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Direct Link To This Post Topic: Psychatrone Rhonedakk
    Posted: September 17 2010 at 14:57

Psychatrone Rhonedakk is the moniker used by US musician and composer Barry Saranchuk for his psychedelic, musical ventures.

First and foremost a one-man band; with some musical friends participating from time to time; material for the 4 official CDs released under this moniker dates as far back as 1986. However, the official start of Psychatrone Rhonedakk is 1998, and disregarding various CD-R's and tapes issued over the years his debut as a recording artist was in 2001, with the release of Keep On Psychedelic Mind!, an album inspired by acts such as Can, Hawkwind and Acid Mothers Temple.

I contacted Barry for the Psychatrone Rhonedakk story and here is what he had to say....


Your biography has been covered in your ProgArchives profile so let's bypass the biography details. But why did you choose that name and which bands were you influenced by ?
     When I first really thought of presenting my sounds to friends (or the public) I had already recorded a lot of music and had to come up with a name.   I had many in mind,one early tape was by the name "The Flying Flux".  But I ,ultimately,thought some folks may be offended by it. Even though it was more a reference to "magnetic flux" on tape,since I dealt in that medium mostly back then! 
      So after a few false starts with names - I came up with Psychatrone Rhonedakk. It is really phonetically spelled from something someone said in their sleep long ago.  This person sat up,with finger pointing sky-ward ,and pronounced (like a proclamation!) "Psychatrone Rhonedakk!!",then fell back on the bed to sleep.  We wrote it down and used to ask the person what it really meant,with a laugh. So I ,in essence, gave it a meaning.
       It has turned out to be a good name. It's totally from the sub-conscious and ,of course, it has only one meaning in reference to my music(so it "searches" easily too!).
      As far as influences ,well,I guess there are more than I might be able to list?!
      I am a voracious listener,and a lot of things that I've heard reveal themeselves to be an influence only after I record a piece.  Sometimes I suddenly think,"That sounds like _______",or someone writes and comments on what they think might have been an influence and I then think,"Wow!  I guess that's right-on there?!"
      As far as influences I knowingly have, I'd say first was Tangerine Dream,Klaus Schulze,and Brian Eno.  Then electronic movie music (like Forbidden Planet's soundtrack,and Dr, Who...),and I always list Terry Riley and New Zealand band Tall Dwarfs,both of whom helped me realize the beauty of "looping" sounds. Making loops of sound freed me to be able to create the music I do without other's help. I could construct rhythms and layer sounds for depth.  As I had more success in my experimenting ,I'd hear of other's experiments and try my hand at some of them with a twist of my own added. All this just to see what would come of it. I'll say more on this later here.
      I will add that although I'd heard some of his music long ago,Tod Dockstader is a "mental influence" of mine recently. This just in that we are both from an "electronics" background in schooling,....and that I feel akin to him in that he worked "outside" of the official electronics music labs of his time. His story impresses me so.  I'm not saying I'm as good as he,....but his story makes me feel not so alone. I think he's got great "feeling" in his music.
What is the whole Psychatrone Rhonedakk concept and ethos ?  
      Wow,now that's a deep question.
       The original concept (if that means just initial planning or thinking) came before the name. So, originally,I guess it was just personal experimentation with sound on a low budget scale. I was interested in making low-fidelity equipment make interesting sounds.  This may be where early electronics experimenter's music was mostly an influence? You see I'd heard a lot of the music of Xenakis,Morton Subotnick,and others (of the like) on used records I'd picked-up at flea markets(I guess some of you might call them "boot sales"?) and Salvation Army Stores. In my young mind it all sounded like 1950's sci-fi music from films,and I just wanted to make sounds of my own for my own amusement in that style. I do think what I've done is a lot different from those classic sounds,but that experimentation was the initial drive to create.
      A while after I'd begun making music,I decided that I'd avoid sequencers whenever possible.  I sort of felt that was,in a way, "cheating" ,...considering the newer sequencers that can sequence all your moves,and more or less seem just like a way of "recording" if you look at it a certain way.  I wanted to be able to make my music ,I guess, "on the fly".  I guess I was thinking I'd someday ,possibly perform it all live somehow?  That never happened. But "No Sequencers" was a sort of mental note I'd kept.  So that may be part of my "ethos"?   I will say I love the old-time sequenced ,bubbling sounds of my favorites of the German classic era.  It's just those totally sequenced modern pieces that sound a bit too "robotic" for me,...a better word may be "sterile"?  I wouldn't want to offend any robots out there! (Hi, Kraftwerk!)
      Then as some other ideas came along I'd incorporate those too. It may sound unlikely , but as the 1990's "underground" music scene emerged,sounds as different as that of the New Zealand underground scene ,and the "open minded" Japanese psychedelic scene caught my ear and made me feel like anything could be incorporated into my music(and really it already was). I'd already been overdriving piano sounds,using looping,and taking all sorts of sounds and changing/warping them for my own means. So as removed from those scenes as I was(here in Northeastern Pennsylvania,USA),I felt a part of it all,or at least akin to them.
     I guess as time went on the idea was that Psychatrone's music could incorporate anything - songs,experimentation,pure sound .  I guess I felt as free as the Japanese Psychedelic scene although I was in America.  I just fell in with that "ethos"(but maybe only in my mind?). To me that was "whatever I want to sound like - is what I am". The Acid mothers temple's Kawabata Makoto says,"Do whatever you want to do, Don't do whatever you don't want to do".  I guess that says it all?

