Thursday, October 14, 2021


we officially continue releasing music only with
Internet Daemon Netlabel.


Cian Orbe is a chilean non-profit Netlabel created by Sábila Orbe for support artists in ambient, dark ambient, dark new age, experimental electronic music & other not massive electronic genres.

All releases are under Creative Commons License (CC BY-NC-ND 4.0):

For submissions send us your work on WAV format + A jpg cover min. 1400x1400px. Also mention your main info & links. via wetransfer, filemail or others. 
We recommed visit our full submission guidelines for have the complete information about our netlabel.


Releases from 01 to 154:
Releases from 155 to 209:

if Internet Archvie is offline also 
Releases from 01 to 209 are available on:

*For updates & news please follow:

Registry on Discogs:



 Mist Spectra: Visual support for cover artworks and releases diffusion.

 Sábila Orbe: Netlabel founder, and management of all releases and material. 

Discover the full discography list of Sábila Orbe music projects in:
👻Humanfobia (with Mist Spectra):

*Support not massive genres / creative commons artists / people who make music for love to art / music that you can use without commercial purposes for your mixes, radio station, videos, short movies, video games, softwares, etc. just giving credit to the respective creator. / Discover the world of the underground music in netlabels / Support artists who really cares your opinion ///////**** in the other hand celebrities and millionaire famous artists don't care your difussion, don't care your birthday wishes, don't care fans, only cares money.The music industry is other tool of the system for create false idols and control masses. Open your mind.

Interview to Ed End (2021)

This time we did an Interview to the french prolific experimental composer: Ed End aka: Yoshiwaku, rADio eNd, PIRATE Tapes, A Symbiotic Experience, Symbol of Subversion, Invisible Ilusion between many other monikers. 

- What is the meaning of your artist/project name?

Ed End, for me is meaning the one who do not have one head. I think I’m an instrument, a medium who brings this music to earth but do not do it on my own. It’s also linked with my poet name Morne which means unborn in french. Ed End was first a long automatic poem wrote in Brocéliande. Next I chose to use this name for release my music. It’s also a blink eye about Ed Wood a way to do not forget that I’m an eternal beginner.

- Which is the concept behind your music project, how you categorize your own music?

Each of my projects are define by a concept, most using singular technical process.
Few early examples :
- OP was an attempt to show that you can create classical music without music theory.
- OresteS is based on replacing the rhythm by the pulsation, using high velocity as well as very slow pace.
- Cortex is mostly using disfunctionnality of any kind of toys, synths, machines.
I tried hard to coin Horsnorme (out of norm, standarts, unclassable) music with a certain sens of humor, quite paradoxal, the snake which eat is own tail, and a way to uncategorize the music of the netlabel that I’m running : the necrophile hummingbird.
Perhaps the first idea was to catch and bring on earth things from beyond, I mean I choiced to create the music I was unable to find elsewhere.

- Do you release music only under your main project? do you have other active or past music projects or monikers?

I released my music under more than 30 projects mostly because I dislike my music be related to me. And instead prefer let each project with its own life. Most are solo project but some are duets, bands, collectives. An anecdote for “The World is Over !” compilation I used 17 of them mostly because it was fun to play the game for each to find if they would stop or let continue the world as it is.

- Favorite music genres??

Anything unclassable, could be close of Postpunk, Industrial music, Psychedelic rock, Electro ethnic, Krautrock, Neofolk, Triphop, No wave, Death rock, Noisy rock, Electro indus, Avantgarde, but mostly nothing too much stuck in a genre.

- In what year did you start making music? which was your first band/project?

1997 with two projects ATros BoXon for freak folk & TKno BeurK for experimental electro.
Follow very soon after by the noise collective My Wagonnet Erétique 68 and the duet Ouaf.

- Which inspiration you have from the place where you live? There's some inspiration from your country in your music?

The place where I’m born and I’m living in is a very mysterious town with strong alchemical history.
Two times the town have been completely destroy by the war... The king of france was unhappy about a spanish rift in his country.

So my real country is... earth that’s why I try to spread the word about huge problemes like global warning or anything related to ecology, but not only because it’s only green washing without social side, that’s why I’m against capitalism and do my best for find alternative ways of living and at my small level help them to rise up.

- Which are your favorite visual/plastic artists who inspire your work?

Except for Camembert Electrique netlabel “Museum” compilation my music is not often based on plastic artists, thus I enjoy painters like Beksinski, Giger, James waan, Mossa, Redon or actionist like Beuys. More on visual artists like Phil Morton who bring us the copy it right, and lot of amazing experimental cinema pioneers. I’ve remix or create illegal alternative soundtracks for lot of them to help spread their art. And it’s far more based on poetry like beat generation poets like Kenneth Patchen, Bob Kaufman, Claude Pelieu, Allen Ginsberg… Burroughs or psychedelism like Timothy Leary, Terrence McKenna, John C Lilly… or Speculative Fiction writer Philip K Dick, Jeff Noon... But to be fair about the inspiration on my albums, music is not separate of the writing and the artwork or the video art clip, often when I design one of them, it helps to create the whole album. Each album is like a kind of mathematical problem made by life that I’m able to solve using them.

