Letter from Tom Moody

 Thanks, John,

I think in terms of a movement, what interests me about what you're doing is pushing the electro envelope. (By electro I mean completely artificial "spacy" sounds as opposed to techno where there are lots of jazzy, natural sounding hi hats, Rhodes sounds etc) I'm always encouraging Claire Corey in her digital paintings to think about what's inherently the property of the tools she's using, including "mistakes." As opposed to using Photoshop etc, to just imitate paint.
I don't completely follow that advice (neither does she), but you are really committed to it. I like that you've chosen to use these products of club culture as your starting pallette, as opposed to MAX/MSP and the whole "sound art" pallette.
Reading those Reaktor forums, those guys don't fuck around in terms of making unheard of sounds, where they're lacking maybe is a clue about what kind of music to produce, since "dance music" is just a bunch of codified tropes at this point, including so-called glitch music. Also, they do everything in Reaktor! Surely the greatest interest would be to have Reaktor rubbing up against other gear and sounds.
I'm still learning, so I'm teaching myself the tropes first. I did a drum and bass piece that I think is starting to get into the ballpark of my personal gods (4Hero's Parallel Universes), even though that music is now 10 years old.
You've inspired me to push the music further in terms of energy and "out there" sounds.

Best, Tom 

(2001?)