Sounds from underground/File N°039

when we want something experimental but at the same time dynamic, something that rocks, usually we go to Australia. <Mineral Earth> is a 5 tracks album by the Melbourne's duo <<Rat Filth>>, released on April. it's noisy and it's pop, so you have no excuse to don't love it. 


0. name of the band
Rat Filth 
1. where are you from?
Melbourne, Australia
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
We use drums, guitar and organ. We recorded it in our homes separately as we both used to live interstate. Out technique was that one of us would have an idea for a track record that and send it across and the other person would but there idea/s with it and that would be the song. So it was a quick process.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
We have only played a live 3 times. At this stage our context floats somewhere between the experiential, punk and art rock scene if that even is something.
4. do you think that nowadays has still sense talking about "underground"?
I see underground music as any music that is played outside venues in warehouse, houses and interesting spaces. It used to be very strong Melbourne and still seems to exist Here and there.
5. do you play live? how public react to your music?
Keen to play live more for sure. It initially started as a recording project so it has been interesting getting together. So far the live response was good.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Our recordings represent an immediate feeling that is captured and quickly recorded, fragments of sounds, ideas that aren't thought out, intuitive responses slapped together. It is anti studio, and DIY a way of capturing something without to much thought.

 

Echos of underground/ILD I DIT ANSIGT

New release of danish formation, entitled <<Forsoeg Paa Jazzmusick>>. Noisy

Images from underground/File N°008

art of <<Hedvig Sebestyén>> is a wonderful trip in some kind of surreal but at the same time tangible world. On every piece you can find the explosions of colors and meanings. Love.
More works you'll find on Sebestyén facebook page https://www.facebook.com/SebestyenHajdiArt
 

1. where are you from?
I am from Budapest that is the hectic and two-faced capital of Hungary, a small and quite chaotic little country in Middle Eastern Europe with a confusing and incomprehensible political system. We are most likely famous for our strong and delicious wines and spirits, our non existing social network and high suicide rate as well as our revolutions in the past and our partake in WW2 on the wrong side. Historians say we origin from the East and living in a ring of Slavic and Germanic peoples we have never been able to find our place. Might be like this. First image that comes to my mind is that Hungary is like a hysterical, aging but lovable bitch, which is amazing in its own way. 

 2. do you use any particular tools/materials/methods during the working process?
Actually I use everything traditional like pen, pencil, acrylic, water colors, oils, crayons etc. and I occasionally mix all these with some more personal materials, like blood, saliva, wine, and industrial paints, brick and metal pieces, plants and glues when I make a picture. I sometimes “hide” different things behind the layers of paint, such as scratches and cuts, screws, nails and newspaper cuttings as well as I touch the canvas or paper with my different body parts to “make it mine”. The reason for all this is that art for me is like making love should be; it must be personal, passionate, wholehearted, exciting, irregular and spontaneous as long as the partners – in these cases me and the pictures – agree on that but the picture and I both have to keep secrets from each other. I very often apply the paint with my fingers and instead of water I spit on the canvas to mix the colors. In the future I am planning to learn new techniques, like body painting and tattoo as nothing is more intimate and sacral than using another person’s skin.

 

3. how is your working process?
My working procedure – talking about sacral – usually starts with a special mindset. I just feel that “something” wants to be born. I simply sit down/lie down/ stand up and start with a chosen technique that fits my mood. Halfway through the process a poem or some words are formed in my mind. I often cry or laugh or shout and sing or dance while drawing. Time disappears and by the end of the process I know what the topic or title would be and I realize what I wanted to express. To be honest this whole procedure is still mysterious for me. Since my early teens it has been like this. I usually work fast. It is exceptionally rare that I work on the same thing for two days or more. One more thing, I take my dreams very seriously. I try to remember every one of them as they serve as excellent trigger points and sources of inspiration for my artworks. 

