Mindwave architecture: An interview with V4W.ENKO

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Evgeniy Vashchenko aka V4W.ENKO creates sound and visual compositions based on custom applications using Max/MSP(?); a visual coding tool used to create interactive visuals, installations, and complex interactive environments. Vashchenko is a Ukrainian artist working in the fields of live electronics, installation, sculpture, sound, and video art since 2007.

Can you talk about your background and how you started?

I was studying art and music when I was 16, and immediately started my first experiments with sound then. Years later, I got the most important education for my activities – a bachelor’s degree in architecture (and a master’s a bit later) and started experimenting in that field. After 6-7 years of architecture I returned to music again, with new media tools for sound and visuals. Now I’m running a music label (the most complicated job for me, and which requires a high level of organisation), and my art project, v4w.enko, which is my favourite and most important as there is a lot of space for freedom in creation of new media installations, music compositions, audiovisual collages, sonic sculptures, music performances, etc. The third project is sound-design for films, which is also interesting in terms of creating specific sonic spaces.

Why did you decide to work with algorithms?

Good question. It was impossible to decide otherwise, as my background is in architecture. I received a specific experimental architecture education, where in the second or the third year of studies, students’ minds are tuned to an understanding of nature as a really complicated algorithmic structure. Yes, architecture is a discipline that teaches you different kinds of algorithms for creative processes. I decided it is really important to bring this approach to music. I just had to find the right kind of algorithms that could build interesting compositions and forms in music.

You work in various media – sound, video, even apps. Can you talk about your approach to each of them?

Most of my interest is to find nice algorithms and to connect them together. When the structure (algorithmic composition) is ready and /or somehow working, it is possible to connect different kinds of media from there. I create apps, then I create the sound and the video from that app.

The media scene has developed a lot since you started – thanks to technology (the growth of AR, VR projects, etc). How does your work reflect these developments?

Yes, it’s developed a lot. I would like to stick to the traditional ways of presenting my work, but yes, I’ve done some experiments with VR. AR and VR will always target a specific audience. My focus is basically “this” space and how is it possible to work with the physical reality of spaces in human life. My roots might be in architecture for the public and the space, and I like “real” textures, as high quality sounds will always be different to real sounds. I work with synthetic materials as generative systems only, but I also like to do analysises of the way sound behaves in the physical world, or write emulation systems of natural behaviours etc..

Can you talk about the Ukrainian AV scene?

There are several collectives and art groups. If I mention some names it won’t tell you anything. Search for “Ukrainian media artists” or “Ukraine sound art”.

What are your current projects?

At the moment, I’m focused on our old collaborative project with Aiuto (v4w.enko & Aiuto). It is an interesting sonic combination, as Anna uses very raw analogue modular frequencies and makes specific harmonics out of that. It is the opposite of the MaxMSP sound, but it works really well together with it. It forms a wide sound sculpture with the highest level of creative implementation in real time. There’s also my current installation, “in[ter]sect”, driven by mindwaves. It is a great research endeavour for my experience in the animation of brainwaves in sound and visual re-parametrisation processes. One of my favourite works, “Scalar v.202”, is also frequently presented. The urban mapping version of this work is going to be displayed at Kyiv Lights Festival this May.

Recently, I mostly find myself creating installations or special immersive virtual spaces. And, of course, sound is the most important media component of my creations.

Foto by Anna Vaschenko @ v4w.enko “in[ter]sect”

UH Fest announces first SHAPE acts

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The Hungarian experimental staple returns for another edition of concerts, talks and workshops this October. UH Fest is one of the 16 members of the SHAPE platform, as the network’s Budapest outpost. Between 1 and 8 October 2017, around 40 artists are set to perform there, among those a number of SHAPE artists. The festival has announced the first names to look forward to this year: Paris-based DJ, producer and L.I.E.S. Records label head Ron Morelli, Brussels-based hardwave and techno-influenced producer Maoupa Mazzocchetti and Danish DJ trio Apeiron Crew (all SHAPE), as well as the likes of Tara Transitory.

UH Fest was established in the early 2000s in Budapest. Since 2001, it has staged more than 500 performances and a number of one-off events. “In terms of the festival itself, what I find important is that it’s really a kind of festivity, a communal happening with a certain atmosphere,” as one of the festival organizers András Nun told us in an interview. 

