MICROPOLIS a photo exhibition by CLAUDIO COLOTTI

Eine Ausstellung im Provisorium, Zürich mit Fotos des italienischen «Street Art» Fotografen Claudio Colotti. Seine Fotos konzentrieren sich auf auf einen Blickwinkel, der den Ort des ursprünglich aufgenommenen Fotos verwischt. Man meint die Aufnahme sei in NYC oder Rom oder sonst in irgendeiner anderen Grossstadt entstanden. Dabei ist es Zürich oder Civitanova Marche. «So habe ich Zürich persönlich noch nicht gesehen!», sagte ich am Samstag zu Taro, dem Aussteller. Claudios Fotos sind schwarz-weiss mit hohem Kontrast. Der Fotograf ist stets nah bei den Aufnahmeobjekten, sei es Mensch oder Gegenstand. Er fotografiert, überrascht und spricht erst dann an…
Für die musikalische Untermalung sorgen An Moku (also ich) und der italienische Jazz Musiker Federico Missio.

Die Ausstellung läuft von 17.-22. Juli.

Ort: Hosoecaffe, Provisorium, Zürich
Fotograf: Claudio Colotti
Unten findet ihr meine kurierte Spotify-Playlist zur Ausstellung.


What is Fragment?

Fragment is a dual looper device (developed in collaboration with Puremagnetik) with pitch shifting, phrase modulation and more. It is a simple and fun dual looping device designed to generate new, modulating fragments of your input audio. It’s a quick way to sketch out some new ideas and help formulate unique sound phrases.

The plug-in comes free with An Moku’s Less – out now on Puremagnetik Tapes. Less is name-your-price on Bandcamp through April 23rd. Download instructions are included with the Bandcamp album download.


This is a walkthrough on Fragment and a quick presentation on how I am using this wonderful little plug-in device. Enjoy the lo-fi 😉

Fragment was inspired by my customized looper pedal that I used throughout the production of Less. The device can record two loops, pitch shift them up and down 24 semitones, set modulating start/end times and fluctuate all of these parameters with volume. The “Fragment” parameter modulates everything randomly, yet slowly, to create swells and generative automation. Enjoy Fragment…

Get Fragment: https://anmoku.bandcamp.com/album/less-2




Am Dienstag ist mein neues Album «Less» über Puremagnetik erschienen. Wie in meinem Blogeintrag zuvor über Hauntology beschrieben, habe ich das Album unter besonderen Voraussetzungen gemacht.

“Most of my recordings are only with the bass guitar and effects,” he points out. “I have used ​field recordings on “A better tomorrow” and “Blur” and have treated vinyl crackles a bit at the end of “Melancholia” so that they generated an electronic vibe. All in all you might be surprised how the bass guitar is able to sound and fool you being a synthesizer.” Less​ ​is a textured, sensual audio fabric of electricity, the sound of voltage flowing through equipment, pushing against impedance, expanding into a sonic architecture of places: the sound of still life, objects, haunted spaces.  

Näheres könnt ihr von meiner Bandcamp-Seite entnehmen. Bis dato viel Vergnügen beim Hören :-)



Guten Morgen Zusammen, ich möchte mich bei euch für das letzte Jahr bedanken. Für euren Support, für all eure Inspiration, für die tolle Zusammenarbeit. Danke vom Herzen. Auch ein grosses Dankeschön an meinen Mentor, Uwe Zahn aka Arovane für seinen Rat.
Anbei ein Interview/Bericht. Erschienen vor zwei Tagen. Danke Gabrielle für deine unermüdliche Arbeit mit MX3 :-)


Safety in Solitude: Upon

«Safety in Solitude« is kind of a diary. For a few weeks I am going to post a piece of my music. Weekly. For you, my dear Backstage-Subscriber. 

The pieces of music will be calm sketches, experimental draws or misty landscapes that did not make it to appear officially yet. Maybe some of them will, some don’t. Maybe. I think they are beautiful as they are. Some of you might know that I am not interested in harmonic melodies that much. What I love are moods and repetitions with their micro alterations which you might not even notice. I am hoping to let you float and give room for own interpretation and imagination. 

For the fist «Safety in Solitude» tracks I am working with the talented photographer from Spain, Juan TRakO.
I asked him for three pictures of his choice… 

Enjoy Upon and Merry Xmas! 
(Headphones recommended) 

Head over to Bandcamp to be Backstage -> Subscribe!

