hÄK

You could probably fill a library with the narratives and plot twists that emerge from hÄK’s sonic vocabulary.
Conceived as the solo project of electronic composer, producer and performer B. Norbert Würtz, who has been based in Berlin since 2018 after three years in London and ten in Paris, hÄK is informed by a strong interest in noise and atonal music and a background in sound design.
At the heart of hÄK’s work is a modular system composed of synth modules, pure data patches, DIY circuits and self-soldered controllers. He calls it the ‘molecular synthesizer’, a sonic and semantic instrument that he approaches with impeccable style and a punk spirit.
Using these means of production to combine synthesised sound with samples, he explores abstract worlds, rhythmic textures as well as psychoacoustic phenomena, producing results somewhere between electro-acoustics and cut-up musique concrète.
All of hÄK’s work, whether for installations or film soundtracks (as in his year-long collaboration with filmmaker Alex Herzog) or in band projects (as in the duo hÄK / Danzeisen with drummer Philipp Danzeisen), displays an acute sense of structure and instinct for timing. His penchant for drama tends to unfold in a slow manner, making it all the more effective.
hÄK has created a musical language that is dynamic and evocative, speaking in tongues, alive like electricity. In short, music with a voice all its own.
Arno Raffeiner / May 2024

I discovered your music recently, that superb album on Karl Records but you have been active for quite some time, can you tell us more about your history?

I’ve been making music since my early teenage years when I played bass in a punk band.
My dad was a musician too, and growing up in a household full of instruments and gear like amplifiers, tape machines, and reverb units sparked my interest. Over time, I found myself more fascinated with these machines than the guitars and eventually realized that electronic music was my true passion. After working in a factory over the summer holidays to save money, I bought an Ensoniq EPS 16 + sampler and an Atari computer in the mid-nineties.
Since then, I’ve been producing and composing music as well as working as a sound designer.
I create soundtracks for TV and film and occasionally collaborate with other artists. Recently, I’ve been focusing a lot on sound and art installations.
In my spare time, I make music under the moniker hÄK, allowing myself complete creative freedom.
Whenever possible, I release the results.

What have you been working on lately, and do you have any upcoming releases or performances?

Over the last few months, I’ve been working on a composition for an inflatable art installation by American artist Alex Schweder called Aeroton, which is currently on display at the Balloon Museum in Miami.
On August the 10th, I will be performing with my duo hÄK/Danzeisen (electronics/drums) at the A L’ARME! Festival in Berlin.
Otherwise, I am currently working on another solo album.

Are you still playing in groups, improvising?
How do you approach live these days?
Do you still need an interaction with an audience or are you happy with studio work?

Besides the occasional solo set, which I fully improvise, I play with drummer Philipp Danzeisen as a duo. We perform a hybrid set of composed tracks with extended sections of improvisation. Interaction with the audience is always great and can really influence your performance, but I have to say I do love to go totally “Colonel Kurtz Mode” in the studio and nerd out for hours with no end. I also like to tweak and sculpt recorded improvisations into finished tracks using the studio as a creative tool.

Do you find that you record straight with no overdubbing, or do you end up multi-tracking and editing tracks in post-production?

When working with modular systems, my goal is usually to record with minimal editing afterward. However, I’m not dogmatic about it. If necessary, I will do as much editing or post-production as needed to create an interesting track.

You are interested in gesture, physical move to create the music, right?
What is your favorite way to achieve such expression? Improvising, taking risks?
Combining with other musicians playing the acoustic?

Gestures or physical moves are only a result of me playing live and controlling my synth. This involves mostly turning knobs, pressing buttons, or controlling 2D pads but also reconnecting cables. The reason for the jiggly wiggly is that I increasingly get into improvising and taking risks while playing live. I manipulate sound or arrange something on the fly.
Hence, I am pretty busy on stage and move in peculiar ways sometimes.
Furthermore, I feel that the audience appreciates such an approach rather than a controlled live set where most of the outcome is predetermined. 
It might be more exciting because things can go wrong or develop into something not originally intended, creating a special moment. Although it probably depends a lot on the music.
Playing with a drummer can also make performances more interesting for the audience. A drummer on stage makes bigger movements compared to an electronic musician. This alone can convey a sense of dynamic and energy. Besides, it is also nice to play with someone else and have a sort of musical dialogue going on. It reminds me of my early days when playing in bands.
I also feel that for some people in the audience, it is easier to understand what’s going on with acoustic instruments and how the sound is created. The creation of electronic sounds is quite abstract for certain people to understand. 
Having said all that, depending on the music, it sometimes makes more sense to play alone, for example, when I want abstract-sounding rhythms, machine-like repetitions, or simply want to stay 100% electronic for aesthetic reasons.

You design your own instruments-synths, can you tell us more about them? How you work for such things?