- How do you see the current Underground music scene of the music genre that you are involved?

Well I’m not in one genre because for me it’s a kind of prison, for example one of the concepts behind rADio eNd is to try to make a project with each album being in different genres. So I’m very happy that the borderline between genres seems become thinner than ever years after years. The only genre I could refer would be free wave, the free music scene, and actually the early dream of internet that something virtual should not be a marchandise is quite far. Netlabel word was used years ago for labels releasing music for free. And now it is used by labels doing virtual releases, selling music, in pay what you want zero include for the better ones. Is there a problem doc ?

- Favorite popular & also underground composers/music projects?

Perhaps when I was a teenager it was Coil. Psychic Tv. Tuxedomoon, The Residents, Minimal Man, Chrome, Virgin Prunes, Bauhaus, Minimal Compact, Mecano, Einstürzende neubauten, The Legendary Pink Dots, Christian Death, Lydia Lunch, Joy Division. 

For the electro Cabaret Voltaire, Foetus, Fad Gadget, Kas Product, Severed Heads, Sixth com.
But the psychedelic side was as important with Amon Duül 2, Can, Gong, The 13 floor elevator, The seeds. Same thing for the heavenly side Dead Can dance, His Name his Alive, Cranes, Current 93.
But actually I’m far more eclectic and the question seems to me to be meaningless.
I should only say : pioneers, not copycats.

- Do you make live performances? If you do, can you talk us about the experience?

Yes, despite that anguish me a lot, each time it’s possible because I see it as “being” a time and space share together, halas usually that’s not often possible, and since the Covid that’s more tricky than ever. However actually I would not perform only for people with medical pass as it is in france. I organised concerts in a squatt ten years ago, bands were playing in a huge metal cage: 

My first concerts were also in squatt.
In france It’s the better place without them there will be no underground scene or hardly.

- Which is your favorite song/composition and album created by yourself?

It’s like asking if one child is my fav… Well, so I thing the closer of myself is “L’Antagonisme" by ThrobofOG remaINDed because it’s only an improvisation with one boss delay sampler effects and my voice. And then my fav would be the one the most far of myself, so all the collective or band albums like “Hum Antenna”, “Anachronic Sacrifice”, “Gesamkunstwerk”, “Genesis Launch” “Faust Tape” for the recent one or sampling album done without my own instruments like “Size to Seizure” because if so I try to catch the spirit of the sources.

- Tell us about the concept & the creation process of one of your latest EP / ALBUM

That’s something so much complicated and simple at the same time that I can’t find words for it. Each time I get relevant informations I share them on the Internet Archive on the release page, so for this you could read “Tohu Wa Bohu” presentation it would be a fine exemple. If you want more disturbing creation process check Pikadon, at somepoint I was in the Tibet Museum beside Giger Museum asking to the gallery owner which divinity would be the more related, to build the artwork, because the idea behind was to create something which could create a global disruption to help a change of paradigm, more ore less. And keep in mind that I do not create myself, it was just what I feel about the goal of this remix compilation. I try to avoid to know anything about future (or futures..) since several years but it’s clear that my music is intuitive, same way that I use automatic writing for poetry, I don’t know from where it comes subconscious dreams multiverse or elsewhere but it’s surely not something made by a rational brain stuck in plato cavern.

- Tell us about the underground music scene in your city, and which are your favorite artists from your country?

In my town except the noise rock band “MK ultra” where my coplayer Studio 112 play guitar and a punk rock band, there is no real underground scene, of course the success of Hubert Felix Thiéfaine let a path because he shown that you can be popular despite being not on a major. I’d like to change this at some point, there are few friends in the two cities around : Androvirus, Judith Juillerat , Erebus, Willy Marleen... To develop a local scene is really important to me so each time it’s possible I do various kind of collaborations with them.

For the favorite french artists it could be a very long list and few are already on NWW list : Gong, Ghedalia Tarsates, Art Zoid, Ange, Magma, Brigitte Fontaine… I think the ones I prefer are Kas Product, The Grief, Nox, the Syndicat, Déficit Des Années Antérieures, Deleted, End of Data, Gestalt, Denier du Culte, Pacific 231, Bastärd, Hint, Corpus Delicti, Jad Wio despite I’ve listen a lot of more punky music like Les béruriers noirs, Laid thénardier, Les tétines noires, Charles de goal, Warum joe... I’m ashame of the many I forget to write down especially many fav from the free culture like Jungle is Neutral, ardleg, Planetaldol, Michel Nomized, Kalam, JlH Berthelot, Konejo more generally all my collaborators like Antonella Eyes Porcelluzi who always help me to remember to keep my sound free. If I create music with them it’s because I love their music. Something funny is that each time I love a music, if it’s possible I’m so happy to melt my sound universe with. So to find the fav who make beat my heart the best way is to listen Necktar compilation…

- As active musician, What inspire you to create more and more content? From where you find the inspiration for be a music creator?

