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Christoph Heemann (born on November 2, 1964 in Aachen, West Germany), is a German musician.

Heemann has recorded under his own name, with the tape music group H.N.A.S., and with many collaborators in alternative rock, soundtrack production and visual arts.

Early Years and creation of H.N.A.S.

Heemann's early favorites included Laura Nyro and John Cale, which directed him towards further offbeat experimentalists like American West Coast radicals The Residents, Tuxedomoon, Chrome, MX-80 Sound and Renaldo and the Loaf.

Though his hometown featured some notable experimental rock groups (like Rufus Zuphall and Necronomicon), Heemann was largely unaware of them and of the larger "Krautrock" movement until introduced to it via British or American friends. Largely self-taught in electronic equipment, Heemann started out as a "non-musician" with friend Achim Flaam, dabbling in projects such as "Die Bösen Köche" and "Mieses Gegonge" which were only issued on cassete tape and have now become collector's items. The duo's influences at the time included Jac Berrocal (France), Throbbing Gristle (UK) and Franco Battiato (Italy).

These activities finally led to the creation of the "Faust"-influenced unit "H.N.A.S." (i.e. Hirsche Nicht Aufs Sofa, roughly "Moose Without A Sofa") after meeting up with Steve Stapleton from the like-minded Nurse With Wound. The duo's first step on the record-producing market were two self-produced samplers (released on their own "Dom"-Label) Ohrensausen and Ohrenschrauben. Featured various artists like P16D4, Organum, H.N.A.S., and Nurse with Wound, the Highly experimental, both albums earned mixed reviews in the British music press, and were largely ignored in Germany.

H.N.A.A eventually grew to include Heemann's brother Andreas Martin on guitar and Nicole Schmidt on vocals. This quartet cut several full-length albums, the third of which Im Schatten der Möhre (1987) met with critical acclaim and can be regarded as their major work. Other titles include Aufmarsch der Schlampen, Küttel im Frost and Abwassermusik and give proof of an extraordinary sense of humour and a profound knowledge of German underground as they are full of references to major Krautrock electronicisms. Another notable H.N.A.S. album was "The book of Dingenskirchen" -- the title being an ironic reference to Deep Purple's album Book of Talieysin and Germans' pseudo-correct pronunciation of English names. It was issued in seven different record jackets, each designed by Heemann himself, as were most of the other Heemann/H.N.A.S. productions.

In 1988, Flaam and Heemann ended their collaboration due to creative differences. Their final album, "Ach dieser Bart", displayed their growing dissent: Flaam and Heeman were each responsible for a side of the LP.

Mimir, Mirror and Current 93

After disbanding both went into different directions. Heemann's new projects included numerous collaborations with Edward Ka-Spel (of the The Legendary Pink Dots) with whom he produced t "Kata-Climici-China-Doll" and later worked together in the band "Mimir", composed half-and-half of H.N.A.S. and Legendary Pink Dots. He also worked with the German musician/performer Limpe Fuchs, and with the U.S.'s Jim O'Rourke Mirror, a duo with established English drone musician Andrew Chalk was a very fruitful collaboration with many releases, often initially appearing in limited, hand-made editions before being reissued in more widely available form. This unit ceased to exist around 2005, although a handful of unreleased recordings are still scheduled to be issued. Heemann has also worked with David Tibet from "Current 93" and was a semi-steady member of that group during the late 90's.

Solo Works

After the split-up of H.N.A.S., Heemann also became active as a solo-artist: The number of TV appearances (such as in Nancy, France), live-performances in locations such as Austin, Chicago, Toronto, and Tokyo became more frequent. Solo works include titles such as Invisible Barrier (1992), Aftersolstice (1994), and Days of the Eclipse (1996).

In 1996, the German magazine Testcard devoted a lengthy article to Heemann's career. His recent musical influences have shifted from a strongly European-North American impact towards a central (Perez Prado) and South American leaning with a strong focus on Brazilian artists.