Please tell us more about your first album Keep On Psychedelic Mind! from 2001  
     "Keep On Psychadelic Mind!" was ,actually,my 4th release. But the previous ones were in such small editions (of 30 to 60 copies) that hardly anyone knew of them! KFJC radio in California was the first to notice my CD-R releases, they started to play my "Best of Black Plastic Sound" CD-R release,which had a sort of joke title,because at the time I thought it would be my last release! This was a compiling of tracks from my first two early cassette releases(one not by Psychatrone,per-se). That interest shown by KFJC is what kept me going then.
     Soon a bunch of college and underground radio stations in the US were playing cuts from that CD-R(bless their hearts!). It started with KFJC (California),then WFMU(New Jersey) and onto WREK(Georgia Tech),then it snowballed all over for me.  There were hardly any sales,...but people were hearing the music! At this time one reviewer told me that they wouldn't review "Sub-Underground Music" - and instead of their hurtful comment stopping me,I decided to make that my genre,"Sub-Underground Music"!! I then made another CD-R release "Soundtracks by....Psychatrone Rhonedakk".That also got good underground airplays,and I was certainly happy with that.
      At around the same time I was sending promo CD-Rs all around the USA and globe!  I sent one to Japan's Captain Trip Records,and Ken Matsutani, it's owner, wrote back and in his letter he said ,"Keep On psychedelic Mind!".   So he named my first real pressed CD.
      By this time I was doing all of my music with the mindset that it was all just for my own amusement - in a way,anything was open for me to do.  The crazed Acid Mothers Temple was,in my mind,along with Ghost (also from Japan) ,a big influence. So,"Keep On..." was to be an "all out" set of music as far as I was planning. Again I thought maybe my last release.
      It's pretty all over the place in sound. But ,that's where I was at then.
      The song "The Right Stuff" was,in essence, myself telling me to go all out.  Robert Calvert's song was my clarion call.
       All sorts of past experiments and new music is on it. "Bad Trip #2" is all vocal and done in one take - looping voices,laughing,screaming,...influenced by the group Fifty Foot Hose."Instant Karma" is a tape "cut-up" (as William Burroughs sometimes did) of an 8-Track tape of Pharoah Sanders' "Karma".  This was not only cut-up from 1/2 inch tape(from an 8-Track cartridge),but then after the pieces were scrabbled around,cut down to 1/4 inch size to be spooled into a cassette case for mixing. It took two days work just for that few minutes,....such was my "madness" for experimenting then. 
      "Paranoid LSD Trip" was made using an open tape head and,again, ripping random chunks off of 8-Track tapes and sliding them over the amped, open tape head through echo equipment. Then layers of skipping CDs and synth were added to finish the piece.
       Overall it was an attempt to use more varied "psychedelic" ideas and less of the "electronics experimenter" sounds I had already done. The idea was also "simplictiy in sounds",making a more "human" and less "studio sterile" album. That "Zen Overdubbing" mentioned in the booklet notes meant using first or second takes and not overthinking things(as I'd felt I'd done in the past recordings).  I was reading a book at the time called "Zen Guitar"  and the "Zen Overdubbing" idea came from that and Brian Eno's idea to use all takes recorded in the final mix( ...even though I wouldn't follow Eno's thought strictly,...his idea did just help me develop my own plan).
       The cover songs are always songs that stay in my mind at the time of recording.It's funny that they "haunt" me less after I cover them.