 

4. what do you think about the art market nowadays?
I have a really cynical approach towards art market. To be honest I think art cannot be a job or a business. What I experience these days is that with the widespread of Internet traditional galleries will be in serious trouble. The same applies to music and performing arts. The original model – that is take a talented person and form a star then sell his/her works for enormous amounts of money and ignore all the other talents – simply has to die out like dinosaurs. Art market is outdated as people learn about artistic processes from first hand. There are loads of very talented people out there who should get compensation for their art activity but I rather believe in barter. I give my pictures as presents to where “they are loved”. If they give something in return, I say thank you. Of course “applied art, commission” is something different. 

 

5. do you exhibit your works? how do you place yourself in actual art context?
Yes, it happens that I exhibit my works but to be honest I get much more feedback when I post them in art groups. Exhibition is a symbol of opening or closing a new artistic period and also important that viewers can “touch” and be “touched” by the originals and party with the artist. I do not wish to place myself in the actual art context as it would mean I put my art into a category and I would never do that to any feeling creature on earth. 

6. is there a common idea that go across all your works?
Yes, I do have some central ideas that I maniacally try to digest and work with. Basically that is the fact that we were all born here in this amazingly beautiful prison planet where we struggle to find the right way or we give up or we simply sell our souls. I am obsessed with the idea that there is something beyond or over this world that gives us the freedom of choice. As we have to serve our sentence and learn from it. Who knows we might come back here several times to understand our lesson. Hence human relations and with all creatures around us are always returning in my works as well as emotions and spiritual feelings. As we “cannot wash our faces alone in ourselves”. I try to express that struggling and pain and death are strongly linked to our human existence. That can be a reason why people say I am either maniac or depressed. Actually this can be true.

Sounds from underground/File N°038

the sounds of <<Екатерина Литвинова>> are surely deeply avant-garde but at the same time there's a real expressive element that let you enjoy the listening. strongly recommended also the album from 2015 <<I>>. tasteful



0. name of the band
Екатерина Литвинова (/Bianca Berg & Irvin Shaft, as an additional or ex-mane)
1. where are you from?
Russia, Nizhniy Novgorod
2. what kind of instruments/equipment you use?
As simple as that: electric or semi-acoustic guitars, digital amplifiers
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
The whole matter of modern music may be blocked out as the highest level of eclecticism, thus the most appropriate approach here seemed to be an aquiring the mastership of mixing diverse musical genres.
4. which is your method of composition?
It'd sound quite arrogant, but it's really intuitive.
5. how is your recording approach? do you use some particular record technique?
Recording process I mostly regard as a combination of corresponding (broadly) sounds. Recording technique is focused at rhythm as academical modernism of the  XX century.
6. do you play live? how public react to your music?
Generally I play as a supportive member of crimsonbutterfly.bandcamp.com .
I can't say that my music is appreciated much, but several folks thoughout my native city crave for a further release.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Somehow it corresponds with P-Orridge's statement: my close friend usually marks that several nicknames of mine (sic!) expicate different aspects of possible sounding. They intersect at insurmountable number of angles.

Sounds from underground/File N°037

A couple <<t.b. OR NOT t.b>> is this kind of underground project that we like mostly. This time they offer us a dark, experimental Ep <Ghostly>. Four wonderful tracks of romantic expression. To follow also other releases like <Baby Bunny Box> in limited wooden tape box edition.



