but also technicolour or at least glorious Sovkino colour. My work with the Free Theatre in the mid-1980s which involved doing sound and lighting design for theatre before straying acting was to begin with less a deliberate choice about honing a particular scene-making or scene-evoking craft than it was about worrying that my girlfriend was going to make off with bohemian members of the theatre group and having to justify my presence at rehearsals and shows. The fascination with working in experimental theatre, which very few people seemed to understand at the time, and the creative scope afforded by its enforced minimalist aesthetic came a little later. How did the new 'Ambivalence' release come about? I understand you worked with Arnie van Bussell on mastering the release -- but where did you source the live recording? I don't know how much "pre-loading" or seed-sowing was done by Bruce Russell in this matter but Roger Shepherd rang me at some point in 2010 to announce that having reclaimed Flying Nun one of the prime re-release projects he had in mind was the Pin Group. I thought that this was a chance to correct a minor error on the Siltbreeze compilation of 1997 where a Coat demo had been accidentally substituted for the Flying Nun 003 track. The idea of doing a decent Ronnie van Hout artwork package was part of Roger's pitch but I thought that it could do with an extra dimension if possible. As it happened our house got