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Maoupa Mazzocchetti discusses Belgian electronic music, serial killers and experimentation


Brussels-based Maoupa Mazzocchetti debuted on Unknown Precept with a cryptic dispatch from the brink of hardwave and minimal electronics, experimenting with thick quakes, paranoid tones, and caustic drum machine welts. Call it what you will, Maoupa’s vicious industrial terror adds sex appeal to discomfort when the dance floor turns ugly.

Are you originally from Brussels?

I’m from the south of France, but I have been living in Brussels for the last six years. Maoupa is a Belgian project.


I started to record music alone and without a specific name or goal, in parallel with my (new-wave / post punk) band in the south of France around 2011. After I moved to Brussels, the band dissolved and I got into Maoupa 100 percent. It was really born there. My first year in Brussels was so musically intense. Almost every day, I would discover a new Belgian band or artist. Lots of new musical approaches have been introduced to my brain, and to a certain extent, changed my vision of music.

I read somewhere that your artist name was inspired by a serial killer.

It was inspired by the name’s melody in particular. I wanted to find a name that wouldn’t sound too Italian, because Mazzocchetti is very Italian. During this period, I was interested in the psychology behind serial killers. Check the French author Stephane Bourgoin’s work, it’s so interesting.

You mentioned it is a Belgian project – were you also inspired by Belgian electronic music per se – EBM, New Beat, etc?

To a certain point, yes. To be honest, not so much by New Beat, but rather by the stuff that came before and after, like Bene Gesserit / Klinik / Danton’s Voice / Pseudo Code / Somnabulist / Dirk Ivens / Walhalla records / Insane Music… It was genius and had taste compared to New Beat. Belgian electronic music is very specific. It has a very DIY approach and aesthetic. I’m into Belgian music from the end of the 70s and the beginning of the 80s; a huge quantity of music was produced in this period. Belgium = Insane Music = Pseudo Code = Alain Neffe = God. Last year, I had an epistolary correspondence with him and he told me that he was also a member of all of the bands featured on the Home Made Music for Home Made People compilation, which he produced for his prolific label, Insane Music. The label is one of my biggest Belgian influences.

What exactly inspires you in terms of that period’s sonics?

This musical period inspires me (amongst other things) because the aesthetic sounds very avant-garde to my ears. It’s a fact. There was a different kind of freedom in music back then. Nowadays, electronic music is very attached to club music, in the sense that it should make people dance. That generation was focused on making electronic music without a purpose. It’s very different nowadays, exactly because of this.

Do you think people have lost this experimental approach because of club music?

With the internet, it’s hard to say people have lost interest in experimentation. Now, you can live in Brazil and produce very interesting experiments with Japanese influences, for instance. Lots of bridges are created thanks to the internet, and experimentation is present more than ever. The fact is, it’s difficult to play this kind of niche music in a DJ set, or live in a club. Not because of the crowd, it’s more about those who run the clubs; some people are too focused on making money, and it forces them to seek out more Facebook likes or listens. I think it’s fake and unhealthy for self-proclaimed cultural spaces. I’m talking about big clubs here, not small venues. For me, the best feedback is to hear that someone didn’t know this music before, and that they really liked it and would return the next time to hear it. We need to keep in mind that art is just entertainment.

When you play, do you feel this affects you?

To be honest, I play whatever I want when it’s a live set! I think it’s important to trust yourself, and, of course, to doubt yourself even more. When I DJ, it doesn’t make sense to adapt, it means you’re lying. People book you for your approach and not to be a juke(club)box.

You also collaborate with a lot of artists and projects. Can you talk about that?

The last one, called De-Bons-en-Pierre, was with Beau Wanzer, and was released on Dark Entries. We have many similar musical influences, and after a couple of years of sharing music, the idea of working together came up naturally. When Beau knew he’d be touring Europe in 2016, the first idea was to record something together as soon as he’d be in Brussels. Then there is the Berbiguier project with Eindkrak from Amsterdam, which has also been very creative. We played our first gig in that city, with a playback dialogue at the beginning, a banjo surrounded by synths, drums, and lots of humour. There’s also the An Ultimate DJ project with PRR! PRR! owners PD Cloarec and DJ Coquelin. Our next release will be folk in collaboration with Robert System and a foxtrot dancer; L.A.A.M with Air Lqd and Lostsoundbytes released on Vaste Choses and PRR ! PRR !; and a project released on BANK records with Nick Klein.

You also work as a graphic designer.

