phu2's posterous

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l'eau du robinet
poznań / poland

[q] what is your favourite sound resource?
Looperman,some pages with free loops. Generally -Internet

[q] where do you get your inspiration from?
From daily life.....from photography....my girfriend. from trawels...from french culture....mainly french lanquage. comfortable moments in my life.......from books.....good music .....from good art.... from my friends.....from some of poles......from people I met at the trawels....

[q] what project are you currently working on?
It's a second project-Jazzclams http://jazzclams.bandcamp.com/ - I have a plan to realese some fresh stuff....but I'm not still sure is it ok....and I would like to work more on it -sometimes I'm thinking about creating an instrumental project-i have friends playing at trumpet.piano .....etc

[bio]

L'eau du robinet was created in 2006.....by Chris Pokora -from this time I putted out few albums-Tap water drinkers.Still dreaming(Random Flow),Innocent magician(Bump Foot),God is a hippie.Cross eyed mushrom jazz(Phonotactics)From my ears to your noise tap(Surreal Madrid). I made a mix to Monday Jazz-Trippy jazz trawel from somewhere to novwhere I colaborated with few artists-Inez bloom.sound of milwaukee,Kapsyda Kobro. My music was played in few podcasts at internet radios-all around a world I took a part in copetition-Eurovirtual song contest on french page Paris Link I colaborated in few projects with Kamil Szalewicz -Jazzclams. The cowboy kills the frenchman-with Daniel Witnicki- http://www.myspace.com/thecowboykillsthefrenchman

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wolfgang kirchheim
heidelberg/germany

[q] what is your favourite sound resource?
No sound is a favourite. All sounds are favourites. There are no
right or wrong sounds if you treat them appropriately. Being a
composer, that is my job.

[q] where do you get your inspiration from?
Sound! As a composer of electronic music I have the privilege to
work with sound itself and react to what I hear instinctively, without
abstraction. However, taste and memory, being advocates of the
well-known, can be a limiting influence to the imagination. Therefore,
while composing, I try to limit their influence instead. On one of my
last albums, 'Die unglaublichen Wanderungen der Thiere', I used midi files of well
known classical works as quasi-untouchable foundations for my
compositions. Thus I was able to give up some of my control over the
creative process and deal with results I would never have arrived at
by myself.

[q] what project are you currently working on?
Keep an eye on me and you will see when the time has come. Me too I
guess, for I am never too sure where the journey's going..

[bio]

Wolfgang Kirchheim was born in Bad Bergzabern, a small town in the
Palatinate wine region, in 1983. Being trained in classical
instrumental music during childhood and youth, he developed an
inclination for improvisation and started composing with pen and
paper. Eventually his interest shifted to electronic music production.
In early 2004 he co-founded 'Glaswald', a jam collective focussing on
psychedelic free-form ambient improvisation. It would become the
starting point for all further musical explorations. He began to
collaborate with members of the Schoenermusic netlabel in 2005 and
since then has contributed to the development of the mutual acousmatic
composing style 'Tsunami', which deals with the decontextualization
and mystification of TV or video game samples. With or without such
media content, most of Kirchheim's work has a narrative streak,
providing the listener with a musical frame for imagination and
reflection, thereby concentrating the mind and bringing it back to
itself.

http://kirchheim.schoenermusic.net/
(soundcloud / facebook / twitter)

other projects:

babel: http://myspace.com/gebabbel
INR: http://myspace.com/ihrnierueckwaerts
glaswald: http://myspace.com/glaswald

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[q] what is your favourite sound resource?
Usually I try to get some kind of "side effects" from sounding
items, either musical instruments, or non-musical objects. So, what is
meant by these "side effects"? They are unexpected and unimaginable
sounds, which are hidden, or as a rule omitted, though they are worth
attention. Besides these "side effects", I am not fastidious about
using common means of sonic extraction - plain guitar, flutes,
xylophone, some synthetic sounds, which later are processed in
computer programs. Also, often I use my dictaphone to prepare some
field recordings, or just to record that particular "side effects",
which emerge out of nothing somewhere not far from me.

