant to work on your label because it was heeding your progress.

BK: We offered Morgue to FacEdown, but we decided to work it out on Danse Macabre cause FacEdown had no idea how to work on such a specific album. So I reactivated my old label and the succes in Europe confirmed our basic thougths that literature got also a commercial chance.

AF: How did the last tour go? I unfortunately wasn't able to catch you during the US leg.

BK: Got us on our knees: It was too many dates, so we felt really powerless at the end. But the public liked our new stage show. We had some custom made and movable oversized keyboard-risers with us. Was impressive and a great experience as keyboardist, not to be fixed on the stage anymore.

AF: Any plans to tour over here in support of Morgue, or do you think US audiences have a tendency to shun music short of "danceability?" That seems to be the case on the East Coast, to some degree. Maybe I'm not giving my peers enough credit.

BK: We will play on our next US tour some excerpts from the Morgue album, but we already started recording the new album, so we're going to play a lot of new stuff too.

AF: With Morgue you returned to your earlier, darker sound that has a larger concentration on atmosphere and composition. Was this to capture the mood you feel is evident in Gottfried Benn's poetry?

BK: Exactly. Benn is one of the most nihilistic writers in German literature and so we needed to turn over to a more classical and harmonic concepts for this album.

AF: The use of classical instruments have always been an important part of your music; are you interested in classical composers?

BK: Classical music was always my inspiration and school. I was taught from an early age with classical music skills and my basic idea about electronic was always to bring these both worlds together. My favorite composers are Shostakovitsch, Stravinsky, Mahler, Holst, Bruckner and Wagner.

AF: Overall, your releases tend to have a cultured feel, from the classical elements to the poetic vocal style (and even moreso on Morgue, for obvious reasons), the theatrical on-stage presentation, and even the cover art lend themselves to the overall presentation of the music. Do you consider each of these as important as the next?

BK: Our deepest feeling is always and forever the music, but we want to present it in the perfect shape on all levels. Stefan is a great actor and he puts his main interest in expressing my songs while the cover artwork always was a hard work to be done. I am always happy when it is done. I mean, I like computer graphics, but my main interest is about the music.

AF: Where do your ideas for the album artwork come from?

BK: They shape while working on an album and when we are finished with the recording process I try to focus on the main impression of the songs to get a compatible artwork.

AF: Your webpage hasn't been updated recently. Lack of time?

BK: You got it, just too much work, but one day it will be finished.

AF: Anything on the horizon you care to mention?

BK: We hope to come soon again to the States again, because we love your scene.