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"El Gusano Rojo" was the name of my first electronic music project which started alongside with my label "Hijos de Puta" around
"Yvan Volochine" is me (!). As time passed, my music changed. This is
a more mature and personal project.
I started music by learning piano with an old woman in my suburb from the age of 5 til I was 16. I then learned guitar by playing in a
punk-rock band with mates from high-school/college. In France it was the big period of free-parties and I decided to make electronic music
when I heard all the fucked-up sounds played by artists in Toulouse, which were kinda different from the basic techno crap (that was 1996).
Naturally followed making noisy-weird sounds with mixer feedback and distorsion pedals and that's when computers appeared in my life. From
Atari to PCs to linux, etc.. I learned programation because I wanted to understand how computer languages work. Now I'm a self-taught
software developer and I program the synthesizers I use for making music (with SuperCollider mostly).
I felt in love with Colombia 2 years ago. It's an incredible and magic country, full of energy (good and evil), I guess because of its
geographic place. I came here to have a break with Europe and because I wanted to spend time with nature and myself. I also got a bunch of
gigs here, which is cool because noise is kinda rare here (!!).
I tend to use slowly evolving textures, building layers on top of others, which are supposed to put the audience in a transe state (at
least that's what it does to me...). With my current project I always work on this maneer, so there might be a ritualistic attitude in the
way I work. But the new project I'm working on has a much stronger ritualistic approach, both on my side as in the way it is performed.
I try to bring the audience in the same state as I am, as I feel that they might understand what I'm telling (if this works...) better that
if I talk.
I prepare a bunch of synths and fxs that I might use (or not). Then, depending on my mood and on the audience, I just play. There is always
a part of freedom as I use some part of live-coding so I can add or modify stuffs easily while playing. Of course the downside with
computers is that it takes much longer to prepare an impro than with an instrument.
Computers are part of my life as my job is made with computers, as well as the basic everyday bullshit emails, etc..
Noise music has always been part of my life as I always lived in crowded cities. Noise is everywhere, even in the nature.
I just play, it's just another way of expressing myself.
Are there disadvantages with independant spaces? A common mistake I see could be the lack of originality with the choice of the performing
artists, as (as always) big names bring audience and money so that's easy to rely on them and forget about the rest of unknown interesting
I'm currently working on 2 new projects, the band "Helaas" as well as a new solo project "Septentrion" (but I can't say much about that as
it's a surprise!!).
Names of projects (but not in France cause it's been a while I left)
that really impressed me:
Sudden Infant (and all his fellows, Dave Philips, Rudolf Eb.Er, etc...), Pita, Florian
Hecker, Russell Haswell, and the famous mind twisters.
The recent Berlin scene: Julian Bonequi (!!!), Anton Maiof, Mat Pogo, my Helaas fellows
Ratbag, Niedowierzanie and Bex.... (there is much more, sorry for them).
More classic Borbetomagus, the french grindcore scene from the 90s, african music from
french caribbean, hiphop from Bogotá, sorry can't think about more right now in the middle of colombian mountains...
No idea about venues in France as I hardly play there, if not in squatts that don't
live long (unfortunately).
As for websites, I use internet too much for my work so I avoid it most of the rest
of the time...
Thanks for inviting me, it was a pleasure.
Yvan Volochine, 23th March 2012 Bogotá, Colombia