Yes, I do artwork covers, flyers, books, and posters. I like variety. I also make drawings and sometimes I teach workshops at graphic and art schools when an opportunity arises.

How’s the music scene in Brussels?

For the last couple of years, it has been very dynamic. There are lots of crews and event organizers. The atmosphere is very friendly. This electronic, experimental niche is very small though. There’s a place called Épicerie Moderne, where this kind of music found its home thanks to promoters like Vaste Choses / Intramuros / Nose Job / Schiev / Listening Festival / Orpheu …. although it would be good to have more venues that are less afraid of this music.

What are your current projects?

Due to some delays, I’ve put out four releases in six months recently, which I think is too much. I want to focus on my music and collaborations. I’m recording with guitar, tabla, tam tam, synth, and drums. I’m very influenced by Arabic, 80s experimental and strange music. I want my music to be crazier and more humorous.

How did you learn an oriental style of playing?

I didn’t learn it. I tried to discover it by myself, but on a certain level I found it through my friend Luca, who’s into a lot of music and studies Arabic culture and sociology. She’s also a DJ in a duo called Luca and Matha Hari, (they play a lot of good music on their radio show called Strange Sounds From Beyond). I visited her a month ago in Cairo, and met a man called Zein who repairs electronic gear and sells rare records from Egypt, especially Cairo. It was very inspiring. I don’t want to limit myself musically. I want to surprise myself and to explore different things rather than to stay inside my comfort zone.

Did you start playing music via guitar?

I started playing music with derbouka, tam tam, and tabla borrowed from my uncle and aunt when I was 8 or 10. After that I learned drums, but I stopped quickly because of solfeggio. Afterwards I explored guitar by myself. I had a short-lived ‘ghost band’. In my last band, I played guitar and drum machine. I got introduced to electronic music through a CR-8000 drum machine and Kawai 100F synthesizer.

What inspires you apart from music?

Jokes and novelties….

Do you think there are some wider context parallels between now and the era when the music you mentioned being inspired by – the late 70s/80s – was made (the return of EBM, industrial, etc)? Is society back then and now similar in any way?

We are talking about very niche music. I think internet music is trendier than the return of EBM or industrial. Art school kids create crazy music from the web and with very technical VST’s on their computers these days. They are so experimental, but in a different way, and it’s huge. It’s probably just a cycle.

Listen to Céh live at Novas Frequências 2016

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Listen to a full recording of Hungarian noise rock duo Céh performing at the Novas Frequências festival in Rio de Janeiro, Brazil, where SHAPE had its second showcase beyond Europe. The concert has been broadcast by the London-based radio station Resonance FM.

Céh is a minimalist punk experiment, a collision of two worlds: Raymond Kiss’ visceral guitar and Gábor Kovács’ rough and rugged electronic sounds and intense vocal presence. The outcome is an amalgam of noise rock, industrial punk and delightfully crude drum programming. The band’s debut Youth is Impossible was released in 2015 by the Hungarian art collective Brain Fatigue.

This performance took place on December 4, 2016, at Leão Etíope.


After studying dance, Kirikoo Des aka NSDOS, felt the need to create his own sound in order to explore movement. This is how he started imagining a whole new sonic order, an alternative approach to music –through abstraction. NSDOS can’t restrain himself to existing technological tools and softwares, he prefers creating his own mediums: futurist instruments made of old audio converters (carte son), Gameboy emulators, pieces of metal dismantled and weld together giving form to surreal machines. Surrounded by his hybrid tools, NSDOS unravels the rectilinear anatomy of techno music. Textures are exploded, sounds mutilated, and brought back to their essence. This sonic odyssey, NSDOS initiated in his native town Paris before exploring it deeper in Berlin –a city that he sees as a giant laboratory in which he experimented the field of possibilities. A huge admirer of the Dada and Lettrism movements, NSDOS can be considered as the offspring of a DIY culture.

He ranks among his icons artists such as Christian Marley, Stelarc or Donna Haraway who gave him a desire to push the limits of the body, objects and sound. His alternative vision and the way he reinterprets technological tools have made him one of the most important techno hackers of his generation. NSDOS doesn’t create, he regenerates and transmutes music. His creative path is empirical, sometimes organic as he puts sensors on insects, his public in trance, trees –everything that comes on his way –and transcribes their movement into sounds. After three maxis, Lazer Connect in 2013, Female guest in 2015 both signed to Parisian music label Clekcleckboom Recordings and Money Exchange published in 2016 on his label Standalone Complex, his new album, Intuition, intervenes as the completion of his organic vision of music.

