Aaron Funk
| Venetian Snares | |
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Funk performing in 2008
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| Background information | |
| Birth name | Aaron Funk |
| Born | January 11, 1975 |
| Origin | Winnipeg, Manitoba, Canada |
| Genres | Breakcore, IDM, drum and bass |
| Instruments | Drum machine, Renoise, synthesizer, sampler, softsynth |
| Years active | 1992–present |
| Labels | Planet Mu, Sublight Records, Hymen Records |
| Associated acts | Speed Dealer Moms, Poemss, Stunt Rock, Speedranch, Fanny, Bong-Ra, Cex, Doormouse |
| Website | Bandcamp |
Aaron Funk (ˈeərən fʌŋk; born January 11, 1975), known as Venetian Snares, is a Canadian electronic musician based in Winnipeg. He is widely known for innovating and popularising the breakcore genre, and is one of the most recognisable artists to be signed into Planet Mu, an experimental electronic music label. His signature style involves meticulously complex melodies, eclectic use of samples, and odd time signatures, particularly 7
4.
His 2005 release, Rossz Csillag Alatt Született, was released to critical acclaim and has helped bring Funk and the genre into popularity within the experimental electronic music community.
He is a very prolific musician, often releasing several records each year, sometimes on several different record labels, including Planet Mu, Hymen, Sublight, and his own imprint Timesig, and also under other different alias, including Last Step, Snares Man!, Snares, and Speed Dealer Moms. He also has explored other electronic genres such as glitch, IDM, modern classical and even acid techno.
Funk began producing music as early as 1992, when he was experimenting with several 'ghetto blasters':
I'd use a bunch of ghetto blasters playing all at once to play different sounds I'd recorded with some shitty ghetto blaster. Most of my sources I'd get riding around on my bicycle and just listening for interesting sounds. I'd use garbage bins and streetlights and anything else I could find that was hollow or metallic to bang out rhythms on. Then I'd set up all the ghettos and record them all playing into that same ghetto blaster. Then I'd play a bunch of those tapes all at the same time and record that and so on. Then I would do cut-ups or pause-ups of those tapes to create a more startling rhythmic effect. A strange ritual in retrospect.
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