Charles Uzzell-Edwards

Here's the interview below in text form.

Introduction
This dialogue ensued sometime in May of 1997. Recorded in Studio Z of RadioValve, the subject of this interview is owner of record label Fax USA, Charles Uzzell-Edwards.
Designed as the domestic distributor and continental resource base for Peter Namlook's German-based Fax +49-69/450464, the company in its entirety has consistently released some of the most sophisticated experimental and dance electronic music known to the vast genre. Involving legendary artists/composers like Atom Heart, Tetsu Inoue, Jonah Sharp, DJ Criss, David Moufang, Oskar Sala, and Namlook himself, Fax has established a precedent for clever, quality-recorded material, regardless the genre. Significantly, Fax releases at least 4 new recordings per month (on all its various sublabels) and keeps releases limited to 1000, or less in the case of some vinyl issues--most of them emerging from days of Fax's youth--which affords the label the unique ability to pay its artists exceptionally well (i.e., a fair, honest livelihood-sustaining amount, unlike most major corporate labels).
Originating musically as an ambient dj, Uzzell-Edwards also released a number of projects via the Fax imprint, including his two collaborations with Namlook entitled A New Consciousness I+II, and Create, as well as two of his own solo recordings as Octopus. In addition to collaborating on several unreleased projects, most recently he teamed up for the Supergroup exploration into epic sonic psychedelia. Some upcoming releases include the third in his Octopus series, and another project called Drum Machine Circle.
Not to be limited by his studio production talents, Uzzell-Edwards holds his educational background and training in fashion design, and has worked as a freelance clothing designer for companies like Anarchic Adjustment, Boxfresh, and Rebound Future, among many others. Lately, he's been designing a clothing line with Pete Namlook, called Environment, and also, his delvings into the written word may often be derived from the Pacific publication XLR8R Magazine. But I get ahead of myself, as much of this background is elucidated through Mr. Uzzell-Edwards' own words in the interview following.
For more info on Fax USA, Fax-Germany, merchandise and the artists who populate their studios, check out the respective websites at: Fax Label USA OR, Hyperreal's FAX site.

E23: What prompted your involvement with Fax Germany and... I know from some of the materials that are posted on your website, basically it sounds like you and Peter Namlook were involved in sort of a Fax exchange of letters, and um--

Charles Uzzell-Edwards: Yeah, I was basically an ambient dj with a lot of interest in the music and I was kind of tied to having to spend 24 or 25 dollars to buy these cds in America. And so I basically entered into a dialogue via fax and sending funny messages and stuff with Peter. And then it evolved as I moved out of a company I was working with; I started working with Fax and started trying to bring the price down over here so other people could get into it as well.

E: Was the company you were working with, was that more music- oriented--

CUE: No--

E: --or was that more fashion

CUE: It was fashion-oriented. I came straight out of fash-college very naŒvely into a job over here designing street-wear and designing a lot of graphics for t-shirts. And so when the time ended for that I was pretty eager to work with Peter just because we had a really strong friendship.

E: And had you ever done any musical projects prior to developing your relationship with him, or had you always been strictly dj'ing?

devslashnull: Were there pre-Fax records or projects that you had worked on musically?

CUE: Intelligent music of my own? No, it was always just a desire to be able to play music that I loved to people in environments like chill-rooms and places like that. And I'd been to--y'know, a few of my friends make music in their studios, people like Jonah [Sharp] from Spacetime [Continuum]--and I'd, y'know, just basically fallen in love with drum machines and seen this equipment and not really knowing, y'know, how it all worked. And so I had started to collect keyboards that I found in junk stores and stuff like that. But in terms of a final music production, I'd never had an opportunity to do that until I'd worked with Peter. Which was great, cos something like A New Consciousness, which was the first cd we put out together, and it was made in like 4 or 5 days. And there's some trax there that I really love, just cos, y'know, being able to get ideas that are really burning within you out as music.

E: Yeah, it seems like a lot of the projects that Pete puts out are--just from what I've read and the research I've done on Fax--it seems like a lot of the projects are assembled over a very short time--

CUE: Yeah.

E: --and then suddenly there's an album ready to go.

d: Right. Is this generally the way that he works with other artists in these collaborative attempts, is uh, they go into the studio, kinda work for 4 or 5 days, keep the DAT machine rolling and then maybe go back and pick out the best stuff and then there's a release?