[q] where do you get your inspiration from?
I should say, that the main feature of inspiration is its
unpredictability. Really, you can't know, from which corner of
everyday reality it may come. You may only remember the circumstances,
that accompanied, or provoked the inspiration. I think, that every man
or woman on the Earth is a Transfigurator. Imagine, that you wake up,
then have your breakfast, then go to your working place, walking
through the street, you tread upon the dry branch of the tree, hear
the crack, you continue your way, then you see somebody, smiling at
you, then you have a look at the sky and see a cloud of a strange
shape, then you hear some distant ringing, then you have a quarrel
with somebody from your office, then you return home, read an
interesting book, or watch a film, and all these above-listed ordinary
or not things are transfigurated by your mind, and at last developed
in a unit of creation - a song, a picture, a poem or something else.
Human consciousness is a very complicated system, which doesn't depend
on logic and planning. It's like iridescent play of colours in a
gasoline puddle, with its unexpected fluctuations and transformations,
but in multidimentional projection. The ways of Mind are inscrutable.
Summing it all up, I can say, that the source of inspiration is life,
with its gigantic flow of information, that like through the funnel,
transfixes our souls.

[q] what project are you currently working on?
At present I continue working with drone ambient sound, I'm in
search of new impressions, new experience, which later will be the
basis for a new music material. Also, I'm planning to supplement sonic
ambience with some poetry elements - something like a mixture of Word
and Music, but not songs, it is more like a melodeclamation.

[bio]

I was born in 1986, in an unpretentious and godforsaken town
Blagoveshchensk, located in the Far East of Russia. My profession is a
teacher of the English and German languages, I worked for a little bit
in the Amur State University, but then I left it for a work in the
capacity of an office-manager in a company. I started submerging into
music since childhood; when I was 3 or 4 I heard Pink Floyd's "The
Dark Side Of The Moon". After some time had passed, I began collecting
their albums. Studying Pink Floyd's biography, I learnt a very
interesting word - "psychedelic rock". Since that discovery I listened
to various music of the 60's, that later resulted even in the theme of
my graduate work in the university: "The concept "PROTEST" in the
English-speaking culture by the example of rock music of the 60's". I
began playing guitar in 2001. In 2004 there was a short participation
in a trash metal group, and after leaving it, I worked alone. First
recordings were characterized by psychedelic rock/avantgarde
orientation, but with the lapse of time I set my choice on ambient.

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strogova
yaroslavl / russia

[q] what is your favourite sound resource?
My mind.

[q] where do you get your inspiration from?
From some dj's that i love. Lately it is all OstgutTon residents,
Dettman is the A-class quality of techno electronica. I love to create
in absolute solitude.

[q] what project are you currently working on?
I am currently working on a track which is close to me in style,
but I have not yet done smth like this. Label i will remain until a
secret, the release will be not soon. I am working on remixes as well,
due out soon albums and collections where they can be heard. This will
be the label Minim.all, Sylvania and Deep-X.

[bio]

she was born in 1986. when her family moved in a little city, a father
settled down in the house of culture like a dj. katya was 5 years old.
in the period of 1991-1996 she begins already to know electronic
music. a father creates a band named "Display" and they begin to write
down the cassettes. they took it by simplest recorder and mixer. there
were their dialogs on cassettes, wrote down them by a microphone in a
little studio. A "Display" was conducted by the so-called "living
discos", in course of time they became very popular. at the end of
90th during all-russian "defoulght" a family moves in Yaroslavl city
and parents begin to carry on commercial activity. father no longer
practises music. in 2002 Katya first got in a night-club. yet she did
not think about dj-ing, but she was very beckoned by night life. katya
quickly became acquainted with the deejays known on a that moment in
town, began to twirl in this circle. already in 18 years her taste in
music was different from universal. katya liked techno very much.
detroit house, chicago. not looking on a general tendency in music,
rolling all the same listened quite another. in 2004 she began to
write down first mixes. not knowing an all dj-stuff. these mixes was
got by good reviews from the old "men" of club life in Yaroslavl. long
rolling she was such "dark horse", listened records, compiled them,
wrote down and was happy, if there were people who liked that. in 2008
strogova made debute as a deejay. for a year, obtaining not bad
successes, she began to try itself in writing music. she became the
"Breach of year" 2009-2010 in Yaroslavl, thus a judge had opinion
unanimous. first her collaboration was with DEEP-X RECORDINGS. there
little collection of her unsigned works goes out in August 2010. its
first bought release goes out in November 2010 - "SECOND LOVE" on
Samletune Records. on reviews and reviews it was successful enough.
now strogova actively works above remixes, experements with styles,
its circle of listeners talks that style is already knowable. in
January 2011 she signs a contract with new German lable - MINIM.ALL,
where its release of "HEAVY DEEP" goes out soon. among the deejays she
is possible to be selected for distinctive musical style - sullen,
deep, a bit depressed. strogova selects traction to the monotonous
constituent in techno, lately in 2010-2011 sha became fanatic of
Berghain sounding and all its creators. birth-place of techno she
counts a Germany.

