As far as southwest, I like it because there are a lot of people around, it's fairly diverse and heavily populated. I can walk for groceries, batteries, blank cassettes.

MT: Has Moon Pool found an audience? How are people reacting to it?

Shettler: We've had a great response on the net. People claim to love it. We even had a fan in England send us a vintage synthesizer to use. Just ended up at Nate's door one day. "Here, love the sound, you blokes need this."

MT: How has the ability to release music "as it happens" changed your approach to making the music?

Shettler: I think it's similar to a cassette culture in a way, only on a broader scale. Anyone with a computer can listen to our "demos," I'd guess you'd call them. But they're out there, available to everyone. I think we just lucked out with jams that we want to share with people. Sometimes we'll just lay something down and throw it up on the net five minutes later. I respect when people can hold back like Conspiracy of Owls, Infinity People and not let anyone hear something till it's perfect, but I think this project is more malleable at all times. We're not striving for perfection; we strive for variety and making it interesting and different every time.

The recordings so far are really just basic blueprints. The magic is in the live performances. Eventually we'll go into a professional studio with a multi-track tape recorder and professional gear and record definitive versions of these tracks. I still believe in the importance of that.

MT: Do you have plans to unleash any more "tangible" documents soon?

Shettler: As soon as it makes sense. I still feel like we're evolving at an alarming rate. As soon as we both feel like we have a monster first LP we'll cut one. There are some vinyl singles in the works for early next year though.

MT: The show at the Bakery Loft has you and Quail trading sets over the night. Any particular hope for what develops from that dynamic? Is it a rock-off or a duel?

Shettler: That was Jay's idea; he wanted to have a concept of nonstop music. I was into it because we always feel like we're just getting warmed up after an hour of playing. I've had more than a few people say that we should play longer, and we've never done a set shorter than 55 minutes and that was on a support slot. I've had experiences playing in Europe where people will get upset if you don't play for one and a half, two hours. It's not punk, it's not noise, it's not abrasive and I think people could deal with two-hour sets, enjoy them even. DJ's will play for hours on end! And that's great because people just lose themselves in the rhythm, in the texture. I don't get up there so people will look at me or what I'm doing, I do it so people can lose themselves in the sound and just enjoy themselves getting out of their heads, high — on drugs, on life, on Jesus, on the vibration, on the color. That's what I'm doing. I think everything in the universe consists of vibration and these sounds we are making are super-concentrated vibration, the kind you can hear and that really affects your body, your mind and your soul. The soul is vibration.

Friday, Oct. 15, at the Bakery (the loft above the bakery at 4303 Vernor Hwy., Detroit); $5 admission, first set at 9 p.m.; for more info and music, go to facebook.com/moonpooldeadband.

> Email Chris Handyside