CUE: Usually it's quite systematic. Y'know, it'll be like, 'okay, now we will do this'. There is very much a structure to working with Peter, which is great, because you'll know what you're working on and the direction it's going in. So I think it's short because you don't waste time, you're very direct in what you do and what you attempt to do, and there are specific tasks. Y'know, like, 'okay, I want you to go out and record environmental sounds and I'll work on this and then we'll meet back here and we'll put these 2 different things together,' y'know, as an example. And it's a really nice way of working really fast.

E: Well obviously from the mass amount of releases from Fax, so many of them seem to be not limited to solo artists but seem to be highly collaborative, and um--

CUE: Yeah. The actual collaborative process is so interesting because there are so many, um, the relationship between the 2 or 3 or 4 artists is a unique experience. And when there's a fusion of these different ideas it's really fascinating to hear. Y'know, really it's usually a dynamic combination of directions that people are going. Y'know, and artists are working at different times together. You can see how these different ideas... Particularly in collaborations with people like Atom Heart and Peter, and Tetsu [Inoue] and Peter, y'know, you can really hear what's going on with their own music within the collaboration itself.

E: Right. I think in more than any other release for me I've been able to distinguish that, um, with From Within.

CUE: Um hm.

E: Uh, because Richie Hawtin has such an obvious solo style--

CUE: Yeahhh.

E: --and Peter does too with his solo releases. And they seem to really stand out and at the same time blend just incredibly well on that particular album.

CUE: Yeah, it's really incredible. Especially also when he works with Klaus Schulze you can really see, almost see the 2 people there working together, y'know how they'll glance at each other and ideas will go back and a solo will begin and then this will happen. And it's really nice to see that dynamic.

E: Especially with someone who's been doing electronic music for so long, like Klaus Schulze.

d: Yeah, it's kinda interesting to see him coming back into production and releasing material again. For me it was really exciting because... I've been listening to Klaus Schulze's music since way back in the old days, y'know. And in fact Brian kinda turned me on, he's like 'oh, yeah, well you should check this out,' and he shows me this Fax release and I was just amazed. And then quality of the stuff, it sounds really fresh again.

CUE: Um hm.

d: It doesn't sound like rehashing of old material or some of the, um, y'know, some of the ol'skool releases from some of the old electronic guys don't really live up to their legacy.

CUE: Yeah.

d: But I think in this case it certainly does. And I think it's cool to be able to bring that kind of energy and that kind of perspective back into, uh, the ambient-slash-environmental scene.

CUE: Yeah, I think so, and I think also that the collaboration is basically... Y'know you will come back from that feeling refreshed with your own ideas. Like the way you talk about Klaus Schulze's music is growning since those collaborations. And, y'know, I'm sure Peter--I know for a fact that Peter has come back with things that he's learned about solo technique and playing. I mean, y'know, you're obviously going to learn from someone like Klaus, y'know, a lot of things. And that's always what happens, you always learn just as much as you're creating when you're in that kind of collaborative process.

E: Well, on that note specifically, um, I'm sure it's got to be incredibly exciting for all of you artists to be working together within the same framework, and for me personally it's such a pleasure because, uh, y'know, so much of my favorite electronic music is coming out of Fax Records--

CUE: Excellent.

E: --and the artists that I really respect and follow outside of it, like Jonah Sharp and David Moufang. Um, y'know, the music that they come together and do with Pete Namlook and everyone with each other, within the framework of Fax, it's uh... There's obviously an intelligence that's at work that's unique to the label, and it also seems from--[laughter] kinda the vague website info that we've been able to distill about the Electronic Music Center--it seems that, y'know, Peter/Fax are trying to kinda combine that process into a more formal environment. Um, is that really what's going on with EMC, or... Can we talk about that?

CUE: Well, EMC is, I mean, EMC really is an example of techie Fax humor. I mean it really was--

[laughter from the interviewers ]

CUE: --about the idea of--

d: So we were right.

CUE: Y'know, it's like an intelligence people want to gain and to be able to access that and to learn. And even just by the effect of learning by listening to the music and what you bring from it, um, y'know, it really serves more as a metaphor than as a physical Electronic Music Center where you go and have classes.

E: Right. Yeah, that was definitely something that seemed so tongue-in-cheek and so campy that it was difficult for us to really decipher whether that was something that was for real or, uh... And it's so exciting, y'know, of course you want it to be.