Please tell us more about your  album Baron Von Rhonedakk and The Crystal Sun from 2004 ...  
      "Baron Von...." wasn't exactly what I'd planned to be the second pressed CD recording. You see my original plans were changed when I'd given a copy of "Keep On Psychedelic Mind" to Kawabata Makoto,and after a while,I recieved and e-mail from Cotton Casino saying that she "Loved my sound"! We got to be good pen-pals(e-mailing  back and forth).and soon she suggested that we do an album,through the postal mail, together.
      It all was going fine,the first tapes went back and forth,....and then she announced she was leaving the Acid Mothers! It seems she had fallen in love with a fan and was going off on her own with him. Anyone familiar with this time of the AMT knows soon Cotton's life was in an uproar,and our recordings were soon impossible. She was constantly going from one home and country to the next,at one time even living with Daevid Allen of Gong along with her new "love of her life". I couldn't keep in touch and she had left all of her recording equipment with her first husband, I asked if she'd mind if I just used what we had already done in an album with her as a "special guest", so that all our efforts wouldn't be for naught. 
      I still feel the album is perfect the way it is. The first three songs all feature Cotton Casino and were mixed by her ,with me just adding a bit of "sweetening" here and there. By that I mean echo or an added extra sound. While the rest of the album's songs ,although recorded initially for her to add sounds to also, came to reflect just what had happened to our recording!
      "Set the Control For the Heart of the Sun" is like a celebration of our meeting,as are the two other tracks featuring her. Then as the last "solo" pieces move along "The Dream" represents what might have been,"Night Woman" is a song about a girl/woman disappearing (from a dreamed of relationship) ,and "Departure" heralds the end of thoughts of a "duo". I put a "solo" version of "Set the Controls..." last as a sort of "re-setting" of my controls to "solo mode".Thinking of it that way,it came out exactly representing my experience with her.  I was very happy with how it all worked out inspite of difficulties. But it seems that either the "dark cloud" of Cotton leaving the Acid Mothers ,or fans of AMT not being sure if I was part and parcel to her leaving that group seems to have made it my least liked album. Other things stood in it's way too. More about that later.  But, ultimately, I was never sure why it was not better liked. 
       The album's title was taken as a "play" on a Jefferson Airplane solo,split-off album (Baron Von Tollbooth and The Chromium Nun).I thought,"If AMT could have albums with titles like Hot Rattlesnakes ,then this would fit into their plan perfectly".  One of the last AMT albums with Cotton still in the band at the time had a song on it called "Lune Du Argent,Soliel Du Crystal", - so Cotton became my "crystal sun".  The front cover picture was also in reference to the Acid Mother's related Father Moo album cover. I'd shared this photo with Kawabata and he said,"This is the daemon Father Moo...",laughingly I'm sure.