0. name of the band
t.b. OR NOT t.b. That’s a wordplay - because we are Torstn and Bea (t. and b.) – or maybe we are not.
1. where are you from?
We’re from Offenbach/Main in Germany – that’s the city next to Frankfurt am Main.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
We use a lot of small electronic noise generators, most of them custom made (by friends who know how to build them, because we don’t), the korg monotron (all three models), an akai rhythm wolf, sometimes electric guitar or bass and a lot of (mostly african) percussion instruments. and a cello!
We’re recording on a digital Tascam 8 Track Recorder - in the old “home recording style” that Torstn is practicing since the eighties. The computer is only used for mixing and mastering.
Most of our songs start with the lyrics written by Bea, Torstn tries then to build an electronic soundscapes that fits with the mood of the words. Then we add a lot of other instruments to these sound. Others are composed after melodies that Bea makes up and Torstn then tries to find the right chords for an arrangement.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
We do not feel particular to a special scene. But just to give the child a name and to help people to imagine what kind of sound we make, we call our style “Dark Electronic Romanticism”. Through the Internet, you can find interesting music everywhere. This is a good thing on the one hand – on the other hand there is too much of everything to listen to. We love tools like facebook, bandcamp, soundcloud etc. to promote the stuff we make, but we still know most of our fans personally and don’t think that you can reach a bigger group of interested people without professional promoting… but it’s always nice to receive emails like yours as a proof that sometimes there really are some people from all over the world who listen to your stuff.
4. do you think that nowadays has still sense talking about "underground"?
We have a vivid musical experimental scene going on here and Torstn is running an underground club in Offenbach (https://www.facebook.com/waggonoffenbach/) , where all these bands and projects play live – plus a lot of acts from all over the world who come to play live there, too – so we’re in the lucky situation to say: of course it makes sense – because we ARE the underground!
5. do you play live? how public react to your music?
We’ve played about 10 gigs since 2013 but all in our area, some of them even in Torstn’s club. People are always fascinated by the minimal electronic set up and by the stage acting. We love to play live but in the moment there’s a little break because we have a baby since February! But we’re already working on a small Germany tour in autumn or winter of this year. We started making music together in 2013 after a lyric project Bea did with a friend and Torstn was doing the sounds for it. We played some Live-Gigs since that time and released 3 CD-Rs/tapes. The last one was an extremely limited tape-box we dedicated to our son who was born in Feb. 2016.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Our music is inspired by our feelings and the situations we went through. While Torstn provides most of the sounds, the lyrics are written by Bea and are often inspired by books she has read or journeys she made. We love working together and inspire each other and so the development of our music is always very personal and reflects our whole relationship and our own different musical preferences. In that sense we can agree with Mrs P-Orridge: Fashion is not necessarily an enemy - but completely irrelevant to us…
To us our recordings are like a diary, conserving a lot of happy or unhappy memories - and to some of them you can even dance! 

Sounds from underground/File N°036

if you rally yourself after the hit of <Drearian> you'll need probably something more chill out, so here it comes <<Paddock>>. we're diving into melodic atmospheres, and it's so good, and we like it. you'll love it and also your friends will love it.


 
0. name of the band
Paddock
1. where are you from?
Albury-Wodonga, Australia.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
whatever instruments are at hand. The usual. Guitars, drums, bass, keyboards, harmonium. For this album, there were some melodies stored as Voice memos as reminders from which to begin improvising longer song forms. There were also fragments of journal entries used as source material for lyrics. Kishore Ryan, Nick Huggins and I gravitated towards the instruments that felt right for each piece. We played each one through a few times, recording everything as we went and then picked out the pieces we liked the best the next day to compile what became this selection of songs.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I feel as though there are as many musical contexts as there are people and environments. The context I most enjoy making music in is either alone, or with loved ones or strangers who are open to improvising.
4. do you think that nowadays has still sense talking about "underground"?
Perhaps. I'm not sure about this question.
5. do you play live? how public react to your music?
I do play live sometimes. Last night I played a series of songs written during a trip to Tasmania. The songs were interspersed with readings from a short illustrated story that I enjoyed making on this same trip. My friend Peter Joseph Head played the cello whilst I played a nylon string guitar and sang. The small audience seemed to be listening. At one stage I heard someone laugh. Once the performance ended there was applause and after the show a variety of people offered words of encouragement and praise saying things like "well done" and "are you going to do it again?"
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
I love the work of Genesis P-Orridge and Throbbing Gristle. To me, paddock records represent a gathering of people playing, arranging and recording songs in a manner that felt right at the time.

