I realize a kind of constancy came to be, spontaneously, in our different releases. They can be sorted by how they sound and how they’ve been recorded. I’m particularly happy with an open “serie” of tape releases that include Pripyàt Holidays and Soupe de Sorcière. They include what is likely to be our most “accessible” recordings, because it’s short tracks that could sound like songs if you’re very drunk, and it’s the materials that have been reworked the most, post-recording. These tapes are collection of tracks that fit nowhere with one-shot, 30 mins improv and thus gathered on these releases. Most of our discog is just raw live recordings, with a bit of editing to remove what’s just too bad to be heard. A way of working that anybody with a professional relationship to sound will find just terrible. With these two, it’s different, there’s much more post-editing work, done by a self-taught guy with a bad ear, but done.