Nodepet is in reality Olliver Wichmann. And that is me, of course. When people have to describe me there are usually some things they can agree upon: They keep me for a highly intelligent person, seem to be impressed about my skills and knowledge and state they have never encountered a person like me before. Whether there is some grain of truth in it is something I don’t know. When I myself think about me, I do not think about anything special, except that I am aware about my existence and its irrelevance in the grand scheme of things. That does not mean I artificially put myself down to get a more favourable rating, on the contrary, I am said to have a realistic view on my capabilities, but I am very critical and hard to satisfy with what I am doing and rather lose a day or two for investigating a problem than to accept that I do not know how to solve it.

I’m interested in composing, writing, photography, design in general, programming, reading, computer- and network related topics, figuring out how to get something working without reading the manual. I’m involved in playing instruments and composing since my childhood, have spent some time with drawing and painting in my younger years (which I eventually gave up in favour of photography and using the computer for design related things). My photography, design and music is even acknowledged by my enemies, so perhaps I’m doing something right (for a change ;-)). Together with Giorgos Stefanou I’m running the Petcord netlabel and the Leftob audio cast netradio and release music using “nodepet” (hence the domain name) as moniker. I wrote official liner notes for artists like Lezrod aka David Velez, e:4c, Quest.Room.Project aka. Bogdan Dullsky for TestTube and Zymogen, as well as several favourable reviews that were cited or mentioned by netlabels (Test Tube, Zymogen, Enough Records, Mimi, Kikapu, Dark Winter…) and artists themselves (Itaru Kawai, Takeshi Nakamura, e:4c, Bogdan Dullsky, David Velez, Formication, Mikronesia…).

My music gradually changed from musique concrete and lo-fi clicks’n'cuts to a mixture of electroacoustic and dark ambient. Likewise, its architecture changed from adding and substracting layers of looped samples to actual theme development, progression and transposition. At times, my music can become dissonant and noisy (feedback), but musical aspects are never entirely absent. I pay some attention to dynamics (from barely audible to pretty loud), pauses and sudden changes, but am too impatient to create minutes of hovering drones without any further additions. Instead, I try to implement tension and subtile unrest without unnecessarily charging my music with philosophical meanings or instructing people how to listen to it.

Netlabel release history:

Concrete Muser (June 2007)
En Fin Terrible (December 2007)
Decay (March 2008)
Frontal Grid (September 2008)