Inspired by meteorological stations and according to a principle of «bio feedback», NSDOS surveyed the movements of nature, turned into data before translating them into sounds, textures and rhythms. The album comes with a series of 5 videos detailing the creative process of the artist –from recording in the middle of nature to the studio. In Intuition, NSDOS splinters the boundaries between genres and places techno as a matrix. His album reveals his sense of discipline, one that he draws from his passion from Japanese dance Buto, as well as his interest for biology, his experimental aura through industrial, sometimes nearly metal sounds. All these elements form the essence of whole new movement, unclassifiable, of which he constantly pushes the frontiers. Intuition will be released on May 19 2017.

Download press photo here (Credit: Sienna Shield)


Rokolectiv is coming and NSDOS joins SHAPE platform

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April sees SHAPE – the Creative Europe supported platform for innovative music and audiovisual art – returning to concert-goers via the Rokolectiv festival in Romania (April 20 – 23), which will feature six performances by artists, participating in our platform. Read more about this event, new mixes and small changes to this year’s artist roster in our news update.

SHAPE is eager to announce that French rhythmic music/digital art project NSDOS has joined the platform – by choice of Rennes-based festival Maintenant, NSDOS will be replacing producer Jacques, who cannot continue his participation in SHAPE as his schedule for 2017 is incompatible with the sequence of SHAPE festivals and one-offs.

NSDOS – aka Kirikoo Des – is a hybrid artist who works simultaneously on dance, music and digital art. He is passionate about the interactions of man and machines, fascinated by the links between body and computer and endlessly curious about the infinite possibilities of the confluence of the organic and technology. After studying dance, Kirikoo Des aka NSDOS, felt the need to create his own sound in order to explore movement. This is how he started imagining a whole new sonic order, an alternative approach to music –through abstraction. NSDOS can’t restrain himself to existing technological tools and softwares, he prefers creating his own mediums: futurist instruments made of old audio converters (carte son), Gameboy emulators, pieces of metal dismantled and weld together giving form to surreal machines. Surrounded by his hybrid tools, NSDOS unravels the rectilinear anatomy of techno music. Textures are exploded, sounds mutilated, and brought back to their essence. This sonic odyssey, NSDOS initiated in his native town Paris before exploring it deeper in Berlin –a city that he sees as a giant laboratory in which he experimented with the field of possibilities.

Another important announcement is that Rokolectiv – SHAPE platform’s Romanian partner festival – will hold its 2017 edition on April 20 – 23 in Bucharest. Alongside such acts as Foodman and Silent Servant, the platform will be represented by Romanian DJ ChlorysBlack Zone Myth Chant – a project of Afrocentric psychedelia and hypnotic footwork by French psych-drone artist High Wolf, Lithuanian musician J.G. Biberkopf, whose “audio theater” works are impressive collages that draw on a wide range of influences, including grime and musique concrète, hardwave and minimal electronics influenced techno producer Maoupa Mazzocchetti, Russian-born, Bunker records-associated DJ Inga Mauer and experimental duo Amnesia Scanner whose sound design decimates and regurgitates tropes of trance, future grime, Atlanta, noise, and mainstream pop.

French electronic music festival Les Siestes Electroniques has announced the dates for its 16th Toulouse edition – it takes place between 29 June and 2 July. Les Siestes Electroniques is one of the founding members of the SHAPE platform. As far as SHAPE is concerned, Céh, a noise-rock influenced duo from Budapest, has been announced. They are set to play alongside the likes of Huerco S, Marie Davidson, Princess Nokia, and others.

The latest episode of SHAPE platform’s monthly radio show is streaming online, and features interviews with Slovenian artist Robertina Šebjanič, Black Zone Myth Chant and experimental rhythmic music duo N.M.O. Listen to it here:

Also, don’t forget to check out our website for new SHAPE mixes by Julien Desprez,N.M.O., Oriole and Dynamons, presented in collaboration with our partners NTS Live and Resonance FM: http://shapeplatform.eu/category/listen/

The SHAPE platform is a three-year initiative, co-funded by the Creative Europe programme of the European Union.

