Maybe nine months on, are you happy with the reaction to 'Dear Painter, Paint Me'?”

“I am very pleased with the reaction – it has been out for a number of months and there has been some time for me to reflect. Putting together the material and the time surrounding it was stressful and exciting. I am very happy that the label understood my point of view and gave me the freedom to present it the way I had. I wasn't sure what people would make of a record like that. The tracks are all very different from each other and aren't necessarily on trend, in my opinion. The general feedback has been very positive. It feels my audience understood my strategy and were able to run with it - many thanks for that!”

How did you create the record? Were you touring and road-testing tracks, or did you make it in seclusion?

“I worked on the record exclusively for a number of months. I stopped touring and only concentrated on assembling the tracks and final album. I started in Paris with the arrangements and spent a few months in Berlin to finish the recording and editing. Some of the melodic elements had been written in the last two years of moving to Paris from New York. They were elements I would keep turning back too with this project in mind. These starting points informed the rest of the albums tone and emotional themes.”

How has touring the album been? Do you play mostly new stuff, or mix it up?

“The last year has been extremely rewarding and busy. My live set-up has always been about spontaneity. I always mix up known material with current ideas. This keeps the challenge alive and my inspiration intact.”

Was there a difference between the sets you performed as part of The Contact events and the usual Heartthrob show?

“The Contact shows were very much about collaboration. I would find myself having to play off of the DJs and live acts all at the same time. This is completely different from when I am working on my own. I have to say it was very stressful, but a lot of fun and a nice change of pace from playing alone.”

Speaking of which, how did you feel it was received? It certainly provoked a lot of debate among certain types of people on the internet…

“The 10 Contact shows we organized around the globe in 2008 were varied and intense. The scale and level of production that went into them set the apart from other shows. We had an incredible visual display provide by Ali Demirel, who worked off the music the musicians were providing. Each of the shows had their own factors that made them challenging and unique. Some were stronger than others. I feel they were really well received as a whole.”

Are you tired of people asking you questions about ‘minimal’?

“People don't ask me questions about minimal actually. Most people I encounter at shows or online have eased up on labelling or discussing the genre of ‘minimal’ - and that’s nice. When I got into electronic music 15 years ago, what party DJs played was techno or house and I have always loved a combination of both. There are always trends in music and especially this scene. My focus is on making music that is unique and that challenges my abilities - hopefully music that smart, funny and imaginative people can enjoy and relate to.”

So, speaking of which, what state do you think minimal music is in today? Do you still share the same beliefs about production and sound that you did say, three years ago?

“A lot has changed in the last three years. I have been touring full time and make my living off of music. My perception towards my music and what is going on around me has evolved. It has become harder for me to discover music that blows my mind, but at the same time I have kept a bit of a focus on production and not getting lost with what is out there. On the flip side, it feels right to become more open to the market-to stay inspired and involved. The thought of combining live and DJing is also interesting to me after the Contact events. I am fortunate to have found an outlet and am interested in developing it further.”

What do you think about the almost cult-like appeal of Minus? Does that promote or hinder creativity for you? As in, do you feel obliged to create one 'Baby Kate' for every five more left-of-centre pieces?

“The label has grown incredibly since I got involved 8 or so years ago. I have been friends with some of the artist and people involved for as long as 10 years and they have become my closest friends, Support from an audience has been as tremendous for me. To see people freak out over something you have been involved with since a teenager is wonderful. I simply try to make the best music I can and see what happens. Thankfully I have followed a similar path as the other artists on the label and things are still very exciting and inspired.”

So what happens if people decide to turn en-masse against the label? Would you care?

“I would be very sad if Magda was burnt at the stake.”

Are you now a full-time producer, or do you hold down a day job?

“Full-time producer.”

Do you make it to New York very often? What do you miss about your home city?

“I lived in Paris for three years and was in New York for eight years before that. I have been living in Berlin for one year. I had always wanted to be closer to the label and the studio and felt it was time to give it a shot. The energy of the scene here is really great. I love hanging out with other producers especially Panorama Bar on Sundays. I miss New York for the energy and see myself spending more time there this year.”

What is next for you?

“Working on new music!”

http://www.myspace.com/heartthrobminus