Sounds from underground/File N°035

if there's a thing that I love is noise made with guitar. <<Drearian>> is a solo artist that do this kind of noise very well and this month released his ep <<Static Spew.>> that is worth all your time, because there's not only wonderful noise, there's also vocal and it's all simply very very good. don't waste your time to search new music. you've already found it. this ep.


0. name of the band
Drearian, lofi solo artist, bringing you noise nags, a grunge grudge, deep drugged out dynamics and a social hatred second to none. bringing you blasts of blaring tunes straight from a bedroom setting.
1. where are you from?
I'm from newcastle-upon-tyne, north east england.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
I've got a teisco inter-mark that I picked up at my local guitar shop and its my baby, wouldn't let it out of my sight, I've got a load of broken pedals from various eras too. in terms of recording I do it all on my tascam ministudio, all done through cassettes. I always write my lyrics first, find it makes the songs more real.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think its hard to define a scene in the modern world, with all this internet culture its possible to be part of a scene with people from all across the world, its a terrifyingly beautiful concept but it means its hard to find your place as part of a local scene, unless you start to build one yourself. I'd probably put myself in a box with the lofi scene and the fuzzrock scene if anything.
4. do you think that nowadays has still sense talking about "underground"?
I think they'll always be an underground, its just becoming less clear whats underground and what isn't, just because nobody has heard of you doesn't make you underground, it could just make you shit, I think being underground means you need a cult following really, somebody has to notice you otherwise you're not really anything, theres no ground to be under.
5. do you play live? how public react to your music?
I've only played once live so far, at a house party and I was drunk and none of my gear worked, but I had a laugh, got a gig coming up soon so that'll be fun, hoping for a mosh. I think my music is a bit like an under developed marmite, you either love it or you hate it, theres a lot of people who seem to connect with it though which is promising.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
for me lyric writing is a therapy, theres a lot of stuff that makes me angry and in the moment I think I'm just not quite sharp tongued enough to respond with anything but brute rage, thats what my music is for, accurately portraying me emotional and physical hatred for society,people I know, oppression and anything that peaks my disgust. against mass media culture, hate the way were brainwashed into social normality by primary conditioning of media, education and fear culture, theres so much were trained to be afraid of as a society and its pointless unless you explore it yourself. I guess what I'm trying to say is that my music is like the voice inside my head that you cant express out loud for fear of rejection, there's a lot of that involved, fear of rejection, its like society is that evasive father you'd do anything to please but its never quite enough. I guess I theres a lot of hate built up and I think my new ep is the catalyst for that.

Sounds from underground/File N°034

4 tracks of dark expression create the album <<II>> by <<Dominik Suchy>>. Atmospheric, experimental sounds from Denmark.



0. name of the band
I release under my civil name of Dominik Suchy.
1. where are you from?
I come from Slovakia. In the recent years I’ve lived and worked in Denmark, Iceland and the UK.
2. what kind of instruments/equipment you use? do you use some particular record technique? which is your method of composition?
Both of my solo albums were made completely in my computer. I don’t use any specific ideas or preconceptions. I create music I like with the tools I have at hand. I’m open to anything in the future.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think it’s great that today anyone can record an album (although a lot of them are shit). I don’t feel a part of any scene in particular, I don’t play live. I am just a guy behind his computer. Maybe this will change if opportunities arise.
4. do you think that nowadays has still sense talking about "underground”?
I prefer to use the term “experimental” maybe. There’s a lot of non-mainstream stuff coming out, which is great. I think that this term is to broad to have a deeper meaning, but sure, it carries an idea that’s easy to understand.
5. do you play live? how public react to your music?
I haven’t played any of my stuff live yet. It would be fun to try it out.
6. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
For me, my records are pure self-expressionism. I think they are quite moody and aggressive. It’s not the album you’ll go to and listen to every other day. It’s quite exhausting I’d say. That’s ok, and I think I’ll never reach out to a massive amount of people. But to me, that doesn’t matter. If there’s a 100 people that somehow get to it and can relate to and like it, it makes me happy. I think the ultimate characteristic and aim of my music is to totally consume the listener and make him 110% overwhelmed. That’s what I feel when I’m composing and listening to it anyway.

