Born in 1976 in Kharkiv / Ukraine and started his musical activity in 1991 as a singer and composer in a rock band. Active in fields of electronic music, since 1996 as a radio dj in weekly radio show “Vilna Zona” dedicated to techno music. In 1997 he was a cofounder of weekly TV Show “Vilna Zone” and later was working as a dj in local Kharkov's “Deep” club. In 1998 he began making electronic music under “Sidhartha” moniker and in 1999 started “Nihil est excellence / NEX” band to explore interplay between analogue and digital music. However the music of NEX is shifting to musique-concrete, electroacoustic and drone genres. In 2000 Andrey starts Nexsound records - a platform for releasing experimental music from Ukraine. Since 2002 he is working under his own name and exploring microscopic sound design and post-digital production. Since 2004 Andrey is a cross-genre experimental sound artist combined acoustic and digital aesthetics, tiny melodies and noise. So far, under all aliases he released more than 20 albums on labels such as Ad Noiseam, Zeromoon, SPEKK, DTA, Retina-Scan, Thinner/Autoplate, Notype/Nishi, Soulworm, FGLC, WAN, Tiln, Nexsound and has over 20 compilation appearances on labels such as Electroshock, Cheburec, Databloem, NN rec, Luumu, (re)Aktion and others; collaborations with Francisco Lopez, Kim Cascone, Jonas Lindgren, Jeff Surak, Kotra, Mantichora, the Moglass etc., remixed by Frans de Waard, Brian Lavelle, Scanner, Marcus Maeder and 833-45, nominated as “the best Ambient artist” by DasMusik?.net in 2002. in 2003 together with Jeff Surak and Jonas Lindgren created Critikal project. Performed live on Ultrahang festival / Hungary, ELKA festival / Beylorussia, Holy Ice, Noise & Fury / Russia, Information Wants to be Free, GARAGE, Being the Future and Club Transmediale / Germany, Ambient and Unsound festivals / Poland, RX:TX (interwiki) / Slovenia, RIXC / Latvia, DZ / Ukraine and others.

“Ten months passed between conceiving the idea and the beginning of experiments with minimalist harmonic overtones made with acoustic guitar in the beginning of 2004 and the end of work on True Delusion album in late 2004. The first six of them were the months of thinking and contemplation, traveling and trial recording of instruments in habitable rooms and kitchens, recording and auditing of rural nature sounds by night and by day. The very idea was simple at first. I meant to play the guitar experimenting with minimalist harmonic overtones. Meanwhile I tried to take deep rhythmic breaths timed with guitar sounds. The result was almost meditative, as the guitar buzzing sound was slowly fading out and the body felt close to hyperventilated. However, in view of my desire to further progress with composition, I decided to go beyond repetition and minimalism. Later the album progressed in terms of the similar use of the piano. It was not exactly harmonic overtones, but the sound was slow, melodic and minimalist, so the album can be conventionally divided into two parts.”

“There are events and occurrences that are the same in essence and yet have their own conceptual notion when placed in a certain context. Thus, for instance, if a man watches the dusky sky for a brief moment without being told the exact time of the day, he is unable to say whether it is a sunrise or a sunset. The true reason of this is the dual nature of all things and events that occur to a man, and his constant attempts to find sense and interrelation in them. However, it often happens that without having an access to the information about the context (or being misinformed), a man has a limited perception of things and gradually comes under the influence of illusions that begin to change his life.”

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