http://djkatyastrogova.all.dj
(facebook / myspace / soundcloud)

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[q] what is your favourite sound resource?
Voice, digital and analogue synths.

[q] where do you get your inspiration from?
From everything around us - Universe, Nature, traditional Ukrainian
music.

[q] what project are you currently working on?
On EP "Svitlo" and my solo album "Vedana", that will be released on
label Kvitnu. The album is the second volume from "Purification By
Four Elements", that will be Water Element.

[bio]

Zavoloka is an experimental electronic music composer and graphic
designer from Kyiv city, Ukraine. Zavoloka mainly explores digital and
analogue synthesis, sometimes she uses recorded herself songs,
separate phrases, words, instruments, etc. One of her big influences
is the traditional Ukrainian culture. She traveling by Ukraine and
recording native traditional ethnic folk songs, which singing old
people in country-sides of Ukraine. The aim is to reach interplay
between the electronic context and rough unprocessed voices that
common people sing with. This produces a very 'human' outcome (owing
to the spirit that unaffected voices bring), yet staying
electronically saturated, post -sounding and edgy. Zavoloka's music
consists of intensive varied sound motions and unexpected
combinations piped into carefully controlled electronic flows. Never
try to predict anything, it can turn out in what one just cannot
predict. Some of Zavoloka's friends amongst musicians admit, that her
music is very unusual from the structural point of view.When asked
about the motive of building such a diverse and complicated
constructions, she explained her intention to produce more and more
frank music that could reflect her momentary shades of feelings and
emotions. She also pointed out that her music is intended to be a
natural expression of her private freedom. Zavoloka's CD album
"Plavyna" 2005 was Honorary Mentioned with Prix Ars Electronica 2005.
Zavoloka collaborates with: LAETITIA MORAIS visual artist, AGF, KOTRA,
MARK CLIFFORD, KATYA CHILLY.

http://vimeo.com/zavoloka
http://soundcloud.com/zavoloka
http://www.youtube.com/ZavolokaArtist

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[q] what is your favourite sound resource?
Mainly synthetic sounds generated in miscellaneous programs and by
my machines. Sometimes bass guitar.

[q] where do you get your inspiration from?
From moments of freedom.

[q] what project are you currently working on?
Some curator's things mainly. Lot's of work on my label Kvitnu -
few more releases are upcoming and one new artist will be a part of
our team - Plaster from italy. I am very excited. Also some concert
projects - we are going to celebrate Kvitnu's 4 years birthday by
gathering all artists in one place in February, and also I invited
Scorn and Submerged to perform in Ukraine in March.. One of my
projects that is half way done is a CD with Interpretations by
Ukrainian experimental artists music of Polish composer Karol
Szymanowski..

[bio]

I started signing my works as Kotra in 1998 after few years of playing
in a experimental improvised band on a bass. At start most of my music
was written for many art projects with visual artists - video art,
interactive projects, installations etc. Few years later I joined
Nexsound. I was doing concerts, festivals and all CDs productions on
that label. Since 2003 I started to travel with concerts in Western
Europe. Performed at many great festivals like Clubtransmediale,
Garage.. In 2006 decided to start my own label Kvitnu. Collaborated
with many great artists and made a lot of festivals and concerts, as
well as released my works around the world. These days I still combine
writing music and promoter/producer work.

http://kvitnu.com/
http://www.facebook.com/kvitnu
http://twitter.com/kvitnu

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[q] what is your favourite sound resource?
Some time ago I was obsessed by choosing the right sample, or the
right instrument, or the right field recording, and that lead me to
inaction, just browsing and listening to the huge amounts of sounds at
my disposal. I was going nowhere. That was when I decided that I
should work with minimal resources and extract from them the best I
can. I also wanted to use sounds recorded and made by myself, either
from instruments or objects or field recordings. So my favorite sound
resources are in fact everything I can capture with a microphone and
that have an interesting timbre. It could be tape glue, or a marimba
(I love marimbas) or the sounds of leaves in the autumn crackling
under my feet.

