Innode is a project by Stefan Németh, Steven Hess (Locrian, Pan.American, Cleared) and Bernhard Breuer (Elektro Guzzi, Tumido). Central aspects of Innode´s music are rhythm, reduction and precise forms. Based on this navigation system, pieces display a technical approach contrasted by human intuition and unpredictability. So are drum machines interlinked with acoustic drums, one being shaped, extended and complemented by the other. At the same time these percussive patterns are substrate for electronic textures, made up of raw and unprocessed waveforms. It is the function defining the choice of sounds, hence resulting elements can be as simple as a pulsewave or white noise.
1. We are just a part in the complex system of nature. Consequently we are depending on other organisms and fragile physical or biochemical parameters.
2. The idea of doing research. Instead of simply believing.
3. I am not a writer.
1. What is the biggest inspiration for your music?
In any case the input is very widespread. It can be elements of totally different kinds of music, or visual forms of art. Sometimes it is a sound in my environment. I do have relatively clear methods to create music and this way I can bring these diverse elements into an aesthetic form.
Very important is also what happens between the band members – in the best case the results are something unexpected.
2. How and when did you get into making music?
I think I simply wanted to play in a band, so I learned to play the guitar. Electronics came later. Initially, there was no professional plan behind, but when I met Martin Brandlmayr from Radian, I had the impression that this could be something more serious. We worked quite a lot and it was an enjoyable process. Luckily, some people were interested in our sound, so we could play and develop our music. That´s how it started.
3. What are 5 of your favourite albums of all time?
for the moment:
Pan Sonic: Vakio
Georg Friedrich Haas: Concerto Grosso No. 2 (for ensemble and orchestra)
Fennesz: Hotel Parallel
David Bowie: Low
Morton Feldman: Coptic Light/String Quartet and Orchestra (Arditti Quartet and ORF Vienna Radio Symphony Orchestra)
4. What do you associate with Berlin?
My first impressions of the city (in the 90ties) gave me the feeling that Berlin is a place with a lot of space for individuality and spontaneous activity. I think that´s still in the DNA of the city. What I also like is that the architecture has a sense of wideness, and there are (although less) unused or somewhat wild spots.
5. What’s your favourite place in your town?
I think it is a spot in the Stadtpark of Vienna. It is a bridge in the center of the park.
For some unknown reason I was dreaming of it once or twice. And each time I cross the park it evokes a positive, but also slightly melancholic feeling. Especially at night.
6. If there was no music in the world, what would you do instead?
Probably I would draw more and make scientific illustrations.
7. What was the last record/music you bought?
Akkosaari by Auvinen
8. Who would you most like to collaborate with?
I am very happy to work with Steven Hess and Bernhard Breuer from Innode.
9. What was your best gig (as performer or spectator)?
It is almost impossible for me to find an answer to this question. There are many as a spectator. But a show is so much more than just the music, so I can´t separate it from the personal situation in this very moment.
10. How important is technology to your creative process?
I think that our music is not so much technology-driven. At least, I can say this for my part. However, I search for options to bring my ideas to life. Thus, technology may sometimes help making a piece possible. In addition, I like to limit myself in terms of tools and see what I can do with a small setup. This way, technology propells creativity, too.
11. Do you have siblings and how do they feel about your career/art?
I never talked much with my brother or my sister about my music, so I can´t say. Probably, it is very abstract to them. Or far away from their reality.
Photo © Julie C