To find out more details and full line-ups of the aforementioned events, please visit: http://shapeplatform.eu/events/event/

(Photo:Gergana Petrova)

Resonance Extra show on Rokolectiv festival 2017


Listen to a special Resonance Extra broadcast, devoted to the 2017 edition of SHAPE member festival Rokolectiv, which happens in Bucharest, Romania. The show is hosted by Jared Marks and features tracks by Silent Servant and Princess Nokia as well as many SHAPE artists, including Inga Mauer, Maoupa Mazzochetti and J.G. Biberkopf.

Rokolectiv Festival kicks off between 20 and 23rd of April in Bucharest with live and dj sets, installations, screenings and more. The main venues will be Control Club, the newly opened Apollo111 Teatrul and Salonul de proiecte. Rokolectiv’s SHAPE showcase of 2017 will include performances by Amnesia Scanner, J.G. Biberkopf, Maoupa Mazzochetti, Inga Mauer, Chlorys and Black Zone Myth Chant.

Track list:

JG Biberkopf – From Infinity to Here
Foodman – Pori
Maoupa Mazzocchetti – Traligion (Unknown Precept)
Black Zone Myth Chant – Night Myths Black Zone Myth Chant – He Evil
Princess Nokia – Brujas
Inga Mauer – Metadose
Inga Mauer – I’ve nothing to say
Silent Servant – Self Hypnosis
Amnesia Scanner – Truth
SMD – Far Away From A Distance (Lena Willikens Remix)
Amnesia Scanner – Robot Labor Isn’t Working

Click here for more info on Rokolectiv 2017.

V4W.ENKO mix for Radio Campus


Listen to a new SHAPE mix by Ukrainian multimedia artist and musician V4W.ENKO, created entirely out of his own works, both studio and live. The mix has been created for French radio station network Radio Campus.

V4W.ENKO creates sound and visual compositions based on custom applications with Max; a visual coding tool used to create interactive visuals, installations and complex interactive environments. Evgeniy Vashchenko is a Ukrainian artist working in the fields of live electronics, installation, sculpture, sound art and video art since 2007. His work is realised by manipulating self-programmed algorithms in real-time. From 2009 he has participated and performed at number of media festivals, such as FIBER, Ars Electronica, CynetArt, Mutek, Kvitnu, NextSound and others. He has released works on labels like Kvitnu, Electroton, Nexsound, JNN, FRAMED, etc. Since 2011 he has run a label – the FF’Space, which is dedicated to algorithmic and abstract approaches in the arts of sound, visuals, design and micro-software development. Under the alias of V4W.ENKO, Evgeniy performs and develops algorithmic tools, installations, sounds, objects, visuals and graphics all over the world. In 2011 the audio/visual CD album “Harmonic Ratio” by V4W.ENKO was mentioned by “Qwartz Awards” (under direction by Alva Noto and Matali Crasset) nominated in the “Discovery” category.

Track list:

“Re6extract” from “Harmonic Ratio” [Kvitnu]
“Tetra Continuation” from “Synthetic Explosion” [FF`Space]
“Rasterise1-2 and White” [selfreleased]
“01___221_PT2”  from “Synthetic Explosion” [FF`Space]
“Rthmrq1-a” [unreleased]
“ffspacetwo-a” from “FF`Space”  [selfreleased]
“02122720120234”  from “Information” [FF`Space]
“22-TSh _5”  [unreleased]
“Inputs_connect_d” from “DI_Rec” [0 bis]
“U_c” from “DI_Rec” [0 bis]
“Tremololegs+_eq” from “DI_Rec” [0 bis]
“DotCompound” [JNN024-remastered at FF`Space 2017]
“Dt_fragment3” [JNN024-remastered at FF`Space 2017]
“Untitled 5 – 38-52”  [unreleased]
“Untitled 3 41 59”  [unreleased]
“Sm” from “Harmonic Ratio” [Kvitnu]
fragment of “v4w.enko – Live @ Sensimo ‘tilda’ 2016 Festival ”

V4W.ENKO has been nominated to the SHAPE platform by Dresden’s Cynetart festival.

Olivia: ‘Parties are not only about music, we should also act more’


Olivia has been a key player on the Polish electronic music scene for 12 years, both solo and performing as Chrono Bross with her brother Kinzo Chrome. The originator of the fabled Kraków club night, Radar, Olivia, together with her confrère Chino, remains fully committed to pushing the local scene. As an Unsound Festival regular, she co-hosts their monthly radio show on Radio Kraków. She draws inspiration from both music and the world around her. Her approach to sound and search for music are informed by a wide range of influences, from the future shock of Detroit techno (Mad Mike, Jeff Mills, Robert Hood, Juan Atkins, Scan 7), the distinctive Dutch sound (Clone, Creme, Bunker, Viewlexx and Rush Hour), through to the images and ideals of 70s science fiction and technological progression, the infiniteness of space, the unfulfilled promises of robot designs, and the unexplained mysteries of paranormal phenomena.