«Where We Meet» Review by SoWhat


Un lungo piano sequenza che si estende disegnando i labili contorni di un ambiente onirico placidamente avvolgente. È questo il risultato dell’incontro tra le istanze sonore di Dominik Grenzler e Stijn Hüwels, connubio virtuale che racconta della volontà di due amici/artisti di sentirsi vicini malgrado i limiti e le difficoltà dell’attuale momento storico.

Fuse in un’unica liquida corrente sonica, le peculiari visioni dei due musicisti danno forma ad una sinuosa traiettoria ipnagogica in cui caldi bordoni trasportano minute risonanze a tratti orientate alla formazione di fragili e luminosi nuclei melodici. È uno sviluppo lento eppure costante, privo di soluzione di continuità che gradualmente rapisce infondendo un quieto stato ipnotico a cui interamente abbandonarsi privi di qualsiasi riserva.

È un accurato lavoro di cesello che conduce alla costruzione di micro stille armoniche prive di consistenza materica aleggianti in uno spazio diafano,  un paesaggio silente libero dalla gravità che offre una preziosa via di fuga da un presente sempre più inquieto ed incerto.  


A long sequence shot that extends to draw the faint outlines of a placidly enveloping dreamlike environment. This is the result of the meeting between the sound demands of Dominik Grenzler and Stijn Hüwels, a virtual union that tells of the desire of two friends / artists to feel close despite the limits and difficulties of the current historical moment. Merged in a single liquid sonic current, the peculiar visions of the two musicians give shape to a sinuous hypnagogic trajectory in which warm drones carry minute resonances at times oriented to the formation of fragile and luminous melodic nuclei. It is a slow yet constant development, without solution of continuity that gradually kidnaps, instilling a quiet hypnotic state to which to abandon oneself entirely without any reserve. It is an accurate chisel work that leads to the construction of harmonic micro drops without material consistency floating in a diaphanous space, a silent landscape free from gravity that offers a precious escape from an increasingly restless and uncertain present.

Tips and things for approaching Labels

Jogging House hat neulich einen Post veröffentlicht, der mir zur Zeit aus der Seele herausschreit. Eventuell habt auch ihr gegenwärtig mehr Zeit um Musik zu machen, die ihr gern veröffentlichen wollt. Zur Zeit ist der kreative Output aber besonders hoch und ich denke, aufgrund der anhaltenden Situation auch nicht unbedingt ringer. Mr. Jogging House hat auf seinem Patron-Kanal eine schöne Zusammenfassung an Tips veröffentlicht, die helfen, einen Überblick bei Demos und Labels zu behalten. Ich hoffe, Du bist mir nicht böse, Mr. Jogging House, dass ich dein Content 1:1 übernommen habe ;-)

As many of you know, I run a little label called Seil Records. And by doing so, I receive a lot of demos by artists from all over the world. So over the time I gathered some experiences on what inquiries work better (at least for me). And I thought I’d share what I consider a decent way of introducing your music. Of course I can’t speak for other labels, but my guess is, their experiences might be similar.

First off: Be ready for disappointment. Finding a label is really tough and a bit of luck is involved, too. Most small labels simply don’t have the capacity to squeeze your music in, even if they like it. For a label with the size of Seil, one release per month is A LOT. But I easily receive enough well made demos to release an album every day.

Now that we got that out of the way, here are some tips:

1. Be honest to yourself

Try to evaluate as objective as you can, if the quality of your music is on par with other releases on a label. Deep down you will know if you are really ready or just enthusiastic.

2. Mastering is not necessary

I often receive mastered albums. Which is fine, but it also means that an artist could have saved some money just sending the unmastered version. Many labels will have one or several mastering persons at hand and will most likely get a better rate than individual artists. But if there is a specific mastering person that you trust and consider an essantial part of your sound, that is a different story of course.

3. Demo Policies

Make sure to check the demo policies for each label you want to approach. Find out if they are receiving demos and how they want to receive them. Some will simply not listen to your music, when you send it the wrong way.

4. Use email

Unless mentioned differently in a demo policy, only send out emails. Don’t send messages on social media. And don’t write something like ‘I couldn’t find your email address, so I’m writing you here’. There is always an email address.

5. Don’t send follow-ups

If you sent out your mail, that should be it. The label will have received it and made a conscious decision to either check out your music or not. As frustrating as that may be. If you send follow-up mails it will only lessen your name for future inquiries.