Please tell us more about your album Disturbs The Air from 2005...  
       "Disturbs The Air" was originally what would have been my second ,pressed CD,...had Cotton not suddenly asked me to record with her. All along I had the idea of making a set of "dark" and "light" albums someday. So, Baron..." was now to be the "light" album, - and "Disturbs..." would now be the "dark" project.
        At the time of this album's recording my own life was in "change".  My wife and I were expecting a baby,and times seemed to be changing fast. Even though this is a dark album in feeling ,I also felt it had "hopefullness" to it too.  Possibly like looking from a dark place ,say "out of the tunnel" ,towards the light? 
       I'd recorded my first self-written song,"The Cult of The Violet Ray",written as a "what if" type of song,....about a 1920's or 1930's "quack" doctoring device called a "violet ray". Google search that to se what I mean,..if you'd like.   I thought ,"What if ,in the 1930's a cult sprung up involving this seemingly mystical electrical device?",and I wrote the lyric around this thought. Just as I finished this recording a new small independent record label in my area asked me for a song for a proposed Scranton Area Music compilation. They wanted a "vocal song" and it HAD to be original,they didn't want copyright hassels. So I gave them my first song,..although it was originally recorded for Disturbs The Air.
      I went back to recording for my own project and did an instrumental "theme" version of "Cult..." as my own album's opening cut.  I though,"This will link the two releases,..and they might help each others sales too".  Little did I know.....
     This album has an over all theme. It might be taken as "change",and the feelings of foreboding and introspection involved in change occurring.
       "Can You travel In the Dark Alone" was always repeating in my head at this time,and so I recorded it as if only a memory. My version of this 1960's song by the group Gandalf is made of three passes of treated vocals and one for the added "bells".  I was amazed when the recordings went so smoothly,taking just one take for each part! Then I was overjoyed when later Peter Sando ,the song's writer, e-mailed me to say how much he liked my version of his song.  What an honor!
      "Ground Zero Station" was titled after two things. In birthing classes "stations" were mentioned as measurements of where your baby's head is located in the womb travelling towards it's birth. "Zero station" is when baby's head is in the Mom's pelvis,- very near it's birth. Although ,I am sure, most listeners thought the "Ground Zero" part was in reference to the "Twin Towers" ,9/11 incident in NY, - it really meant here being "right there" attending to a birth. So,add "ground zero" to "zero station" and you now know the music is representing a baby's travels in the womb toward birth.
      "They Moved The Moon" was another introspective song that haunted me as I thought about my life changing. The lyric remided me of past ,failed relationships.  I was happy when Siltbreeze Records(on their "silt-blog") said my version of this song reminded them of "For Your Pleasure" era Roxy Music!  I was again honored, but this time for just being compared to such company.
        I thought of walking towards the dawn from the dark,and also Japan's influence on my music and "Procession East" was made.
        Then I'd had a lot of "drone" music I was recording,all of it way too long to release "as is". So I took a bit of inspiration from something Klaus Schulze had talked about,...he called it "compilation compositions". I then took a drone jam and "cut" and re-spliced it into "Disturbed Air Molecules".  Named that since a lot of people I know think that I don't make what they call "real music" (Pop,I'd guess?),but that I just "disturb the air".
       "Attic Toy Space" is all children's toys. A space celebration of a new child coming,or (possibly) a requiem for the loss of your "inner child".
        Finally, "Earth Anthem" is what I felt would be a broadcast into space from a dying Earth. It's a song originally done by The Turtles on their "Battle of The Bands" album. Looking at that album's cover ,it had a photo of Earth taken from space and the band for that song (as every song on the album had a made-up "band" name as the one's who'd performed the songs ) was just listed as "all".Gazing at it ,I'd suddenly thought of my concept for my version of the song. A single broadcast and a lone voice fading to static.

Please tell us more about your fourth album Early Free-Form Waveforms from 2008  
       This vinyl LP came about from me mail-ordering QBICO LP's by "stashing" cash money in an item(usually an empty CD case) and sending it to Italy to buy directly from the label. While I was getting ready to make an order one time,I was also "archiving" my old master tapes of unreleased music to save them from "tape rot", as I made out my order to be mailed,I grabbed a copy of the music that ended up on that album and sent my money hidden in it to QBICO. I wasn't really expecting any response to the music on it,...I just thought the label would get a laugh out of my humble recordings. To my surprise I soon got an e-mail asking who did the music ,...and then they offered to press it as a release!  QBICO made such beautiful album releases,you could imagine how bowled-over I was. I was stunned and so happy ,some of my favorite albums came from QBICO.
       The "A" side is from a jam from very early in my days of playing. It is of my friend Brian and I as a duo,...recorded just before a party at his home when he lived in Pennsylvania near me. We'd jammed with a whole group of our friends making a wild racket of free sounds,....but this time we two just played.  Luckily I remembered to turn on the recorder.  As Brian blazes on guitar I make drone-beds for him to play over. I still feel he's the "main attraction" on this cut. We were into Spaceman 3 at the time,and I'd just started to get into old Heldon music also,.....probably just in time to make this jam work. It's not Heldon,...but the spirit of a good summer day is right there.  After we had finished playing, and the other party guests arrived, Brain told me he was moving to New York to folow his dreams.
      Side "B" is a solo drone piece I recorded one morning . I'd been listening to Tony Conrad and I was experimenting with making "over-tones" by bending sustained notes to make harmonics occur. So after working a night shift I came home happy to be off from work but not yet feeling tired enough to sleep, - I started playing a drone ,and hit record on my trusty old tape deck. In my sleepy state I was bending notes and soon felt as though I was "falling into" the sounds. I imagined underwater scenes ,...rhythms arose out of the harmonics. At one point I thought I could hear violins,...different rhythms and other sounds appeared and fell away as I played and got increasingly tired. I finished and shut-off the recorder. After I woke up I listened back to the tape ,and the things I thought were "dream sounds" were actually there on the recording! The album's "B" side is an edit of that session.  I called it "Underwater Sea Chantys".  These had been on my limited cassette releases,...but they never quite fit with the other music on them.  Now they had their own release,..they'd found a home.
      I had tried to cut my own lathe-cut LP release(called "The Sub-Underground Tapes"),but I wasn't happy with that semi-aborted album(most copies were given away).  The QBICO album was beautiful in all ways,one of my dreams come true really. Sadly QBICO is gone now,but I think copies of my LP are still out there to be bought,if you search the internet.

