16 Horsepower leader David Eugene Edwards has developed a close cooperation with Wim Vandekeybus since "Blush" and later "Sonic Boom", the next production of dance company Ultima Vez. With Woven Hand, his other project consisting of friends from Colorado, he plays live during the last performances of "Blush".

How did you get acquainted with Wim Vandekeybus?
He was looking for music for his show. A mutual friend, Tom Barman of dEUS, advised him to come see us play at the Botanique. He came and liked it, but did not want to disturb us after the concert. Two or three hours later we went into town and walked past a bar where Wim happened to be. He saw us, went outside, introduced himself and that's how it all started.

Were you familiar with contemporary dance?
I knew nothing about the world of dance. Therefore I was a little bit anxious/uneasy, because my music is not "dance music" at all. But from the beginning, Wim said to me that he just wished that I would make the same kind of music that I usually make. He only gave me some indications about time and technicalities of the production. For the rest I was totally free.

How did you go about?
He gave me videos of his previous productions, which allowed me to see how he worked. I quickly saw the similarities with my own work. Then I came over for two weeks during the rehearsals to get the feel of the show. Afterwards he sent me videos of the work in progress as it went along. But I composed and recorded everything at my place in Colorado. It is a different way of making music. For once, I was free to write and to record sounds without bothering about songs.

Was it clear from the beginning that you would appear on stage?
Yes, Wim and his team insisted, because that gives them extra backing, it gives them supplementary support. But for that you need a place that can welcome everybody, and an organizer who has the necessary means. Of the 140 shows, we only played live during just a dozen performances.

Is it very different from a normal concert?
Completely. I really have to pay attention to everything. Usually in concert, I play with my eyes closed. Here, I have to pay attention to the dancers, to the other musicians, to the small notes that I have in front of me. I can't let myself go, but it is an interesting challenge.

It's impossible to pigeonhole you in the world of music. Is that an advantage or an inconvenience?
I don't really know. I do not belong either to rock, or to country, or to world music... I have been influenced by folk music and gypsy music from Eastern Europe… all these traditional instruments which nobody uses. At the same time, I grew up during the punk era. I loved The Birthday Party, Television... All these influences are amalgamated in my music and form something that can't be labeled. But I have been doing this since 1995. That's how I can make a living for my family and pay my loans, so it is OK.