Indeed it’s the opposite I try to create less and less content… but I generally fail.
Music is just a consequence of my study of life.

When I was younger it was slightly different because I wanted help a free music scene to grow up in france, now we are all with more music to listen that time in our life for, it’s like the shareware in the early 90’s it was possible to copy on a harddrive all the earth production, now it would be just impossible, actually it’s impossible for me to follow all the bands I’d like, and it’s better like that, with the information overload it need to change of paradigm to leave the always “more” for a sens of harmony, less is better. For my production I try to let room for the others, it’s how the world should be for me, everyone is able to bring wonderfull arts if they are enough passionate, so it would be selfish to do not care about all. In fact it’s possible that a reason why I’m not able to slow my production is that despite there are so many musics lot of them are just marchandises, copypastes, recycles, recipes and not so many are real researches : musical experimentations.

- Any anecdote that you want to share with us in the creation of some track?

Often when I finish an album I get a life reward for it, here is an example of that kind of funny synchronicity, after achieving “Baâl des maudits” I went straight to a second hand shop and I picked the first book front of me, then I read the title it was “Bal des maudits”. The album was including various numeric codes based on number 666 and when I open the book there was 665 pages and one page without number. More recently I did a track Magical Initiation for Invisible Illusion, well I have a special relation with the computer or any electronics device, often I generate unusual bugs, and so when I pressed the play button on vlc to launch this track, the second track also begin to play in another vlc session ! First I do not notice I was just “wov ! How I managed to do this amazing mix with kind of glitch compression letting flow few tunes from the second track” Next I realised that the second track was playing and it was one more bug, so next I chose to recreate at my level this mix, despite I’ve been not able to recreate that amazing glitch... My life and creation are full of these playful events..

- Any news for this second half of 2021 or for 2022 in your music project or future collaborations?

Open Source & Paroxysmic Rhapsody & Tohu Wa Bohu maybe enough to let me breath a little.
Also there will be two Invisible Illusion tracks release soon, the first one on “Communitas vol 2”. I’ve done also some participations to an Augustine Leudar project for something going back to the widening gyre. For 2022 I hope finish the long waiting Multiple Personality 3 Glauko Psyche, another A Symbiotic Experience waiting also since a while. A PIRATE Tapes at least because we’ve got tens of them never release. And others rADio eNd like Operating System and the both last where Peter Hope already recorded the lyrics but I still need to do a lot to finalise them. There is also 2 others Invisible Illusion already cut out… stay tuned here: and I will drop a word when I know more about.

- Any other thing that you want to say to your listeners?

If you don’t find musics fitting to your hears well I think you should create your own music. And well music is cool for lot of us it’s a way to do not fall in depression or die face to this insane world trusted by unhuman people. Happy if it help to breath in unbreathable times. But music for me is only a consequence of process happening because of being connect to other arts and life and dreams. There is so many people in pain around the world because of selfish choices, comfort, money, short time thoughts, all that, It’s time to refuse, to say no each time we are strong enough, to refuse any gov laws and orders. And to built our local alternatives, in france the gov forbide to anyone without vaccine to acces to cultural places, medical, coffee shop etc at least till next summer... Well if these places accept illegal laws like this they desserve to be boycott. We need to build alternative library, alternative medical center, concert places for example to do “cabarets” instead (party without artists just people sharing their best half performing their art half audience), and associative coffe shop... Now we need to refuse any consensual threason more than ever, to refuse to avoid conflict. It’s a war against humanity there is no reason to be nice with friend familly or anyone if they are spitting on dissidents, if they are throwing stones on us.

It wouldn’t help. As a parent when a children do something really terrible you will say first no, stop ! And explain next not the reverse. If you don’t do it at all it won’t help your children just letting him be rotten more and more. So nothing is easy but if we can each change few things, not perfectly but in a way we are more responsable of our acts and show that we will refuse more horror by any means, I think it would help.

Sorry to tell you that because you are probably the person needing the less to listen it, because I think my listeners may be amazingly open people, dealing with lot of empathy visible or not, and I’m pretty sure each are allready doing its best. All with a certain love for humor and anything atypical. People full of doubts or with a sens of clair voyance. Well, perhaps this “refuse speech” is more adress to myself. 

And instead I should only say to you :
- Thanks so much for being here listening and sharing the music I bring back from my dreams. And for many probably sharing your music with me. My life would be without meaning as without hope without you. 

Ed End

ps. For the french speakers i did a selfportrait podcast far more accurate than this interview not in my native language to get the answer to many “why” questions…


Sunday, July 11, 2021

Interview to Enternet Boy (2021)

Today we did an interview to the mexican composer: ENTERNET BOY from Yucatán, Mexico.  


What is the meaning of your artist/project name?

It's related to cyberspace, specially on the ether and the capability to connect and communicate in the immensity of this invisible/ghostly area that internet is. 


- Which is the concept behind your music project, how you categorize your own music? 

