nicolas chevreux  [ad noiseam]

- who stands behind label ad noiseam... tell us something about you

Ad Noiseam is basically myself alone. My name is Nicolas Chevreux. I live in Berlin, Germany.

- when and why did u start a label

I started Ad Noiseam in April 2001. I had been running (and still am) the Recycle Your Ears web magazine ( for two years, and wanted to release a small compilation presenting artists which I had come accross with the magazine. My main idea at the beginning was to publish a CDR limited to a few dozens of copies, but it ended up being a three discs thing, the "Krach Test" compilation. I was amazed by the success of this release, the very first I had ever worked on, and decided to go on with other productions. It evolved quickly into a label, Ad Noiseam, which now has shifted to releasing (real) CDs and records and also has a mailorder catalog.

- what is the sound that ad noiseam supports and what is the criterion for choosing projects for releasing

I have never had a master plan for Ad Noiseam, and my tastes are pretty wide. Therefore, I do not want to support one kind of music only, which would bore both me and the audience. Rather that working for a specific niche, I prefer to release music judged only for the quality of its production and composition. This is why while the first releases were noisy, more recent ones are far gentler, and if the emphasis has been put more on electronic music, a few of the most recent releases also feature guitars and voices. There is no other criterion but quality and taste.

- what does ad noiseam means

Nothing. I am very bad at finding names, and came up once with this game with the english word "noise" and the latin expression "ad nauseam". It really has no hidden meaning at all.

- there r many net labels appearing this days and also cdr labels. what do u think about net and cdr labels also about mp3 and cdr releases. is their exisetnce justified and what is main reason of that process acording to you

Production tools and instruments have become widely available with the increase use of personal computers and home electronics in the past ten years. It is therefore much easier for somebody to write, record and broadcast her or his music than it used to be. While a musician used to go to a professionnal recording studio, deal with a label and press vinyl records, somebody can now write music on a computer, burn some CDRs, or put tracks online. This is a good thing in the sense that a lot of music can be heard now, which would never have made it in the past. However, it also tends to have people releasing music without having met any criticism, and can in a way lesser the quality of the overall output. While some net labels and artists are extremely talented, I would say that a lot of musicians releasing only on mp3 or CDRs should make more people listen to their music before they present it to the whole world. This is what demos were for.

- you are also runnign webzine recycle your ears. whats the concept of zine, what is its intention and why webzine together with your label

Recycle Your Ears evolved from a weekly radioshow that I had as a student but had to stop in 1999. At this time, I still had the motivation to spread the word about the music I appreciated, and decided to create this webzine. The concept is really simple: there is no advertisment and no funky web design, I want the readers to have access to the information as quickly as possible and in the most accurate manner. Therefore, Recycle Your Ears can somehow appear as a small, hastily done webzine, this stripped feeling coming from my lack of taste for wordy and pretentious zines. Recycle Your Ears actually existed a long time before Ad Noiseam, and was at the origin of the label, not the other way round.

- can u count some labels that has inluenced you in running ad noiseam and what should be main goals that label owner should direct the label

There is maybe only one label that has influenced me slightly when I decided to take Ad Noiseam seriously, the swedish noise label Cold Meat Industry. While the music and the aesthetics of both label are very far apart, I always appreciated how this label managed to bring together very different artists and releases, and not explode itself into several sublabels for subgenres. As I wrote earlier, I do not want Ad Noiseam to be a synonym for one kind of sound only, and I will probably not create any sublabel to fit into a particular "target market". Other than this, there are plenty of great labels out there, but I prefer to go my way and try to do things as good as I can, and not copy anybody's work.
My main goal as a label owner is to be able to buy Sony and produce Ad Noiseam robot dogs. Besides this, I work hard on pushing forward the artists I work with, and on making the music produced by Ad Noiseam as easily available as possible. It is important for me that people are actually able to get the releases, without having to look for them all over the internet or to pay a lot of money. Good music is a right, not a privilege.

- can u define noise as a term and style and what is the meaning of noise in todays constelation of music and music industry

Were I to give a definition of noise, it would probably be very partial, and I guess there has been many academic studies about noise which would be more addequate. Distortion, saturation, dissonance, overdrive, there are as many ways to produce and listen to noise as there are noise artists. In this sense, noise is to be heard very often in today's music, even on a mainstream level. May it be a scratch effect by a hip-hop DJ, a dissonance on a grunge rock album, or the sheer saturation of a harsh noise artist, the many things packed under the vague "noise" term are to be found far more often that many people would believe.