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Old 21st July 2017
Here for the gear


Some extra questions;

1) Regarding the Colundi ruleset, I wonder how strict you apply it when creating the music. Do you give yourself freedom to step in and adjust, stray where necessary, for the sake of 'better' music or dogmatically keep to the Colundi principles?

2) I think I've read on this forum that you see yourself as a vessel, merely channeling Colundi as if you don't have a hand in it yourself. Which I guess for the most part answers my previous question ;-) . You know in ancient Greece & Rome people didn't think creativity came from human beings, but believed it was some divine spirit that came to human beings from a distant, unknowable force, these spirits were called daemons. This kind of psychological construct, of putting creativity outside of yourself can be helpful dealing with perfectionism.(paraphrasing Elizabeth Gilbert who spoke about this in a talk about creativity;

Before the epiphany of Colundi, have you ever suffered from writers block, how did you deal with it? Does the wave of Colundic-creativity last from the starting of a track to finishing it, or in spurts so there is human labor in between where you wait for the inspiration to come back?

3) Besides the Colundi movement are you aware of, actively looking into other artists that study the effect of sound on the listeners, any listening tips?
For example, are you familiar with the work of Karsten Pflum influencing the listeners subconscious in his sleepingconcerts?

4) While the origins might be sincere, are you afraid the Colundi frequencies will be picked up by electronica artists using it as a gimmick? Why share the frequencies at all?

5) When dealing with Colundi is pitch drifting, wobbly de-tuning sound, vibrato dangerous?

6) In Indonesian gamelan music when different pitches cause a beating interference pattern it is thought that in between those two clashing tones lies the spirit world. Do you use interference patterns in your Colundi music, any similar spiritual meaning?


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