CUE: Um hm, yeah. We were almost at the point where we said that if we really had enough people who were interested in doing this it would go ahead. But it was very much on the balance of whether we would do it or not, and we decided that we probably wouldn't, we'd just leave it as an example of techie humor. [chuckles ]

E: Well David and I are ready to get our plane tickets and head over to Frankfurt.

[big laughs from all ]

CUE: Yeah, it is almost like a living process--

d: Oh, shit!

CUE: --when you're there. Because, you... you... Sorry, I can hear my voice again.

[the luckless producers scramble madly to attempt to kill the feedback echo signal outgoing to the disconcerted interviewee. ]

d: Uh, we have a little problem here on our side. Can you hear us?

CUE: Yeah, I can hear you fine.

d: Okay. Uh...

E: It looks like our muting capabilities have just crashed.

CUE: Doh!

[more laughter tainted with the ridiculousness of the technical problems ]

d: Our Mac just crashed. We're running [the phone line] through this software thing, so, uh, we--

E: We're still getting levels on you.

d: If we reboot we'll probably have to call you back. I dunno, is it cool if we just try it with this weird echo-thing?

CUE: Let's see how we do.

d: Alright.

CUE: If I start sounding confused, don't worry.

[more laughter ]

d: Alright, cos I think--it looks like it's still recording and everything, it's just that the Mac is locked up, and so we can't click [the feedback muting] button anymore.

CUE: Well, maybe when I'm ranting I'll just take my ear away from the phone and--

d: Just rant away, yeah, and that way you won't have to hear the echo.

CUE: That would probably work. I'm sorry, where were we? I just confused everyone.

d: Oh, I dunno. We could go on to something else. I mean, while we're on the subject of techie sorts of things and computers and stuff, maybe we could talk about, um, kind of uh... I mean, our program is an Internet radio program. And I'm kinda wondering, what are Fax's plans for utilizing the Internet as a distribution medium? I know that it's a really big deal for Fax to be trying to cut out the middle people and to shift the equation of, y'know, production-slash-distribution in favor of the artist, and it seems like the Internet is a good way to do that. I'm kinda curious what you guys are thinkin' about.

CUE: Yeah, well basically for us, it's enabled us to be able to run an independent label. Y'know, just through using the Internet and the connections. And even looking towards technologies, like new operating systems where you can, y'know, send sounds so much faster, and you can hear it, and it's not gonna sound, y'know, really really poor, the quality's gonna be excellent. Which is always going to be the barrier that you're reaching at the moment with the Internet.

d: Right. So, do you guys have plans to move into doing more direct distribution of material directly over the Internet?

CUE: Yeah. Y'know I think it's fascinating to be able to say, y'know to be able to email a request off for, y'know, Dreamfish 1, and then be able to download access--or actually access our hardrive in Frankfurt or our hardrive in San Francisco where you can listen to the whole project.

d: Right.

CUE: So rather than owning the cd on your shelf--

d: Right, you just kinda pop it into your machine for the the time being... But how do ya--yeah, how do ya make any money off that?

[group laughter ]

d: Somebody just logs in and grabs yer--

CUE: Well, you could probably pay for access.

d: Right, per minute er per--

CUE: You could access that every time you wanted to listen to that.

d: Exactly, yeah.

CUE: Yeah. And then I was sitting around with a friend this afternoon talking about the possibility of, if you have, you know, a huge hardrive with all of the music, y'know, from all of the Fax releases. You could then, basically, send in an email and say 'hello, I'd like these trax on my cd,' and then you could, y'know, custom-make or have custom-made cd's.

d: Exactly. Yeah, that's something that we've kinda toyed around with here, is the idea of being able to create custom-releases based on like, 'yeah, I'd like this track from here, and that track, and da-da-da-da-da,' and just burn a cd and send it off. Or, for that matter, just download it directly to your hardrive and just listen--

CUE: Yeah.

d: --to it in whatever order you want.

CUE: Mm hm.

d: And yeah, I think there's a lotta exciting possibilities along those lines.

CUE: Yeah, well, I mean all these paradigms are changing, really. It's like the idea of the millenium that's coming up, all the changes that it's inspiring--which is experiencing them. And with, y'know, a label like Fax, with being able to utilize the Internet, utilize all of the new technologies that are coming through. It's pretty nice.

d: Yeah, yeah. It's pretty exciting stuff, and I know that one of the most inspirational things about the way that Fax does business is, um, is just uh, y'know, the idea of the limited release, and the idea of putting tons of material out there, and uh, trying to constantly push the genre forward by having many releases, um--

CUE: Yeah.

E: And a high level of collaboration which is always going to be stretching everyone, as you've already mentioned.

CUE: Yeah, and I mean, the idea of it being an independent label is that the money that comes back into the label goes straight to the artists.

d: Exactly.

CUE: Two-thirds of the profits go straight to the artists rather than .20¢ from each cd, or something like that.

d: Right, which just feeds right back into the whole productivity side of it. I mean, the more that you can survive off of what you're producing, the more you're going to be producing this kind of stuff, and the level just goes up across the board.

CUE: Yeah, if you know that you can pay for rent, it's going to improve your music that much more. [he chuckles ]

E: Exactly.

d: Right.

CUE: Yeah. Yeah, that's really how it works. It's like, Atom Heart is one of the artists who's recorded for Fax, and who's now running his own label, Rather Interesting.

E: Right.

CUE: And has been able to move to South America where he's now, y'know, setting up distribution, and working on projects there.

E: Isn't he in Chile right now? Isn't that where's he's located?

CUE: Mm hm. And it's all through the knowledge that [he knows] that [his] next 5, 6, 7 releases will sell reasonably well; [he knows] that [he] can pay for this move and [he] can keep making music and, y'know, producing graphics. Y'know, and it's as a result of the computer that, y'know, sits on his desk.

[laughter ]

d: Right, yeah, exactly. I know the feeling well.

E: And also like Atom Heart, y'know Jonah Sharp, um, was involved in--I remember some of the earliest Fax releases that I purchased, um, Electro Harmonix and Alien Community, um--

CUE: Yeah, they're terrific cd's.

E: And I remember the first domestic Fax compilation was actually I guess the first, wasn't it the first Reflective release?

CUE: Yeah, I did the artwork for that. Ambiento.

d: Alright, cool.

E: So what happened with all of that? Because at first it seemed like, uh, there was the potential for Reflective to handle the domestic releases, and then it seemed like it went to somebody else and then there was, uh, next thing you know Fax USA was popping up.

CUE: Yeah, I mean they really wanted to develop their own label as such, and, y'know, we didn't really wanna try to combine the 2. And so I was around, and I just felt like, y'know, I'd take it on as my mission.

E: Well, thank god.

CUE: Cos I really feel that the music has a spiritual effect upon people. And so, y'know, I would only be able to do things if it had a real meaning.

E: Well, you can certainly include the effect that it's had on both of us in the spiritual realm.

CUE: Great, yeah. Well it's great, y'know, to hear any kind of feedback like that. That's what we do it for.

E: Well, on that note as well, are there any profound spiritual or paranormal experiences you've had that you'd like to describe? This is a question that kinda falls outside of, y'know, just yammering on about music and technology, but, uh, it's still kinda exciting interpersonal information if there's anything you'd like to share.

CUE: Yeah, I've had weird experiences where I've seen, y'know, lights in the sky, and felt moments pass where I wasn't there. And then come back down and be told 'oh, no, it was an aeroplane, it didn't really happen.' And then times when I've been camping I've, y'know, dreamt about encounters with beings, and, um, I've seen symbols in the sky above the landscape. And so I wake up in the morning with this feeling of 'well did it really happen, or was it a dream.' Which is a really nice feeling; the kind of grey area between, y'know, reality and dreaming.

d: Right, exactly. I mean, just having that, that questionable experience is enough to kind of open you up again. You feel kinda fresh--

CUE: Yep.

d: --like, huh y'know, there's more things than meets the eye, y'know, it's--

CUE: Yeah, I don't mean to come back with a talisman of that experience when there's that ambivelance between reality and dream. Y'know, it's something that was a lot more prevelant during the dark ages, y'know the idea of witchcraft and dreams and witchcraft.

d: Right.

CUE: And I love that. I love that dynamic, and I think we've lost it a lot.

d: Well, and I also think that a lot of this kind of music kinda plays to that part of ourselves, y'know, to kind of open up that space internally--

CUE: Yeah.

d: --to, y'know, possibly connect with those kinds of experiences and to sort of point the way, or, or y'know, serve as a backdrop for those things and, uh--

CUE: Mm hm, we've talked about environmental music and that's really the idea of, it creates this environment that you're within. And the power that has is that once you're within that environment you can start to explore.

d: Right.