Sounds from underground/File N°033

atmospheric noises from Spain are served to us thanks to a female duo <<Tekna>>. an interesting fusion of experimental sounds and Moroccan music gave birth to these 8 tracks absolutely worth to dig.

0. name of the band
TEKNA
1. where are you from?
Majorca and Albacete
2. what kind of instruments/equipment you use?
synthesizers, guitars, acoustic and folkloric instruments from Morocco, a tape recorder
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
music industry is complicated. we self edit our projects, do a few copies and distribute them among our friends. we take care of the music, the recording, the arts, the serigraphs... we do everything by our selfs. we feel part of something. a lot of friends are doing very interesting music and visual projects. we are punks.  (laboratorioszotal.bandcamp.com)
4. which is your method of composition?
I compose a sequence with my synthesizer, then Adriana play a melody with her guitar or keyboard, then we add the voice or the samplers recorded in Morocco during Ramadan and then the drums. we improvise a lot.
5. how is your recording approach? do you use some particular record technique?
we are in a learning process. we made a lot of mistakes and use them or learn about them and understand how we want to get to a specific place. we mix analog synthesizers, digital synthesizers, acoustic instruments. 
6. do you play live? how public react to your music?
we don´t play live with this project.
I play live with my other band Zotal (zotal.bandcamp.com)
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
what we record is the way we express what we see, live and think about our surroundings with sound. Tekna is how we processed our trip to Morocco during Ramadan and how we understand Islamism, spiritualism, relationships and music.

More links:
Tekna video: https://www.youtube.com/watch?v=nUXYdtKHXOs
Claudia: claudiaromero.cat
Adriana: adrianapetit.com

Claudia Romero

Sounds from underground/File N°032

<<Nuances d’engrais>> is an experimental-electronic project from Belgium, whose music will give you a good trip. smashing



0. name of the band
Nuances d’engrais
1. where are you from?
This project start 4 years ago in Mulhouse in the east part of France, and continue now at Brusselles.
2. what kind of instruments/equipment you use?
I’m using a mixer with some cheap and random stuff: looper, radio, drum machine or synthesizer, contact or headphone as microphone, guitar, effects, feedback.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
Considering, my friends, where I’m playing or involve I’m part of the experimental or rock noise scene.
But I really want to perform also in a techno club. People are in a club to dance one drugs, and that the tricky part of an experimental dance music project, perception of the time and the space are different and the energy of the audience is electric.
4. which is your method of composition?
This music is live improvised,  wherever in the studio or during a live performance, I’m always searching.
5. how is your recording approach? do you use some particular record technique?
I doing improvisation with my machine, and them when I find something, I record it in one go. I never try to record again after. For the recording, I’m using both a tape cassette recording and a computer with a cheap sound card to choose witch is the best. Cassette recording give a nice distortion but some time I lose low frequency, so I use the computer to have a safety record.
6. do you play live? how public react to your music?
I’m playing during experimental, noise and alternative event, could be in warehouse, bar, flat, art space, basement, church. The people reaction depend of the event and where it take place. If is a party mood people dance, if your are playing in a space with a lot a reverberation you have to play with it, so I’m playing slower. How it is a searching process and it is experimental event, people are there for that and are listening carefully.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
To react to Genesis, experimental music or noise, are still experimental in the way there are product and the aesthetic the have, but it is experimental is also a genre with tips of writing, for example it is progressive to raise an uplifting experience and them finish. It is not a critic because, this experience is nice. But there is style and fashion and experimental music. After, as I said before the point is we have always to be in a searching attitude in the studio and live, for me that the point. Always being in improvisation, with fail and mistake and not in an interpretation of something, playing again and again the same stuff, because it is boring.

