If someone asked me when I would like to live, my answer would be: now! Do you know how many friends I have who say they don’t want to put children into this world? Whether it’s climate change or a virus, there is a fear of the end of the world among the younger generation. Noayama: If I like old carts that my father was ashamed of.ĭo you have a guess as to where this orientation to the Ä aesthetics of the past? There has probably never been a generation before us that looks so backwards. As a result, some are afraid to do something blatant. At the same time, we are under pressure to deliver constantly. Noayama: We have so many options, it can quickly seem overwhelming. There is a love-hate relationship with technology. Suddenly people are pulling out a Walkman again or getting a cell phone with a button. Noayama: Many just understand that TikTok and Insta is not mega awesome for your own brain. Noayama: It’s almost retro again, isn’t it? You just have to listen to what 16-year-olds hear.
Skrillex is back on the big stages with Four Tet and Fred Again, the guy has a second heyday. Noayama: You couldn’t leave Rosenheim, that was pure torture! When I was 15, 16, this one was everywhere Skrillex-Sound, what was it called… Dubstep! But maybe it was really nice to be alone on my little island of music. There’s no subculture there – except for radio interference and a punk band that the brother of the bassist from Franz Ferdinand has made. Noayama: Yes, growing up with it in a small town like Rosenheim was a struggle. In contrast, pop was something I barely knew or found boring.īecause you with the weirden music were raised Whenever I heard Autechre, my friends got off.
The thing is: I got the experimental stuff from a young age. Noayama: Everything else would be far away from music, yes. You couldn’t have sounded much worse than your father anyway k ö nnen. See also Green and fast fashion brands debut in furniture-design I also wanted to distance myself from my dad in a positive way. Today we know these sounds, they are easy to produce. It used to be technically and financially expensive to sound like Aphex Twin or Autechre. Noayama: The possibilities are very different today, of course. At the same time they were there in the early Glitch Sound era. Anyone who listens to their early techno records will know. Radio interference, your father’s project, has let off steam musically. Because of him I always had instruments and hardware available. He not only showed me that you don’t have to stick to any musical conventions. Of course there are 808 sounds, but I don’t give a shit! It must have something to do with my dad. I play with familiar elements that I reinterpret. So I’m like, I can’t say what it reminded me of. Noayama: I hear that more often! The people say: “It reminds me of this and that”. She reminded me of something I can’t name. Because that rarely helps, we prefer to talk – about the fear of the end of the world and the Skrillex sound, the fishy stench in his father’s old studio and the luck that you sometimes need, at least when Bj ö rk should get his hands on a record. The NOAYAMA productions can only be classified with name dropping.
“ Consume Land Flea Market ’ drives Kastldenker:innen the sweat on the forehead. On AFFINE RECORDS ver ö he releases his debut. NOAYAMA is NOAH BERGER, a 21-year-old producer-artist from southern Germany.
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