CUE: And even if you're sitting there kind of working away, or if you're, y'know, you have some deep thoughts to get through it can really help you with that. And I think, um, that there was an intrinsic difference between Cage and Eno, as if it was Ambient--um, Cage as the Environmental musician and Eno as the Ambient musician.

E: Right.

CUE: But they're not opposed, they're almost going in different directions. One is using the environment as music, and one is using the environment to make the music.

E: Right, yeah. Um, that was interesting that--

CUE: That was my deep thought. [he chuckles and E23 joins in this ]

E: Well, is there a--you said that, um, in looking over the questions [that E23 had emailed to CUE earlier that week ] you had been able to make some notes. Is there a, are there any other particular, uh, areas that we haven't touched that you feel are important and that you'd like to share?

[after a deep breath and a bit of a pause ]

CUE: There was a, um, talking about the Supergroup release that we had, awhile ago. And I think that you know basically that I'm the head when you said that it was 'melding high aural camp' [a chuckle from E ] 'hip-hop, electro, and experimental.' But the idear of, um, a combination of humor and experimentalism, and I think you can get a lot further when you're experimenting if you have a sense of humor. If you can look back at what you do and can kind of laugh at it. And not, not in a negative, at a point of enjoyment.

E: Right, sure.

d: Right, mm hm.

CUE: Y'know, we've had points where we're so serious about creating a piece that has to be totally, y'know, really sets a tone and has to create this environment. And at that point when you really start to get the giggles it really spirals it. It breaks attention and then it allows you to start again and really do it right. And it's the point of using humor to really relax what you're doing, which is, y'know it's a real dynamic for us.

E: It seems to be a very good attitude.

CUE: Yeah, it's fun. And it's good when you can transfer that emotion to other people. They can go 'oh, I see what he's trying to say, I see why he's combining these 2 disparate things.' Yeah.

E: Can you tell us a little bit about the release--I'm not really sure, uh, on the website it talks about several unreleased projects and being in the area of the country we're in it seems that sometimes we're able to get things, y'know, right as they're made available in the States, and sometimes, uh, something that up here is new to us is, uh, has already been around for awhile. Uh, the Sonic Weirdness project with Atom Heart, is that something that's available, er--

CUE: No, it was more, um, originally it was going to be a project that we were going to work on together, but it hit him right when he was moving to South America. And I think now, you know, at the stage where I am, I wouldn't want to take it further, cos it was just a project that wasn't finished.

E: I see.

CUE: And there are a lot of projects like that. There's a project which I did with Skylab, y'know, which I listen to and which I enjoy. And projects that almost--y'know with people like Tetsu, which I listen to and enjoy, but... Sometimes I'm too selfish.

[laughter from E and d ]

CUE: And I'd like to keep it to myself. And also it's not feeling strong enough about the music. Sometimes, y'know--

E: Sure.

CUE: --we just drift off for a few minutes and really, y'know, play with one sound. And although at the time when it's very interesting, when there's so many other musicians puttin' out so many more interesting things, sometimes you just kinda hold back on the quantity and practice on the quality.

[dead pause ]

d: ...Okay.

[big laughter from all 3 tech dweebs ]

CUE: Sometimes I get so into the music I don't really see it for the trees. And then after awhile when you listen to it again and again and again, you say 'okay, I've learned from it and I want to take it a next step when I make something new'.

E: Y'know, it's interesting that you mention that because my perception, um, uh, I think Fax is the label that I buy the most electronic music material from--

CUE: Mm hm.

E: --and I've definitely noticed that, um, kinda on a percentage ratio, it seems like probably about 85% of the stuff is some of the best music that I'm hearing being made in this genre, and then there's about 15% that, um, at times seems to have a weakness because it does seem to kinda lean to the noodling end.

CUE: Yeah, there is always, obviously, going to be a noodle-factor in electronic music, and there is a noodle-factor within Fax.

d: Sure.

CUE: You know... But I think there are times wherein that point in time when you are making those sounds you are so serious about them--

E: Right.

CUE: --that it's, it's important to you.

E: Well, and it's necessary.

CUE: Yeah, and maybe as time passes they're not--they don't affect people in quite the same way.

d: Right.

E: And it is necessary for that experimental edge, y'know, always pushin' the envelope, learning things by doing.

