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Thorsten Soltau
* 22nd May 1987
in Sande, Lower Saxony

Self-taught artist working under his given name as well as Femurl [ˈfiːmjuːl].

Thorsten Soltau started composing in the field of microsound/glitch in 2005.
Recent compositions are arranged for elements of Neue Klassik, drone and cinematic sound design.

Fields of interest: sonic disintegration/conceptualism/dualism (philosophy/gender).

Thorsten Soltau is a citizen of KonungaRikena Elgaland-Vargaland.
He resides in Friesland, Lower Saxony.

Photography by Astrid Susanna Schulz
Reproduced with kind permission.

A reflection.  
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense: I am able to pick up things that may slip the attention of others. My ears are trained to scan the places I visit: Crowded metropoles, remote spots in nature or familiar surroundings. My way of listening can be divided in two modes. a) the perception of sound on an unconscious level and b) the deliberate focus on sonics.

Becoming a sort of ›scanning antenna‹ had a profound effect how I compose. The experiences of listening are reflected in my sound works. Several of my compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (yet easy to recognize with headphones). Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.

My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception. Repetition serves as a reward for the listener.

On sounds.
My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error.

One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces allowing for unexpected results. Some of my composing techniques are deliberately executed against their primary intention. This allows for an ever-morphing character of my works.

On sonic morphosis. 
My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. The use of complex treatments and random factors allows the sound to constantly shape and shift. The sonics I create are further exposed to imperfections and conceptional errors: Like body and mind aging or perishing over time. 

On concepts.
My solo work has always been underlined by specific causes of their creation. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. 

Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition.