NO MORE

Andy, you have stated that "inspiration is for bongo players" and that songwriting is strictly a matter of work. What does your daily labor look like when carving out a track, and how do you know when a song is finished?

You took your name from The Stranglers' "No More Heroes" but dropped the "Heroes" to refuse a wide variety of things. What are the specific things No More is saying "no" to in the cultural landscape of 2026?

You now cover Bowie's "Heroes" live, effectively bringing back the word you dropped in 1979. Is this an act of historical reconciliation, or is there a deeper irony at play?

You began your career in Kiel during the "German Autumn," a period marked by political kidnappings and social anxiety. How did that literal "greyness" in the air shape your early sonic palette?

Your double album Kissin' In The Blue Dark is structured as a transition from dusk to sunrise, with one CD being "Blue" and the other "Dark". Why was it important to separate your pop-oriented and abstract-instrumental impulses into two distinct physical entities?

Tina, you play both keyboards and the theremin live. The theremin is an instrument played entirely without physical contact. How does this gesture-based instrument alter your physical presence on stage compared to playing synthesizers?

When you performed with Johan Van Roy's Suicide Commando, you got to see the project that literally named itself after your 1981 song. How did it feel to see your minimal post-punk track mutated into aggressive, industrial EBM?

Andy, you have expressed a desire for CDs that are the size of a 7-inch vinyl record, limited to forty-five minutes of music to force the artist to focus. Why is physical limitation such an important part of your artistic philosophy?

You have consistently refused to do virtual online concerts, stating that art requires real, physical presence. How has your perspective on the value of live performance changed after the forced isolation of the pandemic?

In your 2022 interviews, you noted that ninety percent of modern underground bands look back at someone else's past, whereas you had to invent the future because of a lack of technology. How do you avoid the trap of looking back at your own past when performing classic material?

Many music journalists struggle to categorize your sound, labeling it post-punk, No Wave, or minimal electro. Why has remaining uncategorizable been both a benefit and a marketing curse for No More?

Your VOD Fest performance is scheduled for 19:30 on the Outside Stage. How do you plan to use your chronological transition of dusk to match the literal "blue hours" that define your modern writing?

For years you refused to play Suicide Commando live. What is it like to be kept alive by a song you did not want to perform, and did retiring it change how you heard your other work?

A Belgian band named itself after your song and arguably became more famous under that name than you were. What does it feel like to be a footnote to your own title?

The first single was cut in a laundry room on a machine that sounded broken. How much of the No More identity is actually the sound of that room, and could you record it anywhere else?

You picked the name No More in 1979. It reads like a threat and a prophecy. How does it feel to have spent more than forty years outliving your own name?

DJ Hell reanimated the track in 1998 for a scene that did not exist when you wrote it. When a remix hands your song to strangers, is it still yours?

Andy, you have said you dislike questions about inspiration because they lead you to say something profane that sends people down a false trail. What is the false trail people always take with No More?

You lived through the original Neue Deutsche Welle before it became a chart cliche. What died between the DIY version and the hit-parade version, and can it die again with anything now?

Tina, the theremin is an instrument you play without touching. In a duo built on tension, what does an untouchable instrument let you say that a keyboard cannot?

You describe your world as post-punk proto-electronica Kraut glam. That is four refusals to sit still. Is genre-homelessness a strategy or just what happens when you refuse to repeat yourselves?

You reunited after twenty-two years. What did the older duo understand about those early songs that the young band did not?

German angst has become an export label almost like a fashion. Do you feel you are selling something real, or curating a nostalgia for a darkness that has been made safe?