I think it's a combination of many musical genres, sometimes vaporwave then dark ambient, grime, avant-garde, concrète musique. In general, it's experimental sound design because I create while I improve, no matter what the style it's at the end.

- Do you release music only under your main project? do you have other active or past music projects or monikers?

A year ago, Çois Agver & I joined to Radio Ensayo as Vía de Acceso to talk & share creations from experimental a/v artists around the globe every third Thursday of the month. You're all invited to listen to it & collaborate somehow. We had our show #12 in June & it was audiovisual experience, it was cool. Right there we premiered and presented our duo project named “Desertic Garden” where we explore themes about ecologic activism identified with our ancestral heritage that it's connected to nature. Our first EP was a post-apocalyptic inspiration but we're always open searching new point of views.


- Favorite music genres??

Electrónica desconstruida, vaporwave experimental, música concreta, dark ambient/drone, avant-garde, techno, minimal, tribal prehispánico, new age, witch house, contemporary, abstract, etc.


- In what year did you start making music? which was your first band/project?

Enternet boy born in 2018 but my visual art project came before when I learned to use Photoshop and other design apps, then we create VDA as an account dedicated to glitch/surrealistic art. After that, we found Audacity & other audio softwares and then I started with sound design under EB.


- Which inspiration you have from the place where you live? There's some inspiration from your country in your music?

“Plaza Internacional” it's about my city & my first album it's a tumult to my country. For years ago, I remembered to discover and learn how actual social system constructions works, what's the power of money, invisibility for some specific groups of people and other situations... It was a moment of rebellion and consciousness; I wanted to protest, transform feelings into art. Sounds are dramatic sometimes but there's hope in some pieces too; I inspire myself in ancestral knowledge of people whom were here before me to guide me, to teach me in positive ways.

- Which are your favorite visual/plastic artists who inspire your work?

Çois Agver, DIGITONICA, Enigma Curry, TaRka, Asako Hoshikawa, Draumurmar, Esstro9, Quasiaqua, Chris Meneces, Robin E. Stewart, EustaquioElPlagio, Lend Me Your Underbelly, Samuel L. Jetsen, VDA, Fun.At, Enzo Luciano, Franco Paliof, Dannyhell, Matsumoto Akihiro, Arrehola, Nicolas Morillo, Antonio Ponce, Nikita Tikhonov, Salvador Venti, Nick Williams, Toy-Mesme, Kayvan Niktabiat, Nico Lillo, Zolm, Keith Rankin, Proxima2000taur, Magnhild Kennedy, Jim Davys, Koo Des, Muriel Nisse, Vince Mckelvie, Sander Etehema, Gabriel Gabriel Garble, Sasha Frolova, Nikita Replyanski, Stefano Benediti, Michelle Pan, Armandi Art, Reina Rex, Nick Wivekyolamal, Burnie Elfhonderd, Aunhelden, Theo Tryantafyllidis, André Benson, Irene P. Tello, Michel Poisson, Soso Gutter, Lloyd Newell, Alejandro Jodorowski, Mimi Choi.


- How do you see the current Underground music scene of the music genre that you are involved?

I think we're always expanding more & more, there's always new emerging creators at the vanguard. Somehow, due to internet we're connecting frequently with each one from this community of underground music, it's great to know there's someone with same musical taste out there in the world. Hopefully, we can leave a trace for those who don't know about this movement & then they'll be prepared for the future.


- Favorite popular & also underground composers/music projects?

Çois Agver, Marcy Angels, taRka, Wilfried Hanrath, Grevus Anjl, Special Cecilia, Belial Pelegrim, Kaerian, Teth Sin, LIJEL, Sábila Orbe, Mist Spectra, Sofia HT, Muterial, Oriental Love, Assá, Lady of Fire Poetry, INRGD, Uncanny Dandelions, Exner, Lissa S, Dariusz Jackowski, Morlita M, Ghost Girl, Elska Lullabies, Bissecta de Kînsame, Espíritu Ensoñado, Scilent Symphony, Pablo Moretti, Synthax Erika, ecology141, Sol Ring, NUT, Motion X, A Virtual Memory, Count Chadwyck, SONOMA, Sulevia, NeapolaXi, Takafumi Suzuki, Her Ra, Tony Morris, Minimal_Drone*GRL, Henry Koek, meezerpocalypse, SÁCC€A, Rina Priduvalova and Diana Azzuz.


- Do you make live performances? If you do, can you talk us about the experience? 

Yes, I've been playing in Festival de Pajama 2 & 3, it's another feeling to be in front of people even when you don't see them. There's always love & good interaction in the chat section... And the set I'm thinking to become a studio director.


- Which is your favorite song/composition and album created by yourself? 

This is a hard one maybe my favourite albums are Plaza Internacional, THÉLÈME and dodecagrama in that order, but to choose just one track it's harder!


