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BlipTalk with Rosa Menkman


Every technology has its own accidents. Rosa Menkman is a Dutch visualist who focuses on visual artifacts created by accidents in digital media. The visuals she makes are the result of glitches, compressions, feedback and noise. Although many people perceive these accidents as negative experiences, Rosa emphasizes their positive consequences.

By combining both her practical as well as academic background, she merges her abstract pieces within a grand theory of noise artifacts, a ‘glitch studies’.

Rosa has performed at festivals like Haip (Ljubljana), Cimatics (Brussels), Video Vortex (Amsterdam) and Pasofest (Ankara), Blip Europe (with Paris), and collaborated on art projects together with Alexander Galloway, Govcom.org, Goto80 and the internet art collective Jodi.org. In 2009 she started a PhD at the KHM (on the subject of noise artifacts).

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BlipTalk with Psilodump


Simon Rahm started composing electronic music in late 1991. Although already getting his first record deal offer in 1996, it was in 2001 he got his first official release; a vinyl EP on the Swiss experimental electronica label Domizil, followed up the next year by another two vinyl releases, one on Swedish breakbeat label Sound of Habib, and on on Swedish tech house label Q-Records. In 2006, after numerous releases on netlabels, such as monotonik, Kahvi Collective, 8bitpeoples and Candy Mind, Simon released his first CD album, “Psilodumputer”, in strictly limited quantities, on a small Swedish label, Ninjani Diskus. Shortly after, Simon was inspired to set up his own label, called 476 Records, where he released his second CD album, “Never Heal”.

Simon has also done remixes for artists such as Kraftwerk, Slagsmålsklubben and Bodenständig 2000. Simon has diligently been performing his music live since 1996, at both big commercial and underground rave-parties, clubs and cafes, festivals, culture events and demo parties. To date, he has covered about 130 gigs, in 16 different countries, including France, Germany, UK, Russia, Italy, Israel and Spain – alongside artists, acts and DJ’s, such as Neil Landstrumm, Chris Liebing, Cari Lekebusch, Thomas Krome, Infected Mushroom, Slagsmålsklubben, Bit Shifter and Kleerup. In Sweden, he has performed at notable festivals such as Peace & Love 2008 and 2009, Norberg Festival 2008, Arvika Festival 2005 and 2002.

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BlipTalk with The Hunters


In 2008, 3 Japanese women formed a unit called The Hunters with a unique approach to music and images. The sounds are composed of nanoloop and some gadgets, and combine with original graphics for a lovely fusion. They perform at Lo-bit Playground (a well-known chiptune party in Japan) and have played at a new year rave in Akihabara and a famous triennale in Yokohama. The main members are Coova, Sol and Gel, although they sometimes perform with two members and sometimes with four.

Blip: Before you got into making chip music, what type of music or art where you into?

(coova): I love classical, especially, the baroque period. I like the cembalo and the organ, I listen to a lot of classical music.

Blip: How did you first become aware of the possibility of chip music?

Quarta330 gave me Nanoloop 1.2, I quickly came to love the sound, especially the noise channel. The GB is very portable so I can use it when traveling. I can compose more or less anywhere. I haven’t used a PC to make music before, I tried LSDJ (but) found it a little tricky, NL is easier for me.

Blip: How does your background influence your current work?

I have played and composed piano since I was a child, I also draw abstract pictures, both of which influence my music. Sol (The Hunter’s VG) works as a games designer doing 3D graphics, which influences her work.

Blip: Who are you most excited to see at blip? Why?

I love Bubblyfish and am really looking forward to seeing her live again. I haven’t seen most of the other artists before. I am pretty excited to see everyone.

The Hunters are performing Saturday at 10pm.

BlipTalk with Silent Requiem


Jacob C McNamee started using the pseudonym “SILent REQuiem” back in 1998 when he got his first Amiga600 from a local thrift shop. At the time, he was making what could be loosely referred to as noize-industrial with funky undertones.  Silreq continued making music until 2003 when a computer crash caused the loss of an albums worth of new music, financial troubles had also caused him to sell most of his recording equipment, keyboards, and his amiga. Silreq took a break from music between 2003 and 2005, where he concentrated on not being homeless. Since his re-emergence he has released a constant stream of noize that sounds something like a broken robot, Satan and your mum. . . oh wait a minute, that was last night. . .

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BlipTalk with little-scale


Hailing from Adelaide, Australia, Sebastian Tomczak aka little-scale has been making exciting chip music and building innovative chip music-related technology for a number of years. His current practice involves making creative use of the things he invents. little-scale’s music has been described as “a highly intellectual approach to chip sounds that is completely engaging and unintimidating to the uninitiated.” He has performed in major cities across Australia to sell out crowds, and has presented papers and posters on chip music at the Australasian Computer Music Conference as well as the International Computer Music Conference. Furthermore, little-scale has presented creative works and technology in Mumbai, Los Angeles and Belfast. Sebastian’s appearance at Blip Festival 2009 is supported by the Helpmann Academy.

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