SA: how does the name "un caddie renversé dans l'herbe" take origin?

Ucrdl’h: From the french novel "Journal de dehors" by Annie Ernaux. I liked the sentence (that means "a supermarket trolley upset on the grass") and immediately I related to what I wanted to do with music. Something far from the market, as a second-hand process...

SA: do you think you have an ironical attitude to sounds? Do you work with instrumental toys? Do you know Pierre Bastien's meccano-music?

Ucrdl’h: Maybe it's a mixture of ironical, nonsense and naive. Mainly because my approach to music is completely nonprofessional nor academic. I don't use to record with toys, but maybe sometime... And yes, I know Bastien's work; I think it's interesting in the same way as Pascal Comelade's work, but my distance with their music is quite evident for me because I can see them very close to Anglo-Saxon rock music, something that I'm really far... I've never listened to rock music in my whole life, its structure and aesthetics are not for me...

SA: were you part of a local scene, when you used to be in S. Paulo? And how did things change, going to Barcelona?

Ucrdl’h: I left Brazil when I was a little child, so...

SA: in your music, we have found an almost analogic approach. What’ s your feeling with digital processing?

Ucrdl’h: When your are not really skilful with your own hands, and when you are trying to make something alone, you need the machine... Only with it I can arrange loops, combine layers and so on. But of course I could do the same with more people or with cassettes and spending more time; the computer helps me on the process, but before computer of course I already made sound pieces.

SA: you keep the distance from that thing you call "clicks and cuts stereotype". What’s the possible escape for nowadays electronic scene?

Ucrdl’h: It's a question of time... We must see all our activities in the process of our life, and not just as the product of today.

SA: do you prefer solo works or collaborations? And what about the ones with dj olive and vitiello?

Ucrdl’h: I prefer to work solo because it's difficult for me to know when I'm ready to record something. And I don't like to rehearsal, something important if you want to go beyond improvisation. Dj Olive and Vitiello remixed my work, it was not a collaboration. Actually I'm working with some people (like FS Blumm or Guido Móbius), but it's only by mail. This is the way I wish...

SA: you have published a record with Staalplaat, a fundamental label for experimental electronic music: what's your position toward this kind of music, almost historical?

Ucrdl’h: Well, it was not a proper release on Staalplaat: I'm not sure if still exists, but they had a label called Open Circuit and everybody could make a record, and they pressed the copies only if someone asked a copy. So we can't talk about a record on Staalplaat. But for me it was a nice record to make, an excuse maybe to record it. About historical music, from everywhere, is something very important for me. I know that my knowledge is simple and poor, but this is one thing exiting, because to know that there's tones of music to discover (and recorded before) is amazing.

SA: and, in this direction, what about big and successful events, as sonar is? You took part to it: can you tell us something about that experience?

Ucrdl’h: Well, Sonar has changed in all these years. This is not a bad thing, I think is the natural process in any big enterprise. In the same way, in all these years I've changed too. By now, I think sonar and me are very far from each other, and for example this year (one month ago) I decided to not go there. It's not that I'm against it, just that my interest is changing...

SA: you are not just a musician, but also a writer of books and hypertexts. Do your activities influence each other’s?

Ucrdl’h: I'm not a musician! I'm not a writer... I'm doing basic things, things that are very related to ourselves, like making sounds, writing or cooking... I don't understand why people can define themselves as artists, I think is more a trademark that an identity. Of course if you receive money for play music someone can say that you are a musician, but I think that in fact you aren't. It's just another fiction in your identity baggage.

SA: listening to another Dekorder's production, Voks' one, we started wondering about dada: should we wish for a flock of new-dada?

Ucrdl’h: I'm not really interested in western avantgarde after some years studying it. I think Art History is more related to Economy than to self expression; western art in the XXth century is more close to colonialism than to innovation.