- Tell us about the concept & the creation process of one of your latest EP / ALBUM

In my LP5 "Plaza Internacional" :

I interpret the story of a Yucatecan citizen; most of the topics have titles based on Mayan culture and history. I realized that I had not made an album with the roots of my hometown, there are references to past albums, following the themes of magic and self discovery because the songs do not contain samples, so it was something completely original and spontaneous using FL Studio. I learned about mastering and intelectual property in this isolation time.


- Tell us about the underground music scene in your city, and which are your favorite artists from your country? 

We have Çois Agver, CNDSD, Isaac Soto, Seagit Arc, Om Beach, Lost Insurgentes, Borametz, Emiliano Dietzgen, Hërmës, Concepción Huerta, Gazrapse, Virtual Trash, Chichilcitlalli, Erick Ruiz Arrellano, Daniela Solis and collectives as Antimateria Sonora, Virtual Soundsystem Records, VAA, Chakanais, Oris.


- As active musician, What inspire you to create more and more content? From where you find the inspiration for be a music creator? 

 I think in nature... the Earth in general; human history, technology advances, buildings, dreams, fantasy and magic worlds, on meditation, in the galaxy...


- Any anecdote that you want to share with us in the creation of some track? 

I think the curiosity of all my works, it's the growth and relationship of my life experiences with these sounds that produce feelings. There's a meaning and specific message in all compositions but they're encrypted and sometimes they're played during a special moment or date or specific learning. Somehow like Magick.


- Any news for this second half of 2021 or for 2022 in your music project or future collaborations?

Yes, I'm planning a new compilation album singing some of my previous works, like a re-interpretation but freshly, most of them its going to be about “Plaza Internacional”. This would be the first time I use vocals in Enternet boy's project. I want to directed a video for the performance too but I'm still organizing how this is going to be directed & played, surprises are coming


- Any other thing that you want to say to your listeners? 

Stay creative, trust in your institution, be true & be free

Tuesday, June 29, 2021

Interview with Linn Friberg (2021)

 Today we publish an interview with the Swedish music composer and data scientist Linn Friberg, who curates the INTENT series on Kalamine Records


- Welcome to this written interview for the Cian Orbe blog!

Hi Sábila, and thanks a lot for inviting me here!

First, I would like to share something that would hopefully alleviate some tension within those who are reading this interview… about “the case of mistaken identity”, which I found quite hilarious until losing some newly made contacts, very likely due to this issue.

During the 2010s I was working with a musician currently located in Norway, who was living before in the same metropolitan area I am “from”, or which I consider “home”, one of… (I will explain it in a moment) – Greater Stockholm. Her full name is Trine Maria Linnea Friberg Nielsen, also known as Riversky. My name is Linn Ruth Friberg, and we are not related. It is something quite common in Scandinavia; for instance, there was a Swedish ambient music project Bocksholm, consisting of two guys named Peter Andersson, from the same town, Boxholm, with population of roughly 3000 people and famous for its cheese, mostly. The population of Stockholm County is roughly 2.3 million people. And, my name, Linn, is not a diminutive from Elin, Malin, Linda, or Linnea, it is a separate name, originating from Norway and mostly in use starting from Gen X and millennials. By the way, I am not revealing anything she, or anyone else I am going to mention, would not approve of.

So, I was not active as a recording artist during the most of the 2010s due to other life priorities back then and was looking into possibilities to start producing music again in 2019. The easiest way in was following the steps of Trine, who was publishing through netlabels, this is exactly how I discovered Cian Orbe, Completely Gone, Argali records, etcetera. 

And Trine wanted to separate her artistic activities and her personal life during that time, so she was going by Maria, Linnea, and other names artistically. So, in 2019, Trine finally released some of the albums by Tuatha, our old band, via Cian Orbe, and I felt like “okay, I am going in!”. Invested into equipment (NI Kore 2, dated but powerful), came up with a project name (Nimbostrata), recorded some tracks and sent the tracks to diverse compilations. Felt very welcome, someone even donated a small amount of money for my samples, which was very flattering, and then I started to receive strange questions and realized that I was being mistaken for Trine, who had her son not long before that and severed links with the music community. After that, the interest in my music from these people waned at once. Fortunately, I was able to find other netlabels and establish connections and friendships by myself later, with those who never had any contact with Trine. But still, even if – being brutally honest here – Trine is much more talented than I am, and burying this talent was an utter disgrace, especially given her training at The Grieg Academy – still, it did hurt to witness people turn away like they did.

Everything did turn out well in the end; I am in touch with some of the finest talents in experimental music the world has to offer, and I know exactly what I want out of my “career” as a music producer. Even if Trine is focused on her family and is unlikely to produce anything new in both near and far future, she found time to “make amends” for her decisions by putting together music produced by her, her friends, and others, and launching a very special podcast on Audius, MedMera. For the sake of creating a sense of mystery and other reasons of her own, she stripped all the labels from the music and flushed it all into numbered episodes, with all due credit to collaborators where it was impossible not to credit the artists. All the albums by Tuatha we could not publish otherwise, the whole archive of the modern incarnation of Nova Beat Estate run by me and, nominally, Trine, and a lot of other stuff is packed into these 214 episodes. The series existed in different forms since the 2000s; earlier projects by Trine and other producers became seamlessly integrated with MedMera, stretching the final incarnation of the series over almost 15 years. Given the Tier 3 status on Audius and its blockchain architecture, and the “fair use” law for podcasts, it is guaranteed that this music will be stored forever. 

