I was born in Kansas and I moved around a lot. Being an Army brat, I lived in many places including Manila, in the Republic of the Philippines, and Hawaii. That’s two archipelagos. Two! How many archipelagos have you lived in? My time in Manila was when I first really got into electronic music. I had already been exposed to Soul Sonic Force, Jonzun Crew and the like (all the stuff on Tommy Boy) in North Carolina but then I discovered Kraftwerk, Egyptian Lover and the whole remix scene. From there everything exploded in the mid to late 80s in Hawaii. Freaking Hawaii! Depeche Mode, OMD, Pet Shop Boys, CCCP (American Soviets), Micro Chip League etc. I was already listening to rock, but then I started listening to the Cure and Front 242. Before I knew it I was dressing funny, dying my hair purple and listening to Skinny Puppy, Front Line Assembly and Clock DVA.


This is when Index was formed. Originally a trio, we had too much fun and eventually went our separate ways. Being the reigning lunatic, I kept the name and the rest is history. Index was initially a mix of all my influences, including electro, hip hop, ambient and the harder edge of what used to be called industrial. Black Light Twilight was the first record to really put me on the map, followed by Faith In Motion, which was harder and darker. This was succeeded by Ultra Hard Shadow, probably the most creative of the Index records and my personal favorite. It is also instrumental. Index returned later as Index AI, for the releases World Blade Center and Topiary En Hades.


Because I was so prolific at this time I put out a record called Empyreal Day Dreams, by my side project, Skylash. This release is lighter, instrumental electro with a strong melodic sense. Other side projects followed, including Coconaut (Evenings In Eternity), Telepheriq (Eric Chamberlain Music), Zombie Death Ray (Gigas Infantes ex Inferno, which was just me having fun, not a serious record) and quite a bit of other material that never saw the light of day.


As electronic music evolved I became aware of a new wave artists including Future Sound of London, Autechre and Aphex Twin. I became interested in more ambient sounds, drum and bass, and the unfortunately named “IDM” or “intelligent dance music” (thus implying that everything else is not intelligent). This was also the time that we saw the initial growth of the Internet and its impact on music. I stepped away from music about this time, not knowing what to do. The world has changed and “scenes” in which people are divided by music seem anachronistic, dated, nearly fossilized. Finally coming to grips with the new realities of the world and industry of music, I feel like I can once again write what I want without worrying about fitting in with a particular group.


It is with these things in mind that I prepare new material under the name Gogi. Why Gogi? Because the new material reflects everything that has influenced me musically, spanning my entire life, I wanted a name that has real personal meaning. My dad used to modify and race motorcycles. My baby-speak word for them was "gogies". I made it the singular "gogi". My dad always wanted his own motorcycle shop but the Cold War with the Soviets was escalating and he ended up in Vietnam and with a career in the U.S. Army, so the shop never happened. I was also badly burned on one of those motorcycles when I was an infant. I still have scars on my hands from that and I believe that experience had something to do with my creative side. As you can see "Gogi" fits me, as a person as well as the music, perfectly.