Images from underground/File N°007

 the 7th artist presented in <Images from underground> is <<Fred Boven>> whose art deserves really a deeper look. 

-------------------------------------------------------------

 Works that are simply sublime and visionary, elaborated thanks to use of different materials are profoundly expressive and admirable. More you can find on his facebook page here https://www.facebook.com/pages/Fred-Boven-beeldend-kunstenaar/448644928634950?ref=profile. 

1. where are you from?
I live and work in Amsterdam [Holland] , I have Indonesian roots.

2. do you use any particular tools/materials/methods during the working process?
I use different materials, witch I often find on the streets , such as roller blinds , wooden panels , cardboard , plexiglas . I use tar , carbolineum ,oil paint and acrylic I work without a preconceived plan, I let the material speak during the working process. 

3. is there a common idea that go across all your works? do you exhibit your works?
My theme are transience, birth, death, growth and want to be born again. I feel myself no great artist, too much concurrence in Amsterdam, have a little contact with Gallery owners , in 2015 I had 3 major exhibitions.

-------------------------------------------------------------- 

-------------------------------------------------------------------

                --------------------------------------

Sounds from underground/File N°031

Indonesian noise. <<Kitxch>> to be exact. 4 tracks that will touch you. In mood between here and out there.



0. name of the band
Kitxch
1. where are you from?
The planet Earth
2. what kind of instruments/equipment you use?
Household instruments
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
I think it's always been exhilarating, and it will always will be, at least to me that is. Yes, I am a part of the deleted scene usually marketed as a bonus content in the deluxe dvd box set.
4. which is your method of composition?
One part of Chekov's Gun and a sprinkle of Deus Ex Machina on top. Take it with a cup of black hole coffee on the side.
5. how is your recording approach? do you use some particular record technique?
As flexible as I can be, like I once recorded some vocal parts through the soundhole of an acoustic guitar. No, but I'd usually try to press that record button as hard as I could.
6. do you play live? how public react to your music?
I used to/sometimes. I've been receiving various reaction, from chemical reaction to chain reaction.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
Substances for the soul.

Sounds from underground/File N°030

it's Saturday and we want a bit of sane shoegaze. but we won't go to search it in England, won't go to Scotland, we will go to  Philippines. <<EOJ>> it's a project from Quezon City that is a 30th propose of <<sounds from underground>>. love and enjoy. 



0. name of the band
EOJ
1. where are you from?
I'm from Quezon City, Philippines
2. what kind of instruments/equipment you use?
I use a crappy Dell laptop, a 10 watt amp, a Squier Classic Vibe Tele, an Intopic Web microphone, a ProCo Rat and a multi-effects unit. I use Ableton 9 in recording my tracks and i use Audacity to slow down or fade out some of my songs.
3. what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
Here in Quezon City, the scene's very cool and very interesting, 'cause it's filled with exciting bands playing different kinds of genres, sometimes fusing different kinds of genres, forming a complex one. Also, There are lots of collaborative projects happening in the scene, which is worth listening to. I would have to say that I'm a low-key person in the scene, probably because of my introvert personality haha. 
4. which is your method of composition?
I usually form certain melodies or riffs whenever I'm commuting, because I have nothing else better to do inside public vehicles. Sometimes when I'm adjusting my guitar's tone, you know, through experimentation and  trial and error, I am able to write a melody and improve it over time. The most helpful approach (for me) would have to be listening to a lot of music. Lately, I have been digging the works of Hockey Dad (of Australia), Cloud Nothings, Homeshake, Slowdive, Porches, Good Morning and TOPS. I try not to copy them, but I try to study their vibe, their dynamics and general feel, and compose a riff from that process without actually ripping off their songs haha.
5. how is your recording approach? do you use some particular record technique?
As mentioned, I use a crappy Dell laptop with a crappy sound card, and my microphone is only a web mic, which is really a hassle for me sometimes (because I can't capture any clean and clear guitar sound and tone, it is usually hiss-y). I just point the mic directly at the center of my amp, and my amp's volume can only go up to 2 or so during recording, or else it would clip. Despite the hiss on every one of my recordings, it's okay because I'm into the lo-fi way of making things, where nothing's really clean and the saturation adds to the overall vibe of the song or compilation.
6. do you play live? how public react to your music?
I don't play any of my songs live, and as of now, I don't plan on playing my songs live, cause all of my songs are instrumental and I write really bad lyrics, and I really want this thing to be underground as possible. Maybe in the future I might change my mind and I might play my songs live with my friends.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
My records are a representation of my feelings and emotions towards my friends, existentialism, school and love. Kinda cheesy, but, you know, it's kinda messed up.

