VB: You're in the middle of a packed tour, doing a different show in a different city pretty much every night. How do you keep yourself creatively and physically grounded at that pace?
WM: Creativeness is just a constant. I'm always trying to make the most of a moment, no matter how mundane - I may be trapped in some epic line at an airport. My mind wanders like crazy sometimes and I come up with the oddest of thoughts haha. Physically, it's based on my mentality. I learned from a young age from my father not to say no or stop however my body may ache or be tired in any way, etc.
VB: You have a very energetic stage presence. Do you think of Qual live as a theatrical persona, or is it simply an extension of yourself?
WM: There is a little bit of theatrical there, but it's not the basis, as I'm literally just going with the flow however I feel in that moment. I may spontaneously go nuts.
VB: Your first album Sable has a much more ethereal sound than your other albums. Do your albums get progressively darker and harder from experimenting with new things, or do you visualize what you want to curate before you tackle a track?
WM: I enjoy harder tracks, but I also like something in the middle. I am happy to work on actual songs and not just dance numbers - I guess I try to combine that. Darkness is a constant theme for sure. I am always experimenting with new things. There is no visualization; it's all based on pure feel. That's how I have always worked - it's like second nature to me.
VB: Do you see Qual's sonic direction as something that naturally unfolds with your emotions and circumstances, or do you deliberately set out to reinvent the sound with each release?
WM: For sure, and yes - with each release I'm always wanting to push for something a bit different, something a bit fresh from before at least. For example, I just finished my new album (on the way with Fabrika Records), hopefully in the next three months, and it's very refreshing. I'm super proud and managed to impress myself with this one.
VB: Back in May, you released Where Animals Play with Emad Dabiri of SARIN under your side project General Dynamics. What was the catalyst for the creation of that project, and what's your process for writing music together?
WM: We both love EBM, clearly, and it was a no-brainer to just kick it and see what comes up. We tried, and everything unfolded immediately - the songs just poured out of us together. Both albums we wrote within weeks. I might start a bass line, he might toy with it, or one of us starts a bit and we mess with it - riffs, whatever. It's like constant bouncing with elements till we're both happy.
VB: Your remixes are fantastic, and some of my favorites. What is your process in remixing another artist's work?
WM: I usually like to not listen to the original song first of all. Then I choose one or two elements/stems. If it's with vocals, then it's a must to include, of course. And like that, I just act like it's a Qual track and just sprinkle the Qual magic.
VB: How has the electronic gear that you use evolved from when you started Qual to now?
WM: Wow, in great depth. It's crazy to think how much gear I went through since the first album. I really finally found my favorites, so we could say I fine-tuned Qual to where I want it to be. But having said that, I'm always open for new stuff along the way - vintage or new - it just depends what gets my attention.
VB: Is there any gear or tool you want to experiment with that you haven't yet?
WM: There is nothing I can think of, to be honest. I had most of the beasts and kept my favorites. I'm really content with what I have.
VB: Has your songwriting process shifted as your tools have changed, or do you still approach tracks in the same way as when you started?
WM: Yes, I used to write a lot on Ableton, but since I got MPCs, I love to write on those. I go from MPC Live to MPC2000 to MPC60 and 3000 — and they're all awesome. My favorite is the 60. I used to write music also with an MMT8 sequencer, so it was like building tracks with separate sequences and building a song like that. It was used especially on half my first album and half on my second album. But now I just prefer MPC.
VB: Your video for Funeral Fashion was visually fabulous - for me I saw elements of The Borg, Dune, H.R. Giger, and George R.R. Martin. What goes into creating a video for you, and do you enjoy that aspect as an artist?
WM: Thank you. That video was mainly pulled together by Tamas Mesmer - he is an awesome video maker. He was also involved with the Lebanon Hanover video of Kali. We just discuss a few things and maybe bounce a bit, but it's mostly him directing, etc.
VB: Do you feel visuals are an equal part of your expression, or are they more of a complement to the music?
WM: They certainly add a vibe, which I feel is essential. I like to think they assist.
VB: Do you have any collaborations in the pipeline, or artists you'd love to work with in the future?
WM: I would find it pretty sick to work with Ho99o9.
VB: What are you working on now that fans can look forward to?
WM: I just finished the album - it's literally on the way - and I also shot my own VHS camcorder video for a new song, which I also edited myself. And to add, I'm about to unleash a new song live (from the album that is about to come out!) on this very U.S. tour!
