Let’s start at the very beginning. Can you tell us how you got involved in composing?
The very beginning is long time ago… I was 11 years old when my mom gave me this old tape recorder and I was totally blessed by the technic and how some steel things made music out of this magnet-band.
So the very first beginning was more a technical thing and later I checked all her tapes and vinyls. In the 90s my brother showed me techno music and we went to Berlin to see one of the famous djs we read in early techno magazines. Since then I was like: <<This is what I’m going to do!>>
Luckily, I learned a bit of piano and reading notes at school so it helped a lot to make music by my own. More and more I got into the field of recording and using machines… Et voila.. My first release came out in 1999 – on tape.
What does it mean to you Remschaid?
I had this idea when I was in a museum in front of this well known picture of Rembrandt: Die Anatomie des Dr. Tulp. So in my head I played with this name of Rembrandt. This picture is like my music. It’s also anatomy to record sounds, patch the cables and put this energy to a full range sounded track. Just the range of basses in my tracks can be an own track. Remschaid is a sound strategy project behind my moniker volkatovicz.
What’s the idea behind Reagenwald?
The name Reagenwald came out from the US president Ronald Reagan and I love the nature of trees and wood (Reagenwald means Rain Forest in german). So easy and simple.
What did you inspired during the making of the album?
The album was made in a period of nearly a year. Like “The Way“. The main sound of this track were recorded by my wife in a bus in the middle of forest in Thuringa. I said : <<I’d love to record with this sound>> and she started to record her cellphone. After our holidays I checked it in my studio in Berlin and it was amazing. When I listened to it on a nice pa, I got goosebumps. So… the most inspiration comes from my real life (“XXXII“ – which I made during the Unsound Festival 2015 btw..), things I do and the normal sound of nature.
What can you tell us about your overall process of composition? How do the ideas born, where do they mature, and when do they finally see the light?
Like I told you before, sometimes it’s like a spontaneous process of what Ido, where I am and some odd things. In „Tibet’s Closer“ I recorded a ICE train in the tunnel of Berlin’s main station. It’s not legal to go there but I recorded over one hour materials just in this tunnel and of different trains. And this mystic sound made this track so special – the atmosphere I mean… So most of the tracks I make and made begun with no idea… haha… I listen to sounds and then I write some bass notes. For me it’s like cooking a great meal for friends. Bass is like the butter or oil you need to cook something great.
What are your thoughts on the state of “electronic music” today?
Electronic music changed so much in the last 20 years… and it manipulated my sound definitely! In the past I released dance floor music very well. But it bored me more and more so I changed my focus to music which really can catch people everywhere. For me my sounds tell a story and make the listener reflect on things. So… for me electronic music is definitely not the same like I heard when I get involved with, but it can help you for everything in life.
This is the videoclip. You are lucky because it is a special preview for you.
This interview is made with our super cool collaborators SØVN.
SØVN is a label/collective without a specific home. It revolves around experimental music, but is keen on all art forms. Forward-looking, at the intersection between ambient, noise, drone, post-whatever. Home is whole Earth.
We encourage artistic submission of every kind, from music to graphic works. We looking forward to listening and seeing your projects, It may take some time but we’re trying to reply to all of you. You can submit here: firstname.lastname@example.org.
Credits photos Katrin Binder, Volkatovicz