6. No Mass Mails

If you receive a lot if demos, you can tell if a mail is writting for you or just copied and pasted. Take the time to write an honest personal message to your desired labels. This will also help you to filter out the countless addtional labels you would have included in you mass messages.

7. Be brief

Keep it short and sweet. A few sentences about you, an equal amount about your album. That’s it. You can share your life story after the label showed interest in your music.

8. Use Soundcloud

Yeah, Soundcloud sucks. I personally don’t like it at all. But it is still the best option to share a streaming link. With things like Dropbox or Google Drive, you can’t listen to all tracks in a row (at least I can’t) and things get even more complicated on mobile. If you don’t have an account, you can just create a dummy account. The only reason not to use it, is if the label requests a different kind of service in their demo policy. Or if there is another service that basically works the same on all devices (and then please let me know what that is).

9. Don’t send out too many demos

In the first round, only chose the labels you like the most and find the most fitting for your music. On souncloud you can see how often a demo was played. If these numbers are too high, it will be in your disadvantage.

10. Share some socials

For me personally, an artist’s number of social media followers isn’t super important. That may vary from label to label. But in general, it is nice to know that an artist is active in some way or another. Just so the label isn’t all alone in promoting a release. It is also a decent way of finding out more about you, should they be interested. I’d say just include links to your 1-2 most used platforms.

11. Don’t send out released music

A link to a release on bandcamp is not a demo. If you want to release your music with a label, keep it secret from the public until that happens. And should you think, that it does not matter if your music is public or private since you don’t have that many followers anyways, you are mistaken. A bandcamp release with no (or only a few) supporter badges underneath it might even give a label the impression that your music won’t sell.

12. Let the label decide how they like your music

This one is really personal, so please just take it as that. But I would highly recommend not writing something like ‘Here is an album that will fit your label perfectly’. The label people will know what they like when they hear it. In my experience, only bad restaurants will mention on their menus that their food is delicious.

13. Don’t let it bring you down

Seriously, don’t. I’ve been on both sides. And I know it can be soul crushing. By deciding to send out demos, you are basically asking the world to hurt you. But a decline from a label (or no answer at all) is not a statement on the quality of your music. Stay on your course and keep at it, no matter what. If you feel the process is too hurtful, think about self releasing your album. It is also a good way of learning more about promoting yourself, which in return might help you to get the attention of a label.

FAZIT: Nehmen wir uns das zu Herzen und halten uns vor die Augen, dass wir keine «Stars» werden und wenn doch einwenig persönliches Fame dabei herumkommt, freuen wir uns dann über das kleine Taschengeld für eine Tasse guten Kaffees! Als kleinen Zusatz zum Lesen empfehle ich: 16 Things to avoid when approaching a Record Label.

Wie vielleicht einige von euch wissen, leite ich ein kleines Label: EndTitles. Jogging House’s Punkt 6 ist allerdings das No-Go #1 für mich. Falls jemand von euch, der das gerade liest, niemals eine Antwort von mir bekommen hat – das ist der Grund. Bleibt persönlich, zeigt dass es euch wichtig ist und achtet, dass die «An»-Zeile einen einzigen Adressaten enthält.

Quelle: Patreon, Productionmusiclive

Where We Meet

“Many are in need of a lifeline today. Where We Meet will pull you to safety.”

Yesterday I have released a piece of music with my friend Stijn Hüwels who started this work with a record of a wonderful guitar drone. To be honest, this piece of music is the first collaboration during the lockdown and it is not a pessimistic one. «Where We Meet» stands for friendship, hope and a steadfast creative spirit through unusual times.

Fluid Radio wrote about «Where We Meet»:

And mentioned by the Headphone Commute:

A testimonial by Francis M Gri:
 This album is something special…delicate and so deeply emotional. It’s always a pleasure to listen to music made with heart…
Fully recommended!

A Making-Of will follow…

Meanwhile, enjoy!

Stan Pete: 8 Kostbarkeiten

Sein Klang-Koffer ist die Ausgangsbasis für seine Musik. Je nach Projekt bestückt er ihn neu mit Synthesizermodulen. Klangerzeuger und -verbieger, zwischen modernster Elektronik, Kinderspielzeug und Beinah-Elektroschrott. Dies alles verbindet er mit Patchkabeln zusammen zu Kompositionen und Improvisationen. Als Rahmen sind ungefähr 5 Minuten vorgegeben. Statische und rhythmische Stücke, elektronische und akustische Klänge erzählen die experimentellen modularen Gedanken.