Please tell us more about your fifth album  American Primitive Electronics from 2008  
       That latest album is really a bit of a compilation,in celebration of 10 years of making my music.The first song is "The Cult of The Violet Ray" ,that's the song I'd donated to that small label for their Scranton Music compilation. The company planning that release went by the wayside and never did press or finish that album. Dreams die hard around here ,and this company just gave up along the way,and then my song was sort of "lost" until this release. So for anyone wondering where that song ,listed inside of Disturbs The Air went, 'tis.
    After the first song tracks #2 through #9 are all from the early cassettes and CD-Rs I'd mentioned earlier,here re-mixed and re-mastered. I was a telemetry technician (watching over patient's heart-rhythms,on 3rd shift) at the time and so "Torsades Du Point" is named after a deadly form of heart rhythm. "No Instrument Music" was an experiment in making a piece  with distorted  or altered voice. It also has me slapping microphones and abusing all sorts of things recorded through effects boxes for sound making. Track #9 ,"Space" is one part of my "Soundtracks by Psychatrone..." (CD-R) album that put new sounds and old experiments together to make a "soundtrack" to a non-existant sci-fi movie(for your mind).
      The tracks from there on out are newly found pieces for the most part. I rediscovered them during the tape-vault searches for the re-mixing done on the earlier cuts. "Infinity Twist" was supposed to have a lead guitar added,but my friend said he couldn't play over a tape. He had to perform "live" along with other players at this time.  So it got lost until now. It sounds as though I must have been trying to emulate Yo La Tengo or a New Zealand scene sound on it?
       Then "Tangerine Nightmare" is a long track that is influenced by,...well,I think you can tell by the name.  But I consider this to be a "new" track although it was on an earlier CD-R release,because it now features guitar soloing over it from Brian Langan of an excellent local pop-psych band called The Swims. The past version had Edgar Froese's voice sampled in the mix,'s now as I originally envisioned it to be.
       The last song is a cover of Lou Reed's "I'm Set Free". The song to me is not about being "free",...but it's another song about "change".  So,"...I'm set free , find another illusion..." ,is exactly where I'm now at.  I am dealing with what has been dealt. Finding my new "illusion".

What is the latest update and what are you up to now ?  
      Since my son's birth,life has been more hectic. Now two children are in my life,so time slips by easily.
       I have a new album in mind, far as direction,title,and musical ideas.  But I am not sure when I will be able to start or finish it.  Personal health issues have popped up also. Finding time to create is the main issue for me now.

How is your creative process in from coming up with a theme/riff/idea to you get it down onto an album ?  
      My Goodness,that's another big question. I'll try and answer,...and briefly too.
     As far as album ideas go ,they come from "life" iteself for me. Take "Baron.." for example. I didn't sit there and plan it to be a "relationship" themed album,but after recording ,or maybe towards the end it was obvious that that's what it was. Earlier ,say with "Soundtracks by..." ,I certainly did know it was going to be sci-fi themed. But the earliest albums were more just compilations of tracks that were pieced together for overall "feel".  The real first thought out theme I really achieved was after the Cotton Casino sessions. So maybe that's another gift that came of working with her? I'd realized I could make an album around a real plan,...even though I had them in mind ,it wasn't until then (and then subsequently making Disturbs The Air) that I found I really had the ability to do that. 
      I think that my work with other's music along the way helped too. I've produced a few small releases in my home studio(for Kid Icarus, Marshmallow Staircase,...local bands)...and ideas and things would cross geminate with my own music.  So maybe all of that and the Cotton experience helped shape a few releases too.
      As far as "riff" or musical ideas ,that all comes from experimenting , having time to just play with sounds and the instruments(and added effects) I have on hand.  I guess it's all the feeling of the moment?

