– I know what the sound is going to be in the end. Before I start to record something, I’m making cymbals on purpose for that.
– When I was in school I studied contemporary art and I was always interested in the ideas of land artists such as Robert Smithson or Nancy Holt from 1960s, who were really concerned with the ideas of site, non-site and what does it mean to take an object or element from a site and relocate it elsewhere. I became interested in those sorts of ideas applied to music and acoustics – says artist and composer, Lea Bertucci
– I stand in front of the microphone and build up the narrative, line after line. I enter into a dialogue with myself or with someone else. All these albums are about impersonating other people and entering into a dialogue, creating a multitude of threads within a single person. I create someone who is me, but as if being someone else. Ultimately, all the figures are me – says Robert Piernikowski.
– I spent most of my life outside of Iran. This was never my choice, so I felt a sense of void or longing for my homeland. In my mid-twenties, I started listening to more and more traditional Iranian music, until I felt like it was time for me to come up with some sort of Iranian music in that electronic synthesis framework – says Iranian composer SOTE.
– The culture that surrounds you will always have an impact on one’s artistic endeavours since you embody all which you come into direct contact with culturally. Even if this embodiment is manifested in its opposing or mirror image, one’s attempt to negate a surrounding culture will still be formed by the culture itself – speaks the saxophonist and clarinetist Shabaka Hutchings,