After hearing clips from his recently released album Intuition, Vol. 1 (the first of two parts), we here at MusicMap.Global became intrigued by NSDOS’s fusion of freeform improvisation, industrial techno and soundscapes.
Featured as part of SHAPE Platform‘s already impressive list of associative artists and making appearances throughout the year at experimental events such as TodaysArt, we think this Parisian is going to become a prominent figure in the leftfield music scene. Knowing he’s been inspired by a trip across Alaska, cybernetics and his background as a professional dancer, we sent NSDOS some questions via e-mail to find out more…
MusicMap: We’ll get the boring question out of the way first: what does NSDOS stand for?
NSDOS: NSDOS is a real-time electronic project based on freestyling.
You started life as a dancer, what types have you studied and how has that influenced what you’ve produced since?
I studied hip-hop, it was my first dance love then I went to contemporary and Butoh dance.
Hip-hop taught me the art of battle, it introduced me to club nights where I saw the relationship between movement and music but also the space appropriations.
Then contemporary dance broke down almost all the principles I got with the hip-hop in terms of musicality and space, but giving me more self confidence with my body. When I discovered Butoh everything started to be clear. I started to think about creating my own music ecosystem and how to communicate with it.
‘Hybrid Tools’ play a large role in your music. Can you talk to us about some of your creations and how you started building your own hardware?
For me, the only way to generate music with real movement was technology.
I went to some hacker spaces to know more about the art of hacking. When I was in Japan I met an artist who was working at IRCAM, she explained me some gear she was working with to generate music or controlling effects, but it was very difficult to reach this technology at this time so I tried an alternative way to make it.
I made a motion sensor based on three Wiimotes, I took out all the circuits and the accelerometer to rearrange the joystick. It was my first gear without any codes but just a software I found, it became my brain extension: usinehollyhock.
You grew up in Paris but are currently based in Berlin. How do those two cities compare and what have you learned from them?
I’m back in Paris now! I grew up in Paris, it is the city of my naivety and dreams, Berlin was my lab.
The album seems to be made of opposites: the club-friendly techno and the more ambient/experimental side. Is it the two cities you’ve lived in which have inspired these two approaches or something else?
I think doing the back and forward with both cities was helpful for me because there are different extremes in both of them.
You list Stelarc and Donna Haraway as influences. What got you interested in cyborgs, and have you any idea/plans to weave any technology onto your body?
No it’s just about me and my conception of dancing.
How do you ‘perform’ your music, what should people expect from your concerts?
Augmented human is a nice concept when is led individually, but more and more I like the way to only create external devices, thinking about cyborg means believing in only one future.
Interview by Nicholas Burman