CUE: Yeah. Yeah, it's really the noodle-envelope. You have that 15% of room just to kinda play around, and you can normally, y'know, get out of it.

E: What can you tell us about Pete Namlook as a compositional artist, and also can you reference a bit of his apparent fascination with Oskar Sala and, uh, subharmonics?

CUE: I think he is really aware of the, uh, the history of electronic music in Europe, and his love of someone like Oskar Sala and his reverence for him. I mean, the way he talks about him in some of the, y'know, notes in some of his releases with Oskar Sala, ummmmm... I'm sorry, I just got a repeat in my ear and it put me off. [chuckles ] And so I really think that he is aware of this history about music, and by releasing something like Oskar Sala's music he's trying to get it out to a wider audience, people who, they wouldn't even hear his stuff althought they love electronic music. Y'know, they have more Orb and they wouldn't have so much Oskar Sala in their collection.

E: Right.

CUE: But it's nice. And for historical... Y'know, those cd's are historical documents of his music.

E: Yeah, absolutely.

CUE: Yeah.

E: Is this a trend that might continue with Fax? Is there a possibility that there could be a, y'know, like old Stockhausen releases, er--

CUE: Well, I think Peter's point of view with when artists send him music, his critique is that it has to be exceptional. And regardless whether the artist is 90 years old or 19 years old. That's the only real critique, and the only real thing, y'know, they have to pass.

d: Mm hm.

CUE: I mean, working with Peter I've really been inspired, because the way he does make compositional trax is... [he struggles for words to fit his perception ] ...I dunno. It's hard to explain. It, it feels like there's a force driving his decisions, y'know. And to be involved with that environment and to feel the emotions of his music is really amazing. Y'know, I feel priveleged to have him as a collaborator, and also to have him, y'know, as a best friend. Just because there's this kind of--you know, just because of the energy that's within him, I mean, look at the amount of cd's that's been produced this year. It's the 5th, y'know, anniversary of Fax and it's, y'know, around the 300 cd mark. That's pretty good.

d: That's incredible.

E: Yeah, it is incredible. So--

CUE: Yeah, and when I first go into it and I first found out about Fax I almost didn't believe it! Cos it just seemed too good to exist, y'know. Just for the fact that every 2 weeks or 1 week for the last 3-4 years there's been a new piece of music. And I particularly, although I'm a distributor, I'm the biggest fan. I would sit there and, y'know, wait for cd's to come in just so I could hear it for the first time.

d: So are there any special projects being planned, y'know, to commemorate the 5th anniversary?

CUE: There's a really massive party being planned in Frankfurt, Germany.

[pleased chuckles from everyone ]

d: Alright, cool.

CUE: Yeah, I think we have like 3 or 4 rooms with different styles of music that's come out through Fax. And people like David Moufang, DJ Criss, umm, Peter, uh, I can't remember the list of people who are going to be there, y'know, doing something.

E: Is there a date on that?

CUE: No. It's not firm, we're just talking about it. These are pipe-dreams right now.

d: Uh, in terms of upcoming releases, is anything that you can tell, uh, listeners that, uh, could kinda give them an idea of what might be coming down the road here in the next, y'know, weeks, months?

CUE: Coming--some of the things that are coming out soon?

d: Yeah.

CUE: A collaboration with the Higher Intelligence Agency and Peter, called S.H.A.D.O.

E: Wow.

CUE: A combination of different styles, including Electro, Ambient, Environmental, Late Romantic and Trance.

d: [chuckling and muttering off mic ] ...Heh, heh, heh, Late Romantic...

CUE: And so, uh, people have tended to get a bit excited about that. And so am I.

E: Mm hm.

CUE: And then, Air IV should be coming out within... Probably the next month or so. And Sultan II... And... I mean, you're talking about this being almost like an entity or an intelligence, and that's what it feels like. These thoughts that are being pumped out, y'know, in terms of music.

E: Well, we're always certainly excited for the next Fax release here on the consumer end.

CUE: Great, man.

E: Well, um, we're coming pretty close to the end of the tape, and I didn't want to take up too much of your time. And I certainly apologize that we were kinda late coming to you today.

CUE: Hey, it's no problem. It's just kinda nice being able to formulate ideas and discuss. And all of this leads a--y'know, information wants to be free to allow it to travel around.

d: Well, we feel the same way.

E: And that's why we do what we do.

Check out the respective websites at: Fax Label USA OR, Hyperreal's FAX site.