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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.

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

Largely self-taught, he started out as a 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 were under a strong Krautrock influence, with Krautrock still being a widely neglected branch at that time. Other influences at the time were Jac Berrocal (France), Throbbing Gristle (U.K.) 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 and Nurse with Wound. Both were reviewed in British magazines with mixed feelings. 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 Kennedy's Jello Biafra. The album fetched up to 700 dollars on the collector's market and the seven copies came in seven different recordjackets each designed by Christoph Heemann himself. Flaam and Heemann called it a day with their final common production "Ach dieser Bart", displaying their large 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/and/or meta-Neue Deutsche Welle, Side B's single track, composed by Heemann,was over twenty minutes long and a heavy reminder of Terry Riley-esque minimalism. It also included Andreas Martin on guitar. Later, this track was re-released on the Double CD "Lebenserinnerungen eines Lepidopterologen".

Mimir, Mirror and Current 93

After disbanding both went into different directions. 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 Limpe Fuchs,Jim O'Rourke and now has various band projects with varying members, amongst which "Mirror" seems to be the most fruitful one. He also teams up with David Tibet from "Current 93" and is a more or less steady member of that group.

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, 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). 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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 == Early Years and creation of H.N.A.S. ==
-Largely self-taught, he started out as a 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 were under a strong [[Krautrock]] influence, with Krautrock still being a widely neglected branch at that time. Other influences at the time were [[Jac Berrocal]] (France), [[Throbbing Gristle]] (U.K.) 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 and Nurse with Wound. Both were reviewed in British magazines with mixed feelings. They extended their duo by including Heemann's brother [[Andreas Martin]] on guitar and Nicole on vocals. This quartet cut several full-length albums, the third of which "Im Schatten der Möhre" 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 Kennedy's]] [[Jello Biafra]]. The album fetched up to 700 dollars on the collector's market and the seven copies came in seven different recordjackets each designed by Christoph Heemann himself.
+Largely self-taught, he started out as a 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 were under a strong [[Krautrock]] influence, with Krautrock still being a widely neglected branch at that time. Other influences at the time were [[Jac Berrocal]] (France), [[Throbbing Gristle]] (U.K.) 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 and Nurse with Wound. Both were reviewed in British magazines with mixed feelings. 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 Kennedy's]] [[Jello Biafra]]. The album fetched up to 700 dollars on the collector's market and the seven copies came in seven different recordjackets each designed by Christoph Heemann himself.
 Flaam and Heemann called it a day with their final common production "Ach dieser Bart", displaying their large 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/and/or meta-[[Neue Deutsche Welle]], Side B's single track, composed by Heemann,was over twenty minutes long and a heavy reminder of [[Terry Riley]]-esque minimalism. It also included [[Andreas Martin]] on guitar. Later, this track was re-released on the Double CD "Lebenserinnerungen eines Lepidopterologen".