Feel free to check it out here: – or tune into Dots Unlimited Radio, the channel DIY Mix. The producers who were credited for taking part in creation of the series were Trine, I, and two other artists I met during the late 2000s: Chris DeBry from Texas, and Fabian van den Eijnden, a Dutch music producer living in Egypt.


- What is the meaning of your artist/project name? 

Right now, I do not use any artist or project name for my own stuff, just my personal name. What exactly was behind Dawnbreaker or RAINE, or even Nova Beat Estate/LCD Soundhouse, in terms of initial ideas, I do not even remember right now, it was 15 years ago. Nimbostrata was associated strongly with my stormy mood during 2019, plus it was a link to RAINE, an attempt to process the residual emotions associated with… how things ended between me and Rahner long time ago. Tuatha was not started by me, but I think Trine told the story behind the name somewhere. Images Without Resemblance was an inside joke between Trine and me and, as any joke, it was very short-lived. Ann Or Lunda is a Swedish word “annorlunda”, meaning “different”. Oriondrive does not have any particular meaning, but it feels like a generated word, and this is a generative music project, after all. The Itinerant is a stillborn audio drama, and the concept behind Telepathic Ensemble could be explained best by the artist who started it.


- What is the concept behind your music project, how do you categorize your own music?

The best way of understanding my music, and who I really am, would be if you look at it all through the paradigm of being a third culture kid (TCK). You see, I cannot really answer to the question “where are you from”, even if I am rooted in Greater Stockholm and nearly everything that I have in my life is located there, including my apartment, friends, and family. When you are a TCK, you are influenced by many cultures, but embraced by none. I was born at the rift between nations, worlds, cultures, in a sort of no man’s land, a child of an aerospace engineer and a physician. Followed along to different places, boosting up my ability to speak different languages from the childhood, but always being treated differently than the others. After graduation from high school in yet another place I completed certain vocational training within IT, packed my bags and left that place in the 2000s, never coming back. Being a TCK implies that your home is not within cultures, places, or countries, but with people you have in your life, which creates the constant feeling of impermanency. For some time, I considered Cyprus my home, because someone once important to me was living there. Then, once the link to Cyprus was severed, I came to Uppsala, and my father just slammed the door in my face. We did not have any contact since then. Fortunately, my mom was living in Stockholm since she married someone else, so I was able to stay there. Autumn 2013, staying in a tiny room in northwest Stockholm, in the apartment owned by two guys from Turkey... I am quite proud of these humble origins, since in a timespan of just seven years I managed to root myself in Stockholm from scratch. But, even if Stockholm absorbs nearly everything and I cannot call myself in legal terms anything else than Swedish due to being a Swedish national, in certain ways I still feel quite alien, and the pandemic does not make things easier. I am extremely meticulous in my work, but I am yet to find home in anything else beyond work.

So, how does it all relate to arts? I am not consistent in my music genre-wise, having played and produced experimental and ambient music, metal/post-metal, trance, IDM, Berlin school, industrial, vaporwave, New Age, even indie pop, but I never felt that my music could be a purebred example of any particular genre. But then, music is supposed to be as impure and as impermanent as anything else in nature, so this fact by itself brings on a lot of healing, and I just follow along with wherever ideas and intentions take me.

Also, as a junior data scientist, receiving rigorous training in statistics, mathematics, and programming right now, I started to think in terms of data when it comes to music and arts. My greatest fear was always about doing things wrong, messing up, failing, and having the doors slammed in my face; this is the reason why statistics and data science suit me better than pure mathematics otherwise, since it leaves a lot of room for (random!) error. Trying different approaches, quantifying the results, making decisions based on data… it all resonates with the approach taken within experimental music production, and a lot of fears are being alleviated within all these processes. By the way, I am going to publish analysis of the podcast on my personal website soon, dealing with intermittent demand and appropriate forecasting methods.

- Do you release music only under your main project? Do you have other active or past music projects or monikers? When did you start making music? What was your first band/project?

Let us start from the beginning. I am active music-wise since 2005 officially, before that I was just dabbling in music making. My first artistic alias was Dawnbreaker, founded initially for the sake of releasing a soundtrack I produced for the school video game project, and my first bands were RAINE, with Alex Rahner, and Tuatha, with Max S. (legal name Malachai Shachaf, before his Aliyah to Israel known as Maxim Solodovnikov). 

