b. 1965, Coburg, Germany. Friedmann is among the more intriguing numbers operating in digital music. He offers listed German intensifying rock and roll, Gary Numan, Iron Maiden and Tangerine Fantasy as early affects. However, his existence appears to have been irrevocably transformed by childhood tests having a cassette participant and he offers previously quoted Andy Warhol’s maxim that: ‘The acquisition of my tape recorder actually finished whatever psychological life I would experienced. But I had been glad to view it proceed.’ Friedmann called his personal label Nonplace, like a metaphor for where he sees himself within the music market. The idea behind the label, he says, would be to fool around with styles. Declaring that ‘Identification is the foe because I don’t need to get trapped in a particular design’, the Cologne-based designer has spread his character through some aliases and alter-egos. He offers released music as Drome, Gummibox, SMC (EVEN MORE Criminal offense), Nonplace Urban Field, Flanger, the Nu Dub Players, Burnt Friedman and also – though he statements to dislike it when performers use their very own name – Bernd Friedmann. The musician, nevertheless, won’t define or pigeon opening some of his monikers. Rather he says this multiplex of identities can be an unavoidable consequence from the invention of an idea for every of his produces, with each fresh idea necessitating a fresh label. Together with his large number of identities (he also information with Atom Center as Flanger, and David Sylvian and Steve Jansen as Nine Horses), Friedmann creates his personal inquisitive fictions and elaborately built biographies. The Nu Dub Players launch Simply Landed (2000) was supposedly a live recording recorded inside a South American golf club; in reality it took Friedmann nearly three years to accomplish in a studio room. Though the strategy may often become esoteric (he offers sampled the audio of the ballerina breaking her back again and performed live using five MiniDisc players) and his purpose frequently quirky (1996’s Amusement Zones was made because he wished to record something he could drift off to and included the suggestion it become played in a quantity ‘approximating the throb of visitors’), Friedmann’s recordings tend to be beguiling and constantly fascinating.