club_transmediale_frictions

martin tetreault spielte mit bzw gegen 4 drummer und drums auf 4 turntables, arghhhhhhhhhhh war das großartig gestern.

ubiquitous oscillations or fourier changed our world

Heute startet im general public diese kleine, aber feine Soundartausstellung, ab Montag dann Konzerte (siehe unten)!

"An exhibiton with Shingo Inao, Daisuke Ishida + Noriko Yamaguchi, Stephane Leonard, Hirofumi Matsuzaki, Satoshi Morita and Seiji Morimoto.
The exhibition is committed to art, technology, society and sound. Different artistic positions of contemporary (media)art will be shown. They work with and reflect both digital and analog-electronic as well as mechanic technology and their processual dynamics...
Shingo Inao, Daisuke Ishida + Noriko Yamaguchi, Stephane Leonard, Hirofumi Matsuzaki,Satoshi Morita, Seiji Morimoto and their curator Shintaro Miyazaki had occupied themself artistically and conceptually with this “condition humana” and show a part of their work in this exhibition.

“Ubiquitous oscillations” or “Fourier changed our world” is part of “la-condition-japonaise” a curatorial project and network for promotion of young contemporary japanese arts and music in Berlin and Europe."

Concerts:

Mon, January 12, 20h00 Ugo Inao (live sensor electronics), Stephane Leonard (laptop)
Wed, January 14, 20h00 Ken Okami (neon lights, electronics)
Fri, January 16, 20h00 Daisuke Ishida (laptop), Seiji Morimoto (electronics)

Reflection and Art:

Guest-Artist (Presentation):
Thur 15th January, 20h00: Jan-Peter E. R. Sonntag
Jan-Peter E. R. Sonntag, who won the prize of german soundart 2008 (Deutscher Klangkunst-Preis 2008) will present his works and ideas.

Furthermore Martin Donner (M.A.), Oswald Bertold + Sebastian Döring will talk about Fourier, sound, electronics and media history (in german language).

mtdw_5: john zorn filmworks: the last supper

das ist überhaupt nicht weihnachtlich gemeint und trotzdem klingt es auf eine strange art festlich.
atmosphärische von einem frauenchor gesungene minimalfiguren plus percussion. das ganze erinnert entfernt an philip glass' oper "einstein on the beach", nur besser.

listen

"One of the strangest films Zorn has ever scored (and that’s saying a LOT), The Last Supper is a science fiction/art film of wild imagination and style. The brainchild of French director Arno Bouchard, the film combines primal ritual with futuristic fantasy in images reminiscent of David Lynch or Alexandro Jodorowsky at their most bizarre. Drawing upon the world’s first musical instruments (voice and drums), Zorn has created a beautiful and powerful score that simultaneously embraces the sensual and the repellant, the dark and the light, the ancient and the modern."

mtdw_4: RAINIER LERICOLAIS adagio ma non tanto

"toooooooo" eine japanische frauenstimme ( die später auch franzözische texte zum besten gibt), ein gehaltener pianoakkord, ein langsamer rückwärtsdrone eines clusters, dann verdichtet sich das sporadische kurz in der zusammenführung der klavierakkorde zu einem songartigen gefilde, um im nächsten moment wieder in einem situativen klanggerüst zu verschwinden : das ist genial! das ist cineastischer mix zwischen spoken word, minimal, fieldrecordings, electroacoustic und zeitgenössischer klassischer musik!

download

mtdw_3: Restless dreams of one Koala by Jerome Pergolesi

ein sehr spannendes minialbum, erschienen auf dem internetlabel frozen elephant music, das einen sehr eigenen stil fährt und freie und unglaublich gut produzierte elektronische musik auf hohem niveau veröffentlicht. "restless dreams of one koala" des franzosen jerome pergole ist ein werk, das auf field recordings basiert, die zu hypnotisierenden pulsierenden drones verarbeitet wurden.
ich kann dieses internet label an sich nur empfehlen. bisher 10 veröffentlichungen: von drones über minimalistische soundart bis zu japanischer weirdo folktronica wird hier alles veröffentlicht