How did you get into circuit bending? well i got into circuit bending before i even started making any form of experimental music that was 22 years ago in 1995 and like many who got into circuit bending i discovered it by accident as i had a old walkman that had the back panel missing cause i had drop it and one day in the summer of 1995 i was listening to the radio and the circuit side was up and while eating i accidently drop my fork on the circuit and it made such a weird sound that in 2005 when i actualy read about circuit bending online i was reminded of this and ever since 2005 been doing various circuit bending experiment... Do you think C.B. is any good for something? i do believe that circuit bending is usefull in any form of experimental music as it unlock hiden potential of any audio capable piece of electronic for me its a good source of unique sound that i transform into various soundfont that i then use in making music with what about the place you live, tell me about it! I live in a small village called Notre Dame Du Laus in the province of Quebec nice little quiet village i chose this place cause there space between neibor and cause of that i can create as loud as music i want without causing any problem to anyone and the nature also inspired me quite a few song in the past as well

what do you mean about america? nakateem is not politically engaged Living in Russia costs me money. There is absolutely nothing to do here but drinking alcohol. And making noises for me. By the way, I had a mini-tour in Ukraine. It's hard to type such things, because I think the government is spying on me. They just looking for cause so they could put me in the jail. You can be jailed or even dead, but least men is still living.

I make art. I think this is an important thing to do. The art I make is generally smeared in time, in the form of music. I improvise and act as an antennae to the beauty, electricity, and endless surprise that is living a crazy life. I compose and try to create new sounds, interactions, and behaviors that I find interesting and challenging. I perform my own music and the music of others on a variety of instruments, with close friends. I believe in magic. I believe in sharing things (for free). I believe in teaching. I believe in openness. I love sweet jams, and I avoid speaking with a complicated vocabulary as much as possible. I love learning. I try to live as presently and honestly as possible. I live with artist Angela Guyton.

TELL HOW THE HAK COLLECTIVE WAS FORMED AND IN WHICH CONTEXT? Created in 2001 by 2 art students in Le Havre, France, in a time new medias were born. Internet, home studios generated new way of practising music, and permit to each one how have something to say to do it. Like in punk times. We still thinking that managing by ourselves is the best way to continue to create in an independent way. H.A.K. is a variable-geometry collective which combines more of 80 artists around the world. H.A.K. LO-FI RECORD is a label of independent music, as well as a group of sound researches wondering about the sound spaces in term of politeness or plastic installations, and on the various manners to practise Sound today. We’re on tour a lot, and improvising with every one want. We developed CD-r editions, and some CD, Vinyls and K7 More than 250 productions mark out the story yet of H.A.K. LO-FI RECORD, as well books edition. http://h.a.k.free.fr/

After living abroad for 22 years, I came back to the Canary Islands in 2012. I was born here, but now I listen to the island environment in a different way. In some senses it’s a rediscovery of place. When I was living in Barcelona I was curating at my space called Circuit Torçat, as well as in other venues. Now, in Tenerife I’m starting to curate sound art and putting artists that work in different mediums together...

about the future: I don't see how i could answer that as I have no opinion about some that hasn't happened and do not exist but I think we can expect some serious sociological events in a close future and I try to take it as something exciting to witness. Being a dad kinda make me apprehend life in a more positive way as before but I guess we need to deal with fear now.Not fear like during the cold war but a more legitimate fear.Fear of the unknown as our system collapse and quite noone in the higher spheres of power has some alternative model ready for our society. So I see some dark and rough times coming that would be a transition to our real future that I hope will be bright.

Brian McNamara is an experimental instrument builder and sound sculpture artist based in Bungendore, NSW, Australia. Brian mixes his passions for music, electronics and sculpture into unique objects that should need no explanation to play or experience but convey a deeper meaning in the context of their surrounding

the city I live influences my mood in many ways...when I'm wiring & hacking devices i can become aggravated - I live near rivers/deer parks, these give me space & get back to a clear state of mind enabling me to continue my ideas. i find a symbiosis between what i do in my foreground & the space of my background...

Jean-Brice Godet starts clarinet at 8 years old at Colombes conservatoire, where he was born, in Paris suburbs. He was 17 when he discovered at the same time Albert Ayler, Sonic Youth, György Ligeti, Duke Ellington and Buddy Guy, what convince him to use the way of free improvisation, on the advices of Bernard Lubat, Louis Sclavis and Joëlle Léandre. In 2004, he gets a master in computer music research (ATIAM) at Pierre and Marie Curie university and at I.R.C.A.M, and completes is musical education with the highest distinction of Gennevilliers Conservatory of Music, under the aegis of Nicolas Baldeyrou (solo-clarinet of the "Philharmonique de Radio-France"). With the In Sit-U collective he meets Fred Frith and works two weeks with him on an original creation. Few times later he joins the quintet Fröhn and plays on prestigious stages like Le Petit Faucheux (Tours) or on the famous improv'music national french radio broadcast A L’Improviste. He creates his first silent-movie/live-music in 2004 on Le Rat by Christophe Ali and Nicolas Bonilauri, silent movie in black and white realesed in 2000. The second one, create in 2011, on Berlin, die sinfonie der grosstatd (Walter Ruttmann, 1927) is a joint commission from SACEM and the the City of Gennevilliers prompted by Bernard Cavanna. He plays since 2009 with Pablo Cueco (Erythropus Quartet, Le Bal De La Contemporraine...) and with Anthony Braxton and Walter Thompson in 2010 in Brooklyn for a week of soundpainting performances. He curates and played in Amok'Improv' nights a dedicated improvised music serie with Sylvain Cathala and Fred Maurin between 2010 and 2012. He creates the MujôQuartet in 2012 in Brooklyn with Michaël Attias, Pascal Niggenkemper and Carlo Costa, in which they play his compositions, working on impermanence and imperfection. They play in Paris and New-York. He is co-leading also two trios, Zaal33 with Brussels-based Richard Comte (guitar) and JeanPhilippe Feiss (cello), and Capsul with England-based Matthew Bourne (piano) and EglishFrench Tam De Villiers (guitar). He collaborates regularly with Joëlle Léandre since 2012 in few projects : a slient-movie/live-music concert Mélies/Leandre, her new tentet Can You Hear Me ?, and a new co-leaded quartet Ground(s) w/ Mike Ladd (voice) and Benjamin Sanz (Drums).

I started hacking electronics in 2006, without knowing about circuit bending. My intention was to re-use and change the sounds of some of my electronic toys and use their sounds in my music. I still travel because of circuit bending, performing or leading workshops. Some examples: BENT Festival 2010 (New York), Green Man Festival 2015 (Wales), Cologne OFF Festival (Cologne), etc. "Circuit bending is for me, besides a cheap way to extract extraordinary electronic synthetic sounds, a sort of artistic activism. I am fascinated by the idea of recycling second hand and dispatched electronics, as well as recycling preset sounds that these devices produce. I am also interested of the DIY part of this movement and I am very keen in passing my technical knowledge to others, in a form of workshops or just knowledge exchanges with other music hackers. I might say hacking music is my main concern regarding manipulating electronics, as a way to resist to massive production of toys that end up in the trash or overpriced synthesizers that sometimes end up in the wrong hands...