As to designing my own instruments, I use a lot of embedded audio in my modular system, running the Pure Data programming language as patches on modules.
Some of these modules (the more interesting ones) are only available as DIY options. Second, I like to build controllers tailored to my needs, primarily to control those Pure Data patches. This flexibility allows me to adapt my setup to my specific requirements. Many things I want either don’t exist or are quite pricey.
For instance in the image below:
Bela Pepper module only available as a diy kit, running a pure data programmer/sequenzer patch. On top you can see a raspberry pico rgb midi keyboard which controls the Bela. Bela can run super collider patches as well as pure data patches or being programmed directly with c like expressions. Easier to use than terminal tedium with more ins and out but less powerful processors.

How were you first acquainted to Modular Synthesis? When did that happen and what did you think of it at the time?

The first time was when I discovered the works of Morton Subotnick. This was around 1996 when I was in my mid-20s, and at that time, I was using hardware samplers and synth keyboards to make music (Roland Juno-106, JX-3P, Korg Polysix, etc.). I was very much intrigued by Subotnick’s sounds and realized that much more was possible with the flexibility of a modular system. So, I started to learn all about Buchla, Serge, ARP, and other lesser-known synths like the EMS VCS3.

At that time, I couldn’t afford any of those systems and therefore got to use modular synths much later. However, in the 2000s, I got heavily into Max/MSP, and later Pure Data. These programming languages are in a way digital versions of modular synthesizers and, in some cases, even more flexible.

When did you buy your first system? What was your first module or system?

Around 2008, I discovered Doepfer’s Eurorack system. I started with a couple of VCOs, VCAs, an LFO, and an ADSR envelope generator. Later, I added an Analogue Solutions MS20 filter clone, which I still use and love today.

How long did it take for you to become accustomed to patching your own synthesizer together out of its component parts?

Initially, my system was not much more than a monosynth, so it didn’t take long to get accustomed to it. In addition to that, I was already heavily using Max/MSP on my computer, so I was familiar with the process of patching, and – even if that is a different experience – it helped me learning to understand a hardware modular. Since then my system has grown module by module, and I always allowed myself the time to learn each module inside out before adding a new one.

What was the effect of that discovery on your compositional process? On your existence?

For the reasons explained earlier, my compositional process evolved steadily with many small discoveries along the way, making it hard to single out any one discovery. That said, being able to use a hardware synth, which you can touch and use in a tactile way, is very satisfying and a lot of fun!
Even though the possibilities with software are endless, I often get quicker results using a hardware synth, probably because it is more hands-on.

Would you please describe the system you used to create the music for us?

Essentially, I played a Eurorack system with several modules that can run Pure Data or SuperCollider patches, such as the Befaco Lich or Qu-Bit Nebulae 2, as well as the more exotic Bela Pepper or Terminal Tedium, which are both DIY options. The latter two modules are super powerful and give you a lot of options.
The idea behind all this  is to combine the advantages of hardware with the flexibility of software programming in one system.
Half of the rack is used for live performances and includes DIY controllers like arcade buttons, knobs, control pads, and a joystick. These controllers allow me to intuitively control processes and improvise.

Do you pre-patch your system when playing live, or do you tend to improvise on the spot?

My solo sets are usually improvised on the spot. In most cases, they are pre-patched to give me a starting point but evolve into something else where I end up with completely different patching.
When I play with Philipp on drums, everything is pretty much set and pre-patched. It can change a bit during a concert while improvising, but to a much lesser degree compared to my solo set.

What would be the system you are dreaming of?

The one I have now, including the improvements I haven’t had time to make yet.
That said, a classic Serge or a boutique Ciat-Lonbarde system on the side would be nice. I love bananas.

Which pioneers in Modularism influenced you and why?

Morton Subotnick for his hyper-real sounds, which can sound so “natural” yet so abstract at the same time. And while we are in Buchla territory, I also want to mention Pauline Oliveros. When I listen to her music, particularly the album “Alien Bog,” I feel pleasantly threatened.
Conrad Schnitzler for his radical approach, his diverse musical output from NDW to super abstract, and his extreme use of FM techniques at times.

Are you feeling close to some other contemporary Modularists? Which ones?

There are so many, actually.
But to name just a few: I like Keith Fullerton Whitman’s work a lot, particularly the album “Occlusions,” which came out in 2012 on Editions Mego. It’s all improvised music done on a Eurorack system and sounds like 21st-century free jazz to me. Love it.
Not to forget Frank Bretschneider, who influenced me so much over the years and who has become a friend. I particularly love the albums “Sinn + Form” and “EXP,” but recently re-listened to “Rand” and was super impressed with how fresh and timeless it still sounds. I am really looking forward to his new album coming out soon.

Any advice you could share for those willing to start or develop their “Modulisme” ?

Not sure, actually. Maybe just go for it. As long as you have fun using the modular, you will learn and improve. There is also so much information online nowadays that you can probably find a quick answer to any type of question.