 

Sounds from underground/File N°029

we pass trough New Weird Russia on the train called <<Quefear>>. it's gloomy and obscure and full of wonderful sounds. 

highly recommended to all lovers of underground.  

0.name of the band
quefear.
In Spanish language “que” - “what”, so name of the band may be considered as a question “what to fear?”
Basically, my music express my fears, helps me to understand that they are temporary and there is nothing serious in this stupid cruel world that you could be afraid of.
In the Russian language the word can be read and pronounced as “kefir” (kind of fermented milk product… white, cold and tastes like a ghost).

1.where are you from?
Moscow, New Weird Russia
2.what kind of instruments/equipment you use?
In my music I use a wide spectrum of possible tools: ranging from traditional music instruments (such as piano, guitar, bass) and ending with different computer programs and plug-ins.
I really enjoy to experiment with sound. I combine strange samples, effects, weird noises (dark, obscure and nasty, sometimes frightening), add to this framework my live recordings, and sometimes mix this composition with my poetry. So as a result, I get some kind of a combination, a blend of sounds and noises transmitting my mood and maybe reflecting parts of my inner world.

3.what do you think about the music context nowadays and how you place yourself in? do you feel a part of any scene?
It seems to me that today the concept of the “music context” and “scene” is very indistinct, in the age of the rapid development of independent and underground music it may have different meanings and include different content. If we consider it in the terms of genre, maybe I have some familiarity with some subgenres, but it is unlikely that my creativity (as a mixture of sounds and some poetry) could be referred to any particular.
I just enjoy writing poems, making a kind of dark music. Mostly doing my experimental art for myself (for self-expression and maybe a sort of sedation) I don’t feel the need to be part of any scene.
By the way there is a kind of avant-garde underground scene in Moscow. They are my friends, I enjoy to hanging out with them, but I think that my art in some ways stands out.
4.which is your method of composition?
I don’t really have a particular method. My process of creating looks like some kind of drawing up a collage of sounds and thoughts. For me to compose means experimenting, improvising, manipulating with sounds and reflecting. I just think of what feeling or emotion I want to express, how it may sound outside me. I think over the idea and the concept of the track.
Sometimes I already have melody or some verse or lyrics in my head. Also from time to time I record without previous ideas: I can be in “the mood for create something”, so I start to jam on my piano or guitar, or just try to compose something on my computer, make kind of reflection of how I feel in this moment.
5.how is your recording approach? do you use some particular record technique?
I record in my house. I simply use input mic on my computer. I think it is the best way. I can experiment, can create and record at the same time, concentrate on what I want from the sounds.

6.do you play live? how public react to your music?
I haven't played live yet. Not sure I need this. But more and more often I catch myself thinking that I want to perform my art to public. I think it would be a quite strange experience for me and for them.
7. Genesis P-Orridge said "Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant.". What do your records represent to you?
My music is a sort of diary for me, some kind of therapy. It is parts of my inner world, my memories, my experiences. Most of the tracks are about feelings that I have, want to have, or want to forget. Experiments with sound helps me to express emotions.