Lind Bohm is a German autodidact, working with combinations of computers, machines, his voice and „real instruments“, centred on the possibilities of electronic and acoustic music. The focus is on the interconnections between styles,  electronic and acoustic. Machines and organics operate synergistically to create a realm of emotion. Visions of various places join with human memories (does time dance with memories?) to inspire the creation of the audio medium you will be hearing. 

Beside his music activities, he is interest in art and anti art in varied ways. Architecture, photographing, literature, performing, designing, writing...just creating. The wide variety of experiences he made flowing together in his music.
Creativity means for him to put things out of their usual purpose and use them in an unexpected way - to create „something out of nothing“. With this „tools“ he is overcoming limitations, discovering cryptic worlds and visualizing deep and hidden emotions with a taste of idealism and criticism. 

Release date for his album Child of God is 03/15 2009.

Lind Bohm, focalized on the interaction between real instruments, voice (filtered, distorted) and computer. The result moves towards a cut-up between John Oswald , primordial electronica and softer Merzbow.
Check "From Under My Nose", "Davi Ergo", "Lark Kinsky", the beautiful "Jennerwein II", Daniel Menche style) or tracks (when he risks some serious songwriting) like (Hemocyan, Faust im Nacken). Awesome.


BLOWUP (I), April 09

Commonly we won’t associate electro acoustic and noise music with this landscape, but most probably just because of some semi intelligent prejudices. After all we owe lots of brilliant and crazed electronic music
to this state of rural isolation. Cluster, Michael Rother and Embryo preferred tweedy surroundings, so did the Kosmische Kuriere in their Swiss exile. Indeed these bands may represent references for Krautnoise vinyl and
web releases, but label founders Regine K. and Lind Bohm opted not for the simple way celebrating the heroes of the 70’s.

Krautnoise merely concentrate on a reconstruction of these audio experiments, than to copying good old and well known krautisms. So “Kraut” stands for rather sound and production aesthetics and refer to unexploited potentials in this field of audio creation (ambiguously track title like “Faust im Nacken” support that aspect).

Though you can find some “clicks” and “glitches”, but most of the sonic material hits you like the full dose of audio tape manipulation and old analogue equipment. Krautnoise definitely stand out in the bunch of similar noise artists.
Call it Avantgarde if you want.
Especially when you remember this very special branch of fine arts with grand earnings for electronic music: fluxus! 

SKUG (Germany, Austria, Suisse 2009)

This music has the aversive force of poetry
Andrea Liuzza (I)


Spectacular demonstration of noise, maximalista and baroque
Sintetic Collage (FR)

Organic and machine are not an opposition ... But the result of your music means more life than some layman can suppose in the world of „noise“ Bravo ! Elements and noises are alive friends
LAHERSE (F)

It‘s like a building of a new architecture for infinity of audio stimulus
MT (JP)

This songs are the follows..........the really beautiful nervous follows of this very deep integral sculptures.....very intense and ritual. Impressed!
Christophe.g /Tellemake (FR)