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+'''Christoph Heemann''' (born on November 2, 1964 in [[Aachen]], [[West Germany]]), is a [[Germany|German]] musician.
-{{cleanup-date|May 2006}}
-'''Christoph Heemann''', born on November 2, 1964 in Aachen, West Germany, is an accomplished tape and electronics avantgarde experimentalist, working in the fields of alternative rock music, soundtrack production and visual arts and has been active in these fields for over twenty-five years now.
+Heemann has recorded under his own name, with the [[tape music]] group [[H.N.A.S.]], and with many collaborators in [[alternative rock]], soundtrack production and visual arts.
 == Early Years and creation of H.N.A.S. ==
+Heemann's early favorites included [[Laura Nyro]] and [[John Cale]], which directed him towards further offbeat experimentalists like American West Coast radicals [[The Residents]], [[Tuxedomoon]], [[Chrome (band)|Chrome]], [[MX-80 Sound]] and [[Renaldo and the Loaf]].
+Though his hometown featured some notable experimental rock groups (like Rufus Zuphall and Necronomicon), Heemann was largely unaware of them and of the larger "[[Krautrock]]" movement until introduced to it via British or American friends. Largely self-taught in electronic equipment, Heemann started out as a "non-musician" with friend Achim Flaam, dabbling in projects such as "Die Bösen Köche" and "Mieses Gegonge" which were only issued on cassete tape and have now become collector's items. The duo's influences at the time included [[Jac Berrocal]] (France), [[Throbbing Gristle]] (UK) and [[Franco Battiato]] (Italy).
-When Christoph Heemann started listening to rock music, his first musical preferences like Laura Nyro and John Cale directed him early towards what was to know more about popular music than there was available in the media and in books. His visionary search then led him to American West Coast radicals [[The Residents]], [[Tuxedo Moon]], [[Chrome]], [[MX-80 Sound]] and [[Renaldo and the Loaf]] but he was yet fully unaware of the richness of later heavy Krautrock influences. His hometown's now legendary acts like "Rufus Zuphall" and "Necronomicon" were a blank in contemporaries' minds at that time and Heemann "discovered" most Krautrock bands via British or American friends. Largely self-taught in electronic equipment, he started out as a non-musician schoolboy together with Achim Flaam, dabbling in projects such as "Die Bösen Köche" and "Mieses Gegonge" which saw a tape-release and have now become German underground collector's items. Both Flaam and Heemann had meanwhile become under a strong [[Krautrock]] influence, with Krautrock still being derided by some at that time. Aachen's other best-known Kraut Rock acts of the Seventies were the post-[[Klaus Schulze]] electronica disciple [[Robert Schröder]] and Tortilla Flat. Further influences at the time were [[Jac Berrocal]] (France), [[Throbbing Gristle]] (UK) and [[Franco Battiato]] (Italy) amongst others. These activities finally led to the creation of the "[[Faust]]"-influenced unit "H.N.A.S." (i.e. [[Hirsche Nicht Aufs Sofa]]) after meeting up with [[Steve Stapleton]] from [[Nurse With Wound]]. The duo's first step on the record-producing market were two self-produced samplers on their own "Dom"-Label called "Ohrensausen" and "Ohrenschrauben", now widely sought-after releases which featured various artists like [[P16D4]], [[Organum]], [[H.N.A.S.,]]  and [[Nurse with Wound]].Highly experimental, both samplers were a far cry from what an ordinary audience would expect and thus were reviewed in British magazines with mixed feelings and largely ignored in Germany. They extended their duo by including Heemann's brother [[Andreas Martin]] on guitar and Nicole Schmidt on vocals. This quartet cut several full-length albums, the third of which "Im Schatten der Möhre" (1987) met with critical acclaim and can be regarded as their major work. Other titles include "Aufmarsch der Schlampen", "Küttel im Frost" and "Abwassermusik" and give proof of an extraordinary sense of humour and a profound knowledge of German underground as they are full of references to major Krautrock electronicisms. Their seven copies-only release "The book of Dingenskirchen", the title being an ironic reference to [[Deep Purple's]] album "Book of Talieysin" and Germans' pseudo-correct pronunciation of English names, was allegedly feverishly sought after by the [[Dead Kennedys]]' [[Jello Biafra]]. The album fetched up to 700 dollars on the collector's market and the seven copies came in seven different record jackets each designed by Christoph Heemann himself, as were most of the other Heemann/H.N.A.S. productions.
+These activities finally led to the creation of the "[[Faust]]"-influenced unit "H.N.A.S." (i.e. [[Hirsche Nicht Aufs Sofa]], roughly "Moose Without A Sofa") after meeting up with [[Steve Stapleton]] from the like-minded [[Nurse With Wound]]. The duo's first step on the record-producing market were two self-produced samplers (released on their own "Dom"-Label)  ''Ohrensausen'' and ''Ohrenschrauben''. Featured various artists like [[P16D4]], [[Organum]], [[H.N.A.S.,]]  and [[Nurse with Wound]], the Highly experimental, both albums earned mixed reviews in the British music press, and were largely ignored in Germany.
