Star: How do you feel about it now?
Rhys Fulber: I like it now. I mean, it's still hard, the singing is weird, the sound of your own voice is usually a traumatic experience for a lot of people. And also because I've worked with so many singers before and as a producer I kind of know what to tell them, but when it's you and you kind of know what you have to do- it's something that takes a lot of practice. I'd never really done it before, so it was like my brain knew what to do but my mouth didn't know what to do, you know. It was a little nerve-wracking but I just sort of trusted some of the people whose opinions I respect and, you know, they were kind of like 'believe me, it sounds really cool,' so I'm like, 'OK, we'll run with this.' Because my ultimate goal is to not have to have so many people involved in making these records, so the more I can whittle it down, the easier it is for the creative process. So that was an experiment to see if I could, you know, pull it off. And it's a song that is really, really close to me, I love the lyrics. I can really relate to a lot of the lyrics, and it sort of almost feels like it's my own song even though it isn't, you know, it's one of those kind of things. So if I was going to sing something, that would have been perfect, you know. But as far as writing my own vocals and stuff, there's still a way to go.

RS: With Tiff Lacy, I know she's singing on a lot of different trance records right now, how did you get to hook-up with her?
Rhys Fulber: To be honest, I'd never heard of her. I was working with Peter Wright, who wrote a song on the Oakenfold record, and he's published by Nettwerk, and he was suggested to me by someone at Nettwerk, and I had a piece of music that I wanted somebody to write a nice vocal for, and so they said 'try Peter.' And I talked to Peter and I sent him that song, and he sent me back a demo and the vocals sounded really good, I don't know who it was, and I had a few people try and re-sing it and it kind of didn't really work because of the sort of sound of the voice was kind of unique and some of the parts didn't sound good with anyone else doing it. And then I found out it was someone named Tiff, she sang on the Oakenfold record I did and I've worked with her before so I used her, but at the time I had no idea. And then I later found out she sang on a Lost Witness record. I still don't know much about her, I've never met her. You know, it was like I'd sent the track over, they recorded it in London and then sent it back to me, so yes, I just thought it sounded really good and that was all I knew really.

Star: Let's chat about a few of your other projects When you hooked-up with Sarah McLachlan and she appeared on Silence, a lot of people were surprised because of her previous mainstream top forty success. How did she come to be the choice for an underground song like Silence?
Rhys Fulber: Well she's on Nettwerk in Canada, so we're on the same record label, so it's just kind of like the same group of people. She lives in the same city, in Vancouver. And, you know, she was pretty successful at the time but she wasn't as big as she is now, and we were just making that one Delerium record. And it's quite a while ago now, I mean it's like 1997 when we were doing that. And Nettwerk said, maybe we'll get Sarah to come, because she'd actually sang on something before, this industrial band from Boston called Manufactures, she'd actually sang on one of their records previously. But that's going back a little bit. So she'd done this before with Nettwerk when Nettwerk had another artist and they wanted a female vocalist, so she did it. So at that time she had already sang on an underground record, so we didn't really think of it in that way at all. I mean, at the time it was no big deal, you know, it was like 'oh, she's going to come down the studio and sing.' And at first she was just going to sing sort of oohs and ahhs, it wasn't going to be a lead vocal, and then she came in and laid down a vocal on it. You know, and it was pretty fast, I mean looking back on it, it was really like just, you know, she was in the studio a few hours and that was it, and I mean we didn't even think it was going to be a single, we just thought it was an album track, it was like 'yes, that sounds cool.' But by no means were we like 'oh yes, that's the one,' I mean it all happened way later. And I still think it's really strange how it sort of took off like that. It wasn't really until the remixes where that thing really kind of got a light shone on it, because it wasn't even going to be a single.