I was running my own record label as well, Nova Beat Estate, with Rahner. During that time, I was working as an IT technician and, as said before, was having a certain connection with Cyprus; the idea of creating a label was born when I was administering a certain server hosting music and podcasts, and I wanted to "release" some of my music via that server. The alias LCD Soundhouse was used for sound design and mastering within the label. Artists on the label, among our own projects, were Joonas “Hubris” Hahto, Shifty K, SMC Sound System, and others, long inactive and completely forgotten by now. But, through the label activities, I met Trine, Chris DeBry, and Fabian van den Eijnden; Nova Beat Estate managed to release albums by Chris and Fabian before it ceased to exist for almost a decade. Dawnbreaker and RAINE ceased to exist along with the label in the beginning of the 2010s, and Tuatha went into comatose due to problems Max was experiencing in Israel.  Then I was, as said, inactive music-wise for a long time. Trine joined and eventually took over Tuatha during the 2010s.

Highlights: (it is mostly Trine though, my input for the final version of the album was minuscule)

Then, I started making music again as Nimbostrata. I think that the essential piece by this project is this one:, but the most successful track was this one: I would like to mention this track as well, highlighting diversity of the project:

Nova Beat Estate was resurrected for a short time as a production alias in 2019-2020, releasing albums by Nimbostrata, Images Without Resemblance (Trine and I), The Itinerant, and the first batch of INTENT compilations, I will get to it in a moment. Almost everything could be listened to via the website of Kalamine Records.

Ann Or Lunda (The Order of Scythe & Vine and I), Oriondrive (Thomas Park and I), and Telepathic Ensemble (Artificial Memory Trace and other artists, sometimes I am in the mix, sometimes not) are quite special projects, significant steppingstones in my “career”. First, I was invited by The Order to perform vocals. I am a very bad singer, so, in the end… we have not been in touch for a long time. But then, I became interested in generative music; The Order program hardware synthesizers to perform according to sophisticated algorithms. Thomas Park a.k.a. Mystified invited me to collaborate as Oriondrive, and this project is based on algorithms even more; all the music is generated using Python code, all the lyrics are generated with neural networks and read through the speech synthesizer, and even cover artwork is generated. The only human involvement here is mixing and effects. I also participated in beta testing of the GenerIter SDK, which made the process Thomas is using in his music production available to everyone. And Telepathic Ensemble is even more unique; all the music is performed/produced live across time zones during a specific and very narrow time window, and the generative approach is mixed with “organic” in a much more spontaneous and intuitive way. Instead of generating words using an algorithm I write down words almost unconsciously during the time window, and these words are read then through the speech synthesizer.

Highlights: (Ann Or Lunda), (Oriondrive), (Telepathic Ensemble).

And, of course, the INTENT compilation series. A bit of backstory behind this one: during 2017-2019 I had a strong interest in alternative therapies, since I had a lot of unresolved emotions to deal with back then and was willing to try almost anything, especially after receiving my first Reiki treatment from Trine in 2017. I stumbled upon a book, “Biocentrism” by Robert Lanza, which proposed the idea that biological consciousness creates reality, rather than the other way round. Then, months later, after a long walk I went to one of the shopping malls in Stockholm and stumbled upon an installation inspired by Yoko Ono's Wish Tree; I made a thorough research of ideas behind this project. And then, in the end of 2019, I went to a workshop by Aleksandra Chaladus in Stockholm, dedicated to “intention setting”; the workshop was structured in a certain way so all the attendees would get inspired for running their own projects. This is how the idea for the series was born. So far, two iterations of the project were produced: INTENT 2020 and INTENT 2021.

The goal of the project was and is setting intentions at the end of each year for the coming year. I never expected any results and let the project “grow” by itself, which resulted in a lot of submitted audio material. I never rejected any submission, adapting the structure of the compilations to the material and attempting to create continuous flow on all the volumes. The compilations are meant to be listened to in their entirety, and everything is mixed and mastered very carefully, so the result always sounds better than the sources. I also create cover artwork and produce short write-ups for the contributors based on the information I find about them online. My own goals for 2020 “manifested” successfully regardless of the pandemic, and I asked some participants about their progress in the end of 2020 and received a lot of positive feedback. The artists known as Zumaia and Deborah Fialkiewicz have been essential within production of the series; the former hosts the series on Kalamine Records, and the latter promoted the series heavily.

The links to the compilations:,,, and Everything here is worth of a listen.

The INTENT series are released annually, so, during the year I attempt to solidify the intentions through another series, PARADIGM. Basically, these series consist of short EPs featuring me and my friends/collaborators, released irregularly during the year via the same Kalamine Records. So far only two EPs were released, and two more will be released in 2021. The series could be found here:


- Favorite music genres?

I always appreciated metal music in different forms. Right now, I find that music by the Swedish treasure Meshuggah alleviates a lot of bottled-up negative emotions, especially before and after the exams. During the last summer I tried to listen to the whole discography of Tangerine Dream. I enjoy diverse music: Morcheeba, Mel Tormé, Solar Fields, Aes Dana, Front Line Assembly, Biosphere, Godflesh, Dälek, VNV Nation, Gridlock, Juno Reactor, Delerium, a lot of modern “progressive house” during the workout in the gym… I do not think it is about genre, it is about the vibe I resonate with at the moment.


- Which kind of inspiration do you have from the place where you live? Is there any inspiration from your country in your music?

