SIP - SoundLAB Interview Project


from Turkey



Interview: 10 questions

1. When did you start making music, what is/was your motivation to do it?

In my childhood. Today i explain in simple words this motivation as an infantile curiosity. Then it became also self-expression, liberation, language, therapy..

2. Tell me something about your living environment and the musical education.

In my family having a home stereo and some records helped a lot. But i didn’t enjoy the piano courses. I think the guitar course lasted a bit more, like 3 months. In elementary school playing trumpet for three years was more interesting. As a teenager founding the first band helped to discover the technical structure of sounds and lots of bleeps, feedbacks. However I was growing up in a city infinitely rich of sounds. From high frequences to pure cacophony. A few years later still a school pupil i started to cut-up the same first vinyl records i approached as a child, mixed them with 64k computer tapes, surface noises used as rythms, voices via headphones used as mic, etc.

3.Is making music your profession? What is the context in which you practice music nowadays?

No. Living or working place is where i experiment and record most of the time. Occasionally i play live performances and i love doing it. In some cases it’s a duo or a multi-instrumental collective. So, sometimes we happen to jam in a studio, too.

4. How do you compose or create music or sound? Have you certain principles, use certain styles etc?

It’s basically an idea. Its making, tools and result differ quite a bit. I appreciate unedited live takes and the great analogue world. But nowadays i enjoy the user friendly aspects of one laptop with some cracked software. One easy set-up and start to record. Usually one concept defines the basic principles. There can be some primitive attitude or pseudo-nerdness, too. In the sense of a style or a genre in my work i manifest the terms ursounds and unmusic.

5. Tell me something about the instruments, technical equipment or tools you use?

I use pedal effects, mics, electric bass, turntables, analogue recording devices, a laptop, personally destroyed vinyl records, but also plastic bags or tubes, metal sheets, or simply the surrounding voices and sounds through the computer.

6. What are the chances of New Media for the music production in general and you personally?

New Media may be one of the references in the network for soundworks. It’s related to a series of affine fields thus sound can be one of the various mediums which can work together. About myself, it will depend from my mental ability. I think finding the good financial solutions is everyone’s daydream.

7. How about producing and financing your musical productions?

Well, in my DIY spirit i always took care of that part personally.

8. Do you work individually as a musician/soundartist or in a group or collaborative? If you have experience in both, what is the difference, what do you prefer?

Most of my projects are individual entities but i like to work also in groups. It’s easier to get organized individually in time and practice but when there’s a possibility i love bigger sounds created collectively or playing live electronics for videoworks of friends,etc. We keep on going the so-called Istanbul Fart Ensemble which consists of improvisation on a constructed scenario. The members and their number change during the years as we welcome periodically different musicians.

9. Is there any group, composer, style or movement which has a lasting influence on making music?

As my personal learning i can name a few in no particular order nor cathegory, like Futurism, Die Glässerne Kette, Kurt Schwitters, Pierre Schaeffer, Eric Dolphy, Sun Ra, Kluster, Faust, This Heat, Glen Branca, SPK, Maurizio Bianchi, New Blockaders, Hijokaidan, Gerogerigegege, Tim Hodgekinson, Emil Beaulieue, Masami Akita, Skullflower, Earth, Scorn, Siege, Bastard Noise, and so on.

10. What are your future plans or dreams as a soundartist or musician?

Next months i’ll put out some of the recordings hopefully on tape cassettes/vinyl records and play some dates around. Other works include collaborative abstract audiovisuals and more live performances.