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The chdh collective studies the relationship between image and sound by creating audio and visual algorithmic synthesizers. They mainly use these audiovisual instruments during live performances. Using equations describin

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Erika Szurcsik aka Unknown Child: ‘ I will never call myself a musician’

Erika Szurcsik is a multifaceted graphic artist deeply rooted in…

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‘My work is like an archipelago’: Sis_Mic interviewed

Sis_Mic is the new project by Pom Bouvier B., an…

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Medieval music and Kraftwerk: An interview with Elektrovolt

Elektrovolt is the electronic alter ego of Jimi Hellinga, living…

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‘Stelarc is my Frank Zappa’: NSDOS interviewed

After studying dance, Kirikoo Des aka NSDOS, felt the need…

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Christian Kroupa: ‘You can’t really be into making just house or techno all the time.’

Hailing from the sleepy town of Logatec, Slovenia, Christian Kroupa…

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Mari Kvien Brunvoll on music-making, awards and Ricardo Villalobos

Mari Kvien Brunvoll’s music is a personal expression that straddles…

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‘Art should step out of museums and galleries’: An interview with Neja Tomsic

MoTA is a museum without physical space. Its programmes are…

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Alex Augier: ‘I don’t want my projects to become technological demonstrations”

Alex Augier is an electronic musician based in Paris. His…

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Ilias Pitsios talks about Greek underground music, the Beastie Boys and his labels Echovolt and Into The Light

Ilias Pitsios (aka Dynamons) is the co-founder of the Greek…

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Waclaw Zimpel: ‘Where can we be free, if not in art?’

Waclaw Zimpel is a classically educated Polish clarinetist. He studied…

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Gabey Tjon a Tham talks about exploring the natural side of technology

Gabey Tjon a Tham (NL) transforms spaces into a sensory…

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Apeiron Crew discuss DJing, club politics and Copenhagen music scene

DJ trio Apeiron Crew, founded in Copenhagen, is made up…

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Franck Vigroux: ‘My music is the result of desire’

Franck Vigroux is both a musician and a director. As…

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Hiele discusses Antwerp music scene, soundtracks and fisherman’s songs

Hiele’s music surfaces in the form of hard to pinpoint…

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The rituals of Entrópia Architektúra: From Neurosis to Zen Buddhism

It is difficult to pigeonhole the music of Entrópia Architektúra. It has…

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Technology is not a style: An interview with Fraction

Fraction (Eric Raynaud) is a French musician, composer and producer…

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From Ligeti to Hyperreality: An interview with Battle-ax

Her performances are as much disruptive as they are refined…

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Mindwave architecture: An interview with V4W.ENKO

Evgeniy Vashchenko aka V4W.ENKO creates sound and visual compositions based…

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UH Fest announces first SHAPE acts

The Hungarian experimental staple returns for another edition of concerts,…

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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…

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Rokolectiv is coming and NSDOS joins SHAPE platform

April sees SHAPE – the Creative Europe supported platform for…

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

Olivia has been a key player on the Polish electronic…

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‘Myth is an interface’: An interview with J.G. Biberkopf

J.G. Biberkopf’s music spans club, theatre and digital radio contexts….

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From Anthropocene to Aquatocene: An interview with Robertina Šebjanic

Robertina Šebjanič (based in Ljubljana) works at the crossings of…

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Gymnastics with N.M.O.

N.M.O. is the project of North Sea drummer and producer Morten…

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Brushing teeth with Machine Woman (interview)

Russian-born Anastasia Vtorova a.k.a. Machine Woman is a sound artist…

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Exploring the subconscious: An interview with Black Zone Myth Chant

Black Zone Myth Chant is a project of Afrocentric psychedelia…

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Silesian sounds: An interview with Lišaj

Lišaj is a Czech musician whose sound is based on…

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Light, body, space, music: An interview with Julien Desprez

Julien was born in Paris. He taught himself to play…

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Lift-off: An interview with Mike Rijnierse

Mike Rijnierse (1974) is a Dutch artist, performer and educator…

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Chlorys: ‘I believe in professional amateurship’

Chlorys is a DJ, visual artist and soon-to-be-cyborg based in…

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Thomas Ankersmit on ghost sounds and working with Phill Niblock

Thomas Ankersmit is a musician and composer based in Berlin. His work has been released on the Touch and PAN labels. Ankersmit has long-term collaborations with New York minimalist Phill Niblock and Italian composer Valerio Tricoli. Since 2006 his main instrument, both live and in the studio, has been the Serge Modular synthesizer. Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound play a central role in his work. His music is also characterized by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create visceral but finely detailed swarms of sound. Ultimately, the result is an immersive, intensely physical sonic experience. Current projects include commissioned works for CTM/Berghain (Berlin) based on infrasound and architectural resonance, and for GRM (Paris) based on the research of Pierre Schaeffer, as well as new live electronic

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Oriole’s Mushroom Music

Oriole is one of the pioneers of the Dirty Deal…

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From Tromsø to Total Freedom: An interview with Boska

Boska started producing sparse, UK-influenced house in Norway’s infamous techno…

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The sonic archaeology of Stefan Fraunberger

Stefan Fraunberger is a composer and sound performer with a…

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Stephen Grew’s sonic dreams

Stephen Grew has been playing totally improvised piano and electronic…

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‘Innocence is impossible, piercings are possible’: An interview with Céh/Új Bála

Gábor Kovács is a Budapest-based musician and visual artist. Active…

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From Stockhausen to lumberjacks: An interview with Andreas Trobollowitsch

Andreas Trobollowitsch is a Vienna-based electroacoustic musician, composer and sound artist….