[q] where do you get your inspiration from?
My core artistic medium is poetry, and I always try to explore
concepts, be it communication, or love, or sadness, or other
fundamental issues that human society has to deal with. So in a sense
my inspiration can be found in everyday life. My music or hopefully
what I would like to present with my music is a palette of moods, that
mirror my sensations but go beyond them, so that they can be
experienced individually but can also be universal, so anybody can
appropriate it and become part of his/her own experiences.

[q] what project are you currently working on?
Currently, I am only working on other artists music, releasing them
through the netlabel I run - FeedbackLoop Label, but I finished 3
projects, Opaque Glitter my personal project where I made 1h30 of
music and let listeners decided the tracks that should be in a 40 min
album, One of Us cannot be Wrong, where I compose the music for the
beautiful voice of Alicia Merz aka Birds of Passage, and finally
Tangency, where I sing the music that Hola One composes. I am thinking
about my next moves, but so far only ideas filling my head, one thing
is for sure they will be rooted on concepts and even more minimal with
regards to instruments and sounds.

[bio]

Leonardo Rosado has been for a long time working on different artistic
mediums, from painting to photography to poetry, but all started out
when he expanded his consolidated poetry work and started to combine
it with sonic landscapes in 2009. He had been doing some spoken word
sessions live in small bars but since he wasn't totally satisfied with
the result he decided to learn how to use sound as a support for his
poems and voice. In that frame of mind Subterminal (Leonardo Rosado
moniker name) appeared and a first set of experiments showcasing his
poetry were made. Later on, in 2010 he decided that parallel to that
type of work, he should approach sound without words as its new poetry
medium, and since then he embarked on the exploration of feelings and
emotions through music, using his own name for this type of projects.
Simultaneously, he started being involved in the netlabel scene, first
by co-curating XS Records [portuguese netlabel] and later founding and
running FeedbackLoop Label, where he releases kindred musicians.

http://sbtrmnl.blogspot.com/
http://feedbacklooplabel.blogspot.com/
http://dustintheair.tumblr.com/

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[q] what is your favourite sound resource?
I regard my whole studio as the main sound-source. All machines are
interacting simultaneously and the sounds they produce are recorded
and re-processed on my audio-software. Beside the electronic equipment
simply every natural acoustic event can be recorded by myself and
later be integrated into the complex musical constructions. Very
important for me is the constant modulation of all sound-particles by
various plug-in-effectors and modulators such as granulators. In
particular I am fascinated by vintage electronic hardware and the
combination of nowaday's technology and sound-sources of the 60's and
70's like Farfisa-organs, magnetophones or tape-echoes.

[q] where do you get your inspiration from?
Any visual or acoustic event can inspire me: industrial noises,
radio-signals, industrial landscapes, nature, electronic sounds, a
walk in the forest, riding bike at the waterside, magazines, films,
pictures, books, websites, contacts...everything.

[q] what project are you currently working on?
My musical work can be characterized as "continuum" or "work in
progress". From time to time I record new material in my
PHARMAKUSTIK-studio which is later connected to an album. Currently I
am working on granular transformation of sounds and voices which in my
point of view offers endless musical possibilities beyond the
conventional borders of song-structures or closed pop-compositions. My
newest net-album GRANULAR COMPUTING is an uncompromising example for
granular complexity and should underline my perspective of electronic
sound 2011.

[bio]

In 1981 first musique-concrète-experiments with magnetophones and
shortwave-radio signals have been recorded on various cassettes,
followed by intense activities in the European tape-scene between 1985
and 1993. Together with Stefano Barban (Italy) and Miguel A. Ruiz
(Spain) Siegmar Fricke founded the industrial projects AMBULATORIO
SEGRETO and EFFICIENT REFINERIES. Further collaborations with the
Italian sound-artists Maurizio Bianchi and Giancarlo Toniutti were
realized. Since 2001 Siegmar Fricke characterizes his musical universe
as "Pharmakustik": audioclinical investigation; sound-research;
implantation and re-implanation of acoustic fragments; exclusion of
harmonies/melodies/traditional song-structures; generation of
completely electronic and highly abstract tissues; intermodulating
soundpools related to medical subjects; neurochemical ambiences;
formantmodulation of selected voice-particles, bitcrushed fractures of
rhythm; complex combinations of plugins/modulators/effect-periphery.
Actual net-releases: NEPCHYL (with Impulsantwort); GRANULAR COMPUTING
(DNA-Production).