I really do not know whether Stockholm or my current city, Norrköping, actually influenced me in any way music-wise. I could say that some people influenced certain recordings tied to certain geographical locations, but I prefer to focus on the positive and squeeze the “juice” out of other things in order to keep going.


- Who is your favorite visual/plastic artists who inspire your work?

These artists are mostly quite obscure. Kosmoplovci, Seire Productions, Farbrausch… a lot of stuff associated with demo scene. The work by Vincent Villuis influenced me as well.


- How do you see the current Underground music scene of the music genre that you are involved?

I do not really think I am “involved” into anything. As a female composer I am not supposed to exist, I should be doing anything else with my life than creating music, especially this kind of music, so, in the end, I am quite invisible. The benefit of being an outsider, though, is absence of any expectations, the perpetual state of tabula rasa in everything I do, and this is something I am very comfortable with. And, given that many aspects of music production generate data for further analysis, I am more than comfortable with a role of a “spider” hiding behind the wall, gathering data once in a while. This is exactly what I want out of my “career” in music: data. I value friendships though, so almost all collaborations I enter and dedicate my time to imply some form of personal contact, even long-distance penpalships. Without it I would not bother to continue, to be honest, since this kind of music does not hold any monetary value.


- Favorite popular & underground composers/music projects?

I enjoy music by State Azure and other artists who create modular ambient music. Just recently I discovered a YouTube channel called SpaceWave – Cosmic Relaxation; the composer behind this channel grew up in Fruängen, one of the suburbs in Stockholm where I lived for quite some time during the 2010s and listened almost exclusively to Solar Fields, Biosphere, and other ambient electronica, and now I wonder whether quiet and ordinary residential areas like Fruängen inspire creativity on a subconscious level, ha-ha…


- Do you perform live? If you do, can you describe the experience to us?

I used to, purely for the sake of documentation and connecting with others, but not anymore. I cannot deliver necessary “impact” when performing live; even if music could be very intricate, people tend to become bored during performances. Therefore, I confined myself to playing improvisational music at the events in various small venues and yoga centers in Stockholm: Noden, Studio Hanami, Shine, Yogansa, and others. I do not have performance anxiety, but, in the end, I lost interest in playing live completely, and I do not plan to go to these venues anymore, due to living in another city and – being brutally honest here again – my failure to form long-lasting connections within the local wellness community during the late 2010s. Sometimes it just does not work at all.


- What is your favorite song, composition, or album created by yourself?

I mentioned some highlights, pieces carrying the essence, or most successful pieces already, it does not mean that I like these pieces per se. One of my favorite pieces is this one: - because it gives away positive vibes and hope.


- Tell us about the concept & the creation process pertaining to your EPs/albums.

As said before, I just follow along with wherever ideas and intentions take me. Nearly all tracks by Riversky featuring Nimbostrata were produced by me using the samples by Trine, due to the obvious reasons explained above. I still have some samples which were not utilized in any track yet, so if Riversky ever pops up again in collaboration with me, you know who is responsible for the result. Nearly all the collaborators send me WAV files to work with, but one of them offered MIDI files, which I appreciate a lot. I feel that I can fuse myself with the ideas by other artists much better if I work with MIDI files instead of samples. By the way, my current setup includes Reaper DAW and Spire VSTi.


- Tell us about the underground music scene in your city.

I never had any substantial contact with anyone within the local scene except Trine; I suspect that most of the producers worth mentioning are just like me, outsiders locally but becoming known internationally. And, due to local politics, I doubt that “the scene” would survive beyond the pandemic; many venues have closed during the past ten years due to noise complaints or incredibly high rent. But the city and the society are continuing to undergo rapid changes, so no one knows how it is going to look like in a couple of years.


- Any news for the second half of 2021, or for 2022 music-wise?

Recently I produced two official remixes for Zoviet France, both could be listened to via SoundCloud. Also, Treetrunk Records have released an EP featuring remixes for Zumaia I produced with the latest version of GenerIter SDK. The EP could be listened to and downloaded here:

PARADIGM-wise, I am planning to release two EPs in 2021: “The Arrival”, stemming from the track I mentioned above, and yet untitled collaboration with Brainquake. Obviously, I will produce INTENT 2022 in due time. Soon I will create my own music archive on Audius, using the same concept as MedMera but using my own separate account; even if technically I can maintain MedMera too, the account belongs to Trine. My main focus though, except school, will be analysis of MedMera and INTENT so far, as said above – the latter will be mostly descriptive due to absence of monthly data – and a lot of coding. Before announcing INTENT 2022 I have to create an app for track submission and, possibly, playback, so I could get data out of it and perform analysis. Everything, including some of my schoolwork, will be available via my website and the GitHub repository.


- Any other thing that you want to say to your listeners?

In the end, this interview could serve as the most comprehensive introduction to me, my music, and my goals. I really do not like dwelling on the past, and there are so many things to experience on the brighter side of the life spectrum, so my intentions are clear – out with the old, in with the new, and fast forward into the future!