-In 1988, Flaam and Heemann called it a day with their final common production "Ach dieser Bart", displaying their growing dissent over musical conceptions. The LP was split into two completely different sides: Side A showed Flaam's treatment of German Schlager and can be regarded as a late retrospective or meta-[[Neue Deutsche Welle]].  Side B's single track, "Als der Morgen kam, war es, als sei nur eine Nacht vergangen" was entirely composed by Heemann and made use of his brother's manifold musical contributions; it also included [[Andreas Martin]] on guitar, violin, bass, keyboards and percussion).  It was over twenty minutes long and a heavy reminder of Heemann's early fascination and influence: [[Terry Riley]]-esque minimalism. Later, this track was re-released on the Double CD "Lebenserinnerungen eines Lepidopterologen", a sampler summarizing the two brothers' musical solo and teamwork.
+H.N.A.A eventually grew to include Heemann's brother [[Andreas Martin]] on guitar and Nicole Schmidt on vocals. This quartet cut several full-length albums, the third of which ''Im Schatten der Möhre'' (1987) met with critical acclaim and can be regarded as their major work. Other titles include ''Aufmarsch der Schlampen'', ''Küttel im Frost'' and ''Abwassermusik'' and give proof of an extraordinary sense of humour and a profound knowledge of German underground as they are full of references to major Krautrock electronicisms. Another notable H.N.A.S. album was "The book of Dingenskirchen" -- the title being an ironic reference to [[Deep Purple's]] album ''Book of Talieysin'' and Germans' pseudo-correct pronunciation of English names. It was issued in seven different record jackets, each designed by Heemann himself, as were most of the other Heemann/H.N.A.S. productions.
-== Mimir, Mirror and Current 93 ==
+In 1988, Flaam and Heemann ended their collaboration due to creative differences. Their final album, "Ach dieser Bart", displayed their growing dissent: Flaam and Heeman were each responsible for a side of the LP.
-After disbanding both went into different directions. The growing interest of U.S. and British artists and markets in German productions, fostered by Krautrock re-discoveries of now legendary electronica artists such as [[Neu]] helped re-kindle the spark of new activities: International contacts and curiosity became more prolific and Heemann's new projects included numerous collaborations with [[Edward Ka-Spel]] ([[The Legendary Pink Dots]]) with whom he produced a.o. the magnificent "Kata-Climici-China-Doll" and later worked together in the band "[[Mimir]]", composed half-and-half of [[H.N.A.S.]] and [[Legendary Pink Dots]]. He also worked with the German musician/performer [[Limpe Fuchs]], U.S.'s [[Jim O'Rourke (musician)|Jim O'Rourke]] now of [[Sonic Youth]]-fame and has various band projects with varying members. [[Mirror]], a duo with established English drone musician Andrew Chalk was a very fruitful collaboration with many releases, often initially appearing in limited, hand-made editions before being reissued in more widely available form. This unit ceased to exist around 2005, although a handful of unreleased recordings are still scheduled to be issued. Heemann has also worked with [[David Tibet]] from "[[Current 93]]" and was a more or less steady member of that group during the late 90's.
+== Mimir, Mirror and Current 93 ==
+After disbanding both went into different directions. Heemann's new projects included numerous collaborations with [[Edward Ka-Spel]] (of the [[The Legendary Pink Dots]]) with whom he produced t "Kata-Climici-China-Doll" and later worked together in the band "[[Mimir]]", composed half-and-half of [[H.N.A.S.]] and [[Legendary Pink Dots]]. He also worked with the German musician/performer [[Limpe Fuchs]], and with the U.S.'s [[Jim O'Rourke (musician)|Jim O'Rourke]] [[Mirror]], a duo with established English drone musician Andrew Chalk was a very fruitful collaboration with many releases, often initially appearing in limited, hand-made editions before being reissued in more widely available form. This unit ceased to exist around 2005, although a handful of unreleased recordings are still scheduled to be issued. Heemann has also worked with [[David Tibet]] from "[[Current 93]]" and was a semi-steady member of that group during the late 90's.
 == Solo Works ==
-After the split-up of H.N.A.S. he also became active as a Solo-artist: The number of TV appearances (such as in [[Nancy]], France), live-performances in locations such as [[Austin, Texas|Austin]], [[Chicago]], [[Toronto]], and [[Tokyo]] became more frequent without Heemann neglecting his native Germany as a place of production, radio airplay and stage activities. His music now has an increasingly growing approach towards tape music sampling showcasing his punditlike knowledge of any field of popular music created in the 20th and 21st century. Soloworks include titles such as "Invisible Barrier"(1992, "Aftersolstice"(1994), and "Days of the Eclipse" (1996).
+After the split-up of H.N.A.S., Heemann also became active as a solo-artist: The number of TV appearances (such as in [[Nancy]], France), live-performances in locations such as [[Austin, Texas|Austin]], [[Chicago]], [[Toronto]], and [[Tokyo]] became more frequent. Solo works include titles such as ''Invisible Barrier'' (1992), ''Aftersolstice'' (1994), and ''Days of the Eclipse'' (1996).
-In 1996, the German magazine "Testcard" consecrated large parts of a lengthy article on Heemann's band and solo efforts and described Dom productions as one of the first German labels for experimental and industrial music. His recent musical influences have shifted from a strongly European-North American impact towards a central ([[Perez Prado]]) and South American leaning with a strong focus on Brazilian artists.
+In 1996, the German magazine ''Testcard'' devoted a lengthy article to Heemann's career. His recent musical influences have shifted from a strongly European-North American impact towards a central ([[Perez Prado]]) and South American leaning with a strong focus on Brazilian artists.
 [[Category:German musicians]]