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1. Your work spans a wide range of sounds, from rhythmic noise and industrial techno to more experimental territories. How has your approach to noise and industrial music evolved over the years?

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My project T_error 404 was founded in 2006, and at first, it focused on Rhythmic Noise. Later, I started experimenting with other related genres of post-industrial music.
Ten years later, the trend of integrating industrial music with techno raves reached Russia, and I decided to actively participate in it as well. Elements of techno appeared in my works. This period coincided with my transition to hardware instruments (I had used a computer with musical software before), and I also began experimenting with DIY synthesizers and instruments, piezo microphones, and non-musical/noise sound practices. That approach is more useful in experimental and noise music, so I've focused on it now, but I still perform live and release Industrial Techno, EBM, and Rhythmic Noise.

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2. The concept of extracting sound directly from a “crumbling skull” is quite striking. How do you incorporate visceral or body-related elements into your music, and what significance does this have for your artistic expression?

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The alchemical component of the sound is very important to me. I mean what I use while creating it. It adds performative elements in live performances as well. I'm not really interested in just noise for the sake of noise; I like to add additional context to my sound by using unusual sources and instruments, sound extraction methods, and samples. The body (your own or someone else's) is the same instrument. In my live performance at the Amalgama festival, which you mentioned, I used a cow skull with piezoelectric sensors attached to it, hammered on while processing the sounds of bone fractures. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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3.Your project has been released on numerous labels known for experimental and industrial music. How do you see the role of independent labels in shaping and supporting the noise and industrial scenes today?

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Musical labels today are communities of like-minded people: label owners, artists released on these labels, and their listeners. For artists, it's an opportunity to become part of this community, to be listened to by a larger audience and other musicians, and often to release their works on physical media, which is still relevant for experimental and industrial music.

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4. Have you experimented with artificial intelligence or machine learning in your sound design or composition processes? If so, how has AI impacted your creative practice?

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Yes, I am very interested in working with generative algorithms and neural networks. I’ve created an ambient project called Outsadness (you can check out the first Outsadness EP, "Celestial Drift," here: Outsadness - Celestial Drift | BandLink. I’ve used fragments generated by neural networks with some post-processing manipulations. I’ve also released a collaboration album, *t_error 404*, with Suno AI last year; it’s available on my Bandcamp page:Новая железная кровь | t_error 404 / Suno AI | t_error 404. In both works, the tracks are not purely generated by AI without corrections; I’ve added effects and mixed different generative tracks. I believe that in the near future, AI will be capable of creating music indistinguishable from human-made compositions in terms of quality and content. In some mainstream and electronic genres, this is already possible. However, as humans, we can always create music ourselves. For experimental music, raw “unhuman” sounds—with all their errors, strange noises, glitches, confused speech with wrong words, and non-existent fake languages—are much more interesting. I’ve already created two albums in the Neuronoise and Neuro Power Electronics styles, using these strange elements. These albums are still unreleased, but I’ve included some of these tracks in my live performances, such as at the Solar Systo Gathering 2025 open-air festival last month.

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