http://soundcloud.com/pharmakustik
http://www.youtube.com/user/Pharmakustik
http://www.lastfm.de/music/Siegmar+Fricke
http://www.discogs.com/artist/Pharmakustik
http://vimeo.com/user2567099
http://www.archive.org/search.php?query=pharmakustik

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[q] what is your favourite sound resource?
Depends on the track I work on. In general I use a lot of samples
from records, but I love my Poly-800 and my Alpha Juno, too.
"Deepness" is important. Concerning drum sounds I have build up a huge
library of drum computer sounds that i can fall back on to.

[q] where do you get your inspiration from?
Well, that's a question I'll never be able to answer sufficiently.
Starting with the jazz-record collection of my parents and my first
electronic music records I bought in 1994 there have been uncountable
musical influences that did form my present ideal of the "perfect
musical piece". Producing is always the quest for a certain idea of
perfection. Even if you will never ever achieve this perfection,
you'll always try to get as close as possible to it. In a way it's
like philosopher's never ending research for the truth.

[q] what project are you currently working on?
I have several projects running simultaneously at the moment. On
January 17th there will be my next vinyl EP release on Big Bait
Records. The Record is called DJ Killed 90 People, It's a
co-production of S-Max, Scherbe, Sven Hahne and myself. Another
present project of mine is the new Elektroherde Vinyl EP "Original
Badass" featuring a Remix from Portable. This one is coming up in
February 2011 on Big Bait Records. Also in February the Japanese
electronic-label Fountain Music will release the "Future Jazz EP"
(Digital Release), and on Soul Shift Music's "Winter Music Conference
Sampler CD" a track of mine will be featured. This one is coming, I
think, in February 2011, too. That´s about the release schedule for
the next three months.

[bio]

Peter Clamat was born in 1977 in Karlsruhe in the south-west of
Germany. In 1997 he started composing music after discovering, that
djing limited his creative possibilities. He took all the money he
saved to an equipement store, bought a Yamaha AN1X and an A3000 and
started producing. In 1999 Peter moved to munich for studying Audio
Engineering at the SAE Institute (Graduated SAE Diploma), from 2001 -
2008 he studied musical science, philosophy and history of art. During
this time Peter had been involved in the development and exploration
of the acousmatic composition style "Tsunami". In Autumn 2008 Peter's
research finally lead him to the place where it all began - to the
land of electronic dance music. He founded the House music label "Big
Bait Records" with Annette Sihler and published his
debut-double-Release Single LP and Single EP in March/April 2009. With
the "Hat Woman EP", released in Autumn 2009 he gained a lot of
attention. Soon several other international labels showed interest.
Releases followed up in 2010. With Annette Sihler he published
productions of their common studio project "Elektroherde" on Big Bait
Records in October 2010 on vinyl. From March 2011 he'll also release
on the fresh Austrian House label Sounding Functions (Founded by
Martin Stepanek in Nov 2010).

http://bigbaitrecords.com
http://schoenermusic.net/

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[q] what is your favourite sound resource?
my head

[q] where do you get your inspiration from?
silence

[q] what project are you currently working on?
p13z0 aka zha–gun

[bio]

Pavel Zhagun – is a famous Russian poet, sound and visual artist,
composer and producer. Place of residence – Moscow. One of the
founders of Russian avant-guarde and experimental electronic stage
(projects F.R.U.I.T.S., Atomic Biscuit Orchestra, Joint Committee,
PIEZO). The author of the idea and the organizer of annual
international festivals of the newest actual poetry and sound-art
POETRONICA. In the past – curator of the famous Moscow gallery, which
specializes in authentic modern art of the Far East, Zabaykalye and
the eastern philosophy. He writes music for cinema and artistic
performances and is the participant of many well-known international
symposiums and festivals, concerts and actions dedicated to
contemporary art.

http://vimeo.com/user3612002