Just to give those of us who are unknown with your music a bit of a reference point or two: How would you describe your music ?  
       Another tough question to answer.  My friend that runs Summersteps Records ,who distributes my music,asked me this - in a way. He just said my music was hard to catagorize,and I do believe he's right.
       I'd have to say my music is certainly "electronic" ,I even treat any organically made sound electronically.I've heard "minimalist" used to describe my sounds. I try and transport the listener,so it's "psychedelic" in that sense.Plus I've thought "systems music" might be part of a description too...I do use "loop" systems a lot.  But one thing that has always occurred to me,being this is for ProgRock Archives,...I've always wondered,"Am I progressive?"  I'm not too sure. I am certainly not an instrumental perfectionist,and some prog fans insist on that. Although I do get a lot of inspiration from the early German Rock scene ,so I guess that counts. In the past I've laughed and said I am "Regressive Rock",since I sound more old than new!
     OK ,so here it goes, My music is "psychedelically tinged ,electronic,systems music",...or maybe "music for the head and mind".
     Also ,if it helps,...some fans have said I sound like Nash The Slash,Syrynx(who I've never heard),and Tonto's Expanding Headband.  I apprecialte the thoughts of all of them ,but I am not exactly like any one of them far as I can claim. So,I've just complicated things again!

What is your experience with the music industry and the new internet music scene ?  
      Oh Boy!  If by "Music Industry" you mean larger record labels,then I'd say they are all "lost" aren't they?! I've been into the independent record and music scene since the late 1980's. I gave up on major labels that long ago.  Most of their "product" doesn't even move me.
      As for the second part of your question,about the internet music scene.....if you mean access to music and fans through communication,well that's fantastic!  The Cotton album and many of my musical friendships would be impossible without the internet. One plan I'd not gone through with all the way was releasing other's music through my label. It got as far as releasing Kawabata's "Floating Flower"  reissue. But along the way there were many others I'd have liked to have helped release.....The Star Diaries(whose album sits unreleased since the mid-2000's) ,and that local band Marshmallow Staircase(who did get issued on Summersteps) for example.  This is one route I didn't follow.  Because ,partly ,of the next topic ....
      If you mean the internet as in downloading music.  Well,if it's paid for,OK.  But "Baron Von Rhonedakk" was put up for free on a "share site" a week before I released it,...and it was(and is)  my worst selling release.  So,although I feel it's OK to buy downloads( obviously since I have music out there on itunes,etc),or share concert recording made by's no good to take someone's music for free.  If I were Warner Brothers or some big label I could write it off, a one man label,....someone sharing my music can kill me.  One release funds the next here.  So,support the little guys,please.  I'm not just talking about my own label,either. Places like Wayside Music,Drag City,...Eclipse Records(for example),they NEED your support.  If you like what they do ,...give 'em some support. Their doing it from the heart,for the love of music.
      I'll add that it's very telling of the times that a week or two ago the Resident's Ralph Records went out of business. Weren't they America's best known ,unknowns? They were in business since 1972,I think. It's very sad. RIP.

What is your plans for next year ?  
      Hmmm....first I have to overcome some back injuries,then keep helping my children and family,and after that.......then find time to record music!   Don't get me wrong,I'd love to put the music first. I really do feel a need to get my ideas out. But health,...and moreso the state of change in the public's music buying tastes,as far as format,really are the things throwing my plans a curve.
     LP's are selling well,...and I have a download only sampler as an experimental "toe in the water" in the download world of music. But ,for me ,producing an album as a piece,....meaning art ,music, ideas, etc.,...that ,to me, is the total "art" of it all.  To me downloading music "devalues" what I consider the "art" of the whole plan of what I call a music release.  It makes music too disposable and faceless.  In years to come how many people will discover an old release if it's just a download?   How will that happen,...will they buy an old used iPod and find the music there?  I don't think so.  Ask yourself how many favorite albums you yourself discovered, used ,somewhere,...long after the album was out of print. Then think about it in those terms.
       So,I'd have to have a pressing of an LP plus a download card included for me to really want to release a new album.  So,I'd say no new release in one year's time. Sorry.

To wrap up this interview, is there anything you want to add to this interview ? 
      I have to say I am very happy that I did what I did ,and glad that it seemed to all happen at the right time for me. Plus I am especially grateful for the friends I have met though all of this experience.
    I really can't say when a new album will come from Psychatrone,but I think that I will know when the time is right. Probably not next year. But I would like for it to be even more "organic" in sound, and also be as planned and flowing as "Disturbs The Air" was when it gets done.
   I feel that "American Primitive Electronics",the "Early Free-Form Waveforms" LP,and the limited edition CD-R "Cellar Dweller Recordings" have nicely cleared the old Rhonedakk vaults.  All the early music is now presented in it's best forms ever.  Please check it out,and you can be the judge. 
    The next album will be a fresh start,....I'm off to find "another illusion".  See you then!

Thank you to Barry for this interview

His PA profile is here and his homepage is here

Edited by toroddfuglesteg - September 17 2010 at 16:19
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