Here is my site where you can learn more about me although the bulk of it is in Hungarian; but you can also find there some photos (most of them taken on concerts in Budapest or Wien). Some personal info about me can be found here.

Here are some tracks made by me, and you will also find there links for download sites with tons of mp3-files incl. the legendary (well...) download site of UH Fest 2003.

I write music reviews for the Hungarian site www.ultrahang.hu. You can find a comprehensive list of my reviews here, but all of them are in Hungarian.

(Let me mention that the Ultrahang Foundation also organizes festivals and publishes CD-Rs.)

Let me put here some thoughts about music I like.

The term "experimental music" is used (as almost always, as almost every term) in lack of better terms. For me, experimentation in music is as much, or even more about structures then the sounds themselves. I think that we are over the "revolutionary period" in experimental music when just the fact that you are using sounds that are not traditionally concieved as musical sounds, or you are making sounds with your instrument in a way that is not traditional, is enough for making new, interesting, aesthetically pleasing or "authentic" (etc. etc.) music.

I think that non-musical ("experimental") sounds inserted into a thoroughly traditional structure, for example the structure of a pop song  or a downtempo track do not make the music experimental. (This is the case with most "electronica" and also some "post-rock", and well, many more.)

But I do not want to seem to be too rigorous or structuralist - by structure I mean everything that organises the sounds in a given piece of music (which could be a track, a disc, a performance or whatever - sometimes the boundaries of a "piece" are blurred). It can be the lack of any visible structure (e. g. chaos), free improv, chance etc., or even playfully distorted traditional structures etc. Perhaps the "organisation" is a better term as it is less rigorous.

By the act of presenting something to the audience as a piece of music, the connections, the order etc. of the sounds become a "structure", even if this structure is unified by the artistic gesture of denying all structures.

Structure in experimental music is most of the time not a pre-given entity which can be filled with sounds (altough this approach can also yield to great results); it is not before or above the sounds themselves, it is between the sounds. By this term I mean something that you can hear; during the listening, the structure builds up in the listener's interpretation; most of the time repeated listening leads to a stronger sense of "hearing" the structure.

And this above is more a statement about my interest in experimental music than an aesthetic treatise applied to all experimental music.

Feel free to write my an e-mail about anything; suggestions about improvements of my English are also welcome, as well as suggestions to improve my list of music blogs, net labels and music magazines. (Please don't recommend any magazines that are not in English or French as I only can read in those languages.)

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