How was the scene in Kraków when you started?

It was difficult, because there were not so many underground clubs. I didn’t know many people from the club scene, so it was about going there and asking to play. When I started to play in Kraków, drum’n’bass was the most popular genre and we had great DJs who played it. I was more into electro and techno at that time, so my brother and I would just go to different bars and ask if we could play and throw our own parties.

Warsaw, for instance, had a really active techno scene in the 90s with Jacek Sienkiewicz, etc.

Yes. At that time Warsaw had a lot of great DJs such as Jacek, Mic Ostap, Motyl, etc. Jacek also started his own label, Recognition, and then, with Motyl, opened a club with great music. DJs from Łódź were also were active. There was even something like a Love Parade in Łódź in the 90s.

You started DJing together with your brother.

Yes, we started collecting records. He’s more into italo and disco these days, but we also play Acid House, and Techno together. We have a party series called Radar, which is made by myself, my brother, and Chino, a producer from Silesia.

Does interest in music run in your family?

My parents are not into music, it’s only me and my brother.

You are interested in the context of Detroit techno, futurism and science fiction.

I’ve been into Detroit techno from the very beginning. I’m a big fan of Underground Resistance, and they influenced my DJing a lot. I started listening to and playing electro because of Drexciya. And if I think of science fiction, I realise that I really like to observe the cosmos. It inspires me.

You also mention that you are inspired by “unexplained mysteries and paranormal phenomena”.

I believe in ghosts and UFOs; all the things “normal” people don’t believe in. If you have an open mind, you are more open to music. I believe in the power of the universe.

Does UR’s activist/political side inspire you as well?

Yes, in the way that you as a musician should always observe what’s happening around you. It’s not enough to play music; as an artist you should be active and speak out when you see something is going in the wrong direction in your country. I follow what’s happening in the world. I often get angry, for instance, about what’s happening in Poland with our government at the moment. I go to all the different protests, I can’t just sit at home. Some people say I play very raw and brutal music nowadays, but I think it’s because I’m so angry about what’s happening around me. For instance, on May 3rd (2017) we’re organising a picnic with music and tree planting because our government has changed the law and now it’s easier to cut trees down. We don’t agree with that, so we’ll play some music and plant trees here in Krak
ów. The environment is really important to me.

You collaborate with Unsound festival, which is also based in Kraków.

I’m a resident DJ at Unsound Festival and I also do logistical work for them – organising travel, and accommodations for the artists.

Since you are both involved in the scene actively as an artist and also involved in production, how do you view these two sides?

It makes me realise how much work is involved in running a festival. When you’re an artist, you don’t think of how much work promoters do for you. I think artists should respect promoters more. Working with Lukasz [Warna-Wiesławski] and Mat [Schulz] from Unsound has developed my music world. We talk a lot about music at the office, which is great.

Could you talk about your music selection in your DJ sets?

It depends on where and at what time I’m playing. My warm-up sets are completely different to my peak-time slots. I’m also often looking at who I’m playing with, as well as the context of the party. I prepare my DJ bag for each and every party. I can play acid, house, techno, electro, disco, italo, wave, industrial. It completely depends on the night.

Do you also make your own music?

I started producing two years ago. I’ve been a DJ for more than 12 years and I see myself as a selector in the first place, not a producer. Initially, I was a little bit scared, but now I’ve started to feel more comfortable with making music.

Will your DJing influence your production?

Yes, of course. I love acid house, so you can hear the sound of Roland synths in my music, especially the 303. I’m also into the music vibe of the 80s, with all its melodic synths.

Photos: Magnolienfest with JG Biberkopf


J.G. Biberkopf’s music spans club, theatre and digital radio contexts. His debut first EP, titled Ecologies, launched the new Knives label created by Kuedo and Joe Shakespeare of Berlin’s Motto Books. Upon invitation by the Class of Raster Noton’s Carsten Nicolai and in collaboration with Cynetart Festival, Biberkopf performed in Dresden on 7 April 2017, alongside Alva Noto and Stanley Schmidt. Check out the photos from the event below.

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Photo: Dumke