Recording under several guises, Adam W. Flynn's recorded output in 2007 has been nothing short of prolific. From his stunning GP~00 project, his ambient guitar-based project .Redshifts, through to his latest Unflower direction, Flynn is currently creating some of the most engrossing music to come out of the UK in some time.

In this interview he talks about each project, his label Parasomniac Recordings Inc and some very interesting collaborative work that will see the light of day in the near future.

Could you describe your main musical influences that inspired you to pick up the guitar and create music in your myriad of projects?

It's a bit of a grey area! I like to keep what I listen to fairly diverse, recently it's anything from not-overly-cheesy pop to noise, sinister beats and hip-hop/dub comps, when I first started out with an instrument, it was all kinds of music that had me wanting to play the guitar seriously, but I've always just had this gross fixation on sounds and been fiddling with instruments dormantly from as far back as I can remember.

I first picked up the guitar seriously, back when I was about 15. A friend showed me a few chords and what not, got the gist of it, bought my first guitar a year later, taught myself rather quickly and was in, then out, of 1 or 2 bands, both I rapidly lost interest in and a year or so later as my influences broadened I started GP~00. Before I picked up any instrument I was making these tapes of what I suppose I would call instrumental hip-hop (it was my very first style that had any influential toll on me) under some retarded moniker with a computer and such things when I was 12 or 13, that was quite some time ago now though, in retrospect I remember it being pretty crap and it wasn't anything serious obviously at that age, but those were my first inquisitive experiences.

Can you talk a little on each of your projects (GP~00, .Redshifts and Unflower). What were you trying to achieve with each of them?

Each one has their own "parameters". GP~00 sort of relies more on organic textures and enveloping all the elements at my disposal to build up an environment, initially trying to develop extreme but not overly coherent environments that reflected my mind and perhaps my worldview, things I see, read etc. I'm working to bend the listener's psyche in some way and if it's that's what it's doing then my work is done. I want to constantly keep it open-ended so no two outputs sound completely the same, I suppose the differences between "i" and "New England" are a microcosm of this as they were very Yin & Yang and came out with a very short space of time between them.

.Redshifts was off-the-cuff textural experimentation with the guitar and slowly trying to implement industrial grittiness but I think I've already done everything I want to do with that project in the meantime.

Unflower (available here for free download) is just something I'm letting loose with; it's mainly weird, angular electronic noises but still has that oppressive sound, which never seems to escape me, and there's still plenty of harmony.

Focusing on GP~00, how would you describe that sound to a new listener?

Tough one, I suppose someone could listen to, say, the first album and kind of come away from it with mixed opinions over it's direction, sometimes I can listen to it and think it's a fairly uplifting album but sometimes I could think the complete opposite; dark and melancholic, it's all about catching it from the right angle - or maybe that's just me, sometimes I like it and sometimes I think it's a crock o' shit.

The .Redshifts we heard on the Burning Emptiness release is much different from the later 'I - VII' album (read our review). Was a move towards an ambient style always your intention or did it happen naturally?

I actually recorded the album first, a year ago, then "Msvinhrs" track for that album in the spring, and followed up with "Distant" for Burning Emptiness in the Summer then finally released the album on CD through my personal label (Parasomniac Inc.) not long after, the track was more of a deviation for the split more than anything really, but maybe in the future I'll approach it again.

Unflower is your latest project, does the title have any significance to the music and who influenced it?

The influences are really in limbo! I suppose they may be picked upon when people listen to some of the tracks, as for the name "Unflower", I just really liked the name and, at least to me, it had many connotations, but I prefer to think of the names as symbols more than anything with metaphysical depth, so to speak. I have my own meanings for everything I present, but I like to present everything in a way that is purely open to interpretation if anyone even bothers to really care.

As an artist that is very generous, in terms of the availability of legal downloads, what are your thoughts on Radiohead's recent 'experiment' with "In Rainbows"?

I think it's the next logical step for a lot of bands who have gotten very big over time and felt out of place with their major labels whom used those bands exploitatively for their own gain, it's an archaic model to do business with, and I hear a lot more bands are following Radiohead's path now, cutting out the greedy fucking middle-men in the suits, it's going to be very interesting in the future to see how these cunning record company dinosaurs worm their way out of a long overdue extinction once again.

The last GP~00 album 'i' (review) was issued through Forgotten Empire Records, how did this relationship come about?

Brandon (Helms, label owner) had contacted me some time late 2006, I liked his projects and said he was starting up a label, wanting to release my stuff, at the time myself and Asylum were looking to release our EP, I posted out that to him to make a few copies to release and it all went on from there, they uphold a good relationship between band and label and promote a lot of freedom to do as we please.

Would you recommend any other bands on that particular label?

It's a pretty diverse label really! And they seem to be taking on a lot of bands this year, there are a couple of ambient style bands including my own, and there are a lot of great bands - they're all fairly different in their own way, a lot of louder, heavier stuff.

Your website lists a number of forthcoming projects for the remainder of 2007, can you tell us a few things about them?

Just finished a remix for The Grasshopper Lies Heavy's next release; a CD mix and a Vinyl mix, we'll be collaborating on a release some time soon too, which I'm fairly excited about, umm, I did a few remixes for Ocosi in the Summer and those will be coming on Separate EPs for a series he's doing this X-Mas, I *may* also bring out a GP~00 EP/Single or I might recall the material and refine it, there's also a couple of compilation appearances coming up soon, more bands/projects in the new year, I may not come out with another GP~00 full-length for at least another few years though.

Having already released two full-length albums as well as several download-only releases are you in danger of burnout or do you thrive on continually making music?

It never feels like work so I think burnout is probably unlikely for as long as it doesn't, even though getting involved with/working on about a dozen or so things in less than a year is a bit heavy, and sure I tend to make things harder for myself, especially recording things and sometimes find myself doing dozens of takes at the slightest slip-up, but it's all good and I do things at my own pace.

I am particularly interested in the collaboration with ((Konntinent)), what can we expect from it?

Maybe something unexpected, each track is over 20-mins long and they are definitely a big deviation from what we normally do in our own respects, I'm still in the middle of mixing my track, and I think Anthony is too so I'm not sure exactly when this thing will see daylight but no doubt it will.

Have you ever considered film soundtracking and if so which genre would you like to try your hand at?

Damn. Good question. I'd be quite keen on doing orchestra-informed soundtracks, you know - but I developed a taste for the grainy, soundtracks from shorts from the 60's/70's that focus on repetition and it's a bit of an influence.

Final question, the world is going to end but you still have time to listen to one album, what would it be?

That situation would leave me in one heck of a muddle!