Ava Nima

Since 2009, Ava Nima is part of the band project Robotiko Rejekto. In a way, she influenced the reorientation of the band and contributed her own musical atmosphere and visual visions. As an idea generator, she supports and influences the composition and production work of the RR mastermind RaHen. Next to Fae Cross and RaHen, she also contributes key subjects for the songs. Furthermore, she is responsible for visual image, public relations and social media. Ava lives and works close to Frankfurt/M.

Start and musical influences

In the early 80s, Ava consciously experienced electronic music for the first time.

An experience at a concert was formative:

„In 1984, I incidentally visited a concert, in which a single person on stage did nothing but stand behind devices unknown to me, producing electronic sounds. I well remember that I left the concert with the irritating and at the same time strong feeling, that I had witnessed a special moment. Up to this day, I don’t know the name of the artist or his stage performance, but I feel the memory of that innovative thrust (for me) all the more.” 

Among the bands that have lastingly influenced her, she initially counts DAF and Depeche Mode. Later EBM/ industrial bands like Skinny Puppy, Front 242, Nitzer Ebb, The Klinik, yelworC, Sonar, AmGod, and others follow.

Self-understanding and self-perception

Ava looks at herself as an introvert person with a fanciful emotional life. This, she transforms via outward processes into artistry – and with this, she has begun early in life: she starts painting in her youth, tries out painting techniques and creates collages.

Later, her body becomes more important as a means of expression: the free creative character dance in the Palucca style was her start into a body oriented dance education. Subsequently, other styles of body expressions follow.

“The expression of the body via the medium music, says more about a person than words sometimes can.”, she says.

“For me, audio visual art is a possibility to express the dialogue that I hold with people close to me more clearly. Things that move me, upset me, touch me…”

So Ava is critical of the status quo of society. Her attitude and opinions have an effect on RR in different forms, especially concerning the realization of contents in visual forms. Also, in long processes and dealings with own experiences a more and more women-political standpoint emerged:

„I have experienced countless small but also threatening situations that I could only pin down after a certain time of contemplating.

Retrospectively, I should have positioned myself clearer back then, but times were different and women’s role in society as well as accepted behavior was regulated a lot stricter than is the case in modern times. Today, I’d surely often react differently and I wish that women would adhere more clearly to a non-acceptance of certain male behavior”.

“We have to give thought to women’s role in society. That doesn’t only concern issues like violence against women (and children), sexual self-determination and self-determination concerning reproduction, but also the self-evident use respectively misuse of sexist language. 

The confrontation with this topic is therefore also important in the music scene. Here, sexism is also omnipresent. It’s present in music titles and lyrics. Violence against women in videos, pictures and promotion actions is celebrated. With our work, we have the chance to show that an explicit positioning is vital.”

Technology – a balancing act „I look upon the internet and all the possibilities connected with it as Pandora’s Box. We can use the potential lying in this technology, but on the opposite of this, there are great opportunities of misuse like control, supervision, simplification and a mental overload of the people using it.” says Ava.

„In the electronic music, with its multifaceted visual and acoustic means, upsetting events can be concisely presented. This can be an impulse for development processes in the so-called normal society” Ava continues. “Just because there’s seemingly no alternative way to be found at a first glance, one does not have to run into one direction like a flock of sheep.”People should be stimulated to think and ask themselves questions by the songs and videos.


Fae Cross is an independent songwriter and singer and, since Robotiko Rejekto‘s comeback after 20 years, a recent part of the musical project. With her powerful lyrics, she leaves a mark on the overall RR message, and has shaped the statements and declarations of the Album “Corporate Power” into transporting what matters most to the band as well as herself. Fae Cross lives and works near Frankfurt/M.

Coming from a musical family, she began playing the piano and solo singing in her teens. „Actually, I started out playing the flute, but I could never really put up with not being able to sing along.„

Fascinated by literature and theatre, she turned to writing poetry, some of which was later published under an alias in the US.

„The one who really triggered off my enthusiasm for poetry and subsequently for writing poetry was none other than the master himself, William Shakespeare.

I also read a lot of classics, among them Emerson and Thoreau, whom I consider to be my first teachers in philosophy. Reading their works surely had an influence on my main priorities in writing and also my work today.„

Though first attempts in songwriting go back to her school days, it was not until 2009 that she focused on writing lyrics.

„I love the power of words". And if you condense their meaning and wrap them into sound, they somehow merge, become intensified and get so much more energy. I write because I have to. A word or a random sentence can initiate hat process. Some of it may be personal experience, some of it emotions, imagination or something very minor like a story on the news. One particular point that sets me off is social injustice, which is why some of the songs on the Album „Corporate Power“ matter a great deal to me.„

Fae has been working with RaHen since 2010, giving lyrical impulses not only to Robotiko Rejekto, but also to RaHen‘s 80‘s project Axodry, which has yet to be revived, Whispering Colours, and other artists.

Animated by her early poetry writing she pursues her aim to create lyrics that convey a meaningful message and therefore make music a vessel not only for feelings and emotions, but also for opinions and a clear point of view. 

“Although a lot of people like to think, that a single person has no chance standing up against some of the disastrous developments in the world, we can, each and every one of us, weigh in on a message, if there is one out there". 

To connect to a movement and act isn’t so easy as to follow a voice and adapt a mind set. But rather than being the Pied Piper of Hamelin, I want to address and mobilize self-conscious, independent people, who stand up for right and against wrong and most of all take a stand. It’s about awareness and making up your mind instead of being a tag-along.”


Since quite a while, Mark4 supports ROBOTIKO REJEKTO on stage and by now is also responsible for mixing and sound effects.

His musical enthusiasm began with the education of a classic instrument.

However, at the age of 14, he first switched it for a turntable, and later drum computer and sampler took it’s place. 

Together with two schoolmates, he founded the band BRIGADE WERTHER in the end of the 1980s. Their EP KILLBEAT was able to gain recognition and was a noticeable success. It was during the recordings for this EP at Zoth Ommog that Rahen and Mark4 got to know each other. They have shared an artistic friendship ever since.

 In the 90s, Mark4 was involved in various productions, like e.g. the sampler „Multi-Kulturelle Affäre Frankfurt“ („mulit cultural affair Frankfurt“; initiated by Daniel Cohn-Benedit), DMA (Music just turns/Ongaku Musik), Duplex (Seusacho, Another night/World Music Records) and HELICON (Mr. Clean/Dance Pool).