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Krazy Kat and the guitar: An interview with Ignatz

In 1910, the illustrator George Herriman created the Krazy Kat…

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Skanu Mežs: A sonic environment with its own rules

It’s been more than ten years since the first Skaņu…

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Incredible Bob & WoO: ‘As we watch television, television watches us’

Peoplemeter is an expanded cinema performance created by video artist…

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The story of Syracuse

While the Antinote label has gained notice for its roster…

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L’ocelle Mare: ‘I’m not a cerebral musician’

The solitary project of Thomas Bonvalet initially focused on the…

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UH Fest: ‘Experimental music has become an economic category’

UH Fest is one of the rare events dedicated to…

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Susanna Gartmayer: ‘Don’t ever trust yourself too much!’

Susanna Gartmayer studied painting and printmaking and is self trained…

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Marta Heberle’s error-prone music

Marta Heberle is an artist and theorist fascinated by transhumanism…

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From USSR to IDM: An interview with Gas of Latvia

Music producer and composer Andris Indāns has been active as…

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Jackson: ‘You don’t want to meet Debussy walking in the same park as you’

When Jackson emerged from the lingering disco after-smoke of the…

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The soul of the vibraphone: An interview with Masayoshi Fujita

Masayoshi Fujita is a Japanese vibraphonist and composer based in…

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The sounds of a wanderer: An interview with Gil Delindro

Gil Delindro is a multidisciplinary artist focused on the conflicting…

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Raze de Soare’s affective contamination

During the late ‘80s and early ‘90s, a parallel pseudo…

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Nik Nowak: ‘What we would have called freedom is called privacy nowadays’

Born in Mainz and based in Berlin, Nik Nowak’s sound…

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Real-time memories: An interview with 9th cloud & PRISM

PRISM is a musical and visual creation, a mix of…

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Maurizio Martinucci (TeZ): Creative investigation in music, art, science

Maurizio Martinucci (aka TeZ) is an Italian interdisciplinary artist and…

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Demonology and the world of finance: An interview with Orphan Swords

Orphan Swords is a Brussels-based duo. Their critically-acclaimed music has been…

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Looking for strange moods: An interview with Lanuk

Hungarian musician Árpád Gulyás aka Lanuk started making music when…

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Music & activism: An interview with Hyperaktivist

It was in 2009 when Hyperaktivist started to work on…

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ANTIVJ: ‘It’s almost like visual impact is dictated nowadays’

ANTIVJ is a European visual label representing, producing and promoting…

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Andi Stecher: ‘Footwork is amazing for a drummer’

Andi Stecher is an Austrian born and Berlin based drummer,…

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M.E.S.H.: ‘A lot of music sounds like an idiot in a room making plans.’

As a co-resident of Berlin club night Janus, M.E.S.H. has…

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Noise of the Light: An interview with Orson Hentschel

Orson Hentschel is a German composer and producer based in…

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Klara Lewis discusses emotions, limitations, and her second album on Editions Mego

Klara Lewis is a Swedish composer born in 1993. Her…

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Tea with TOLE: An interview with Martin Kohout

TOLE aims to create compositions rather than tracks, force rather…

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It’s a London thing: An interview with Spatial

spatial is an electronic musician and multimedia artist from London exploring…

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Laura Luna: Impossible sounds

Laura Luna Castillo is a multimedia artist from Mexico that…

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Lawrence Le Doux: ‘Brussels is a good place for making music.’

For nearly two decades now, Belgium’s Laurent Baudoux has been…

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IVVVO: ‘I live in the shadow of the past.’

IVVVO is a Portuguese musician and co-founder of the record label,…

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Between Steve Reich and trance: An interview with Voiski

For several years, Voiski has struck a singular path in…

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Jakob Schneidewind talks about his bands Elektro Guzzi, Demi Broxa and Monochord

Jakob Schneidewind is best known as the bassist of Austrian…

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From ‘communist Versailles’ to girl power: An interview with Rokolectiv’s Cosmin Tapu

Rokolectiv is Bucharest’s leading festival for electronic music and related visual arts. Over the years, Rokolectiv has invited over 250 artists and professionals in the field, contributing to the development of the local scene and generating collaboration projects between musicians, visual artists, contemporary dancers, and promoters. This year, the festival’s 11th edition takes place between 21. – 23. April 2016. The festival is organised by Cosmin Tapu and Mihaela Vasile.

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Julien Bayle: ‘We have to be less connected’

Julien Bayle is an independent artist based in France. He…

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The voice of Stine Janvin Motland

Stavanger born, Berlin based vocalist Stine Janvin Motland works with…

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BAKK: White ink on white paper

Forged along their studies at the art academy, BAKK consists…

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We Will Fail: Mistakes are inevitable

We Will Fail is a project by Aleksandra Grünholz. In…

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From punk to ultrasonic bat detectors: An interview with Jonáš Gruska

Jonáš Gruska studied at the Institute of Sonology in The Hague and the Academy of Music in Kraków. He focuses on chaotic rhythms, explorations of psychoacoustic properties of sound and field recording. He has created several site-specific sound installation based on resonant properties of spaces and materials and gave workshops on sonification, field recording, printed circuit board design, and programming for artists. He creates his own instruments and runs the label LOM in Bratislava. He was nominated for SHAPE by MeetFactory.

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Combination, surprise, coincidence: An interview with Piotr Kurek

Piotr Kurek is a Warsaw based musician known for his…

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Peder Mannerfelt on appropriation, appreciation and restraint

For the last decade, Peder Mannerfelt has been at the forefront of the Swedish electronic music scene. He’s collaborated under the pseudonym The Subliminal Kid with musicians such as Fever Ray, Blonde Redhead and Glasser and remixed the likes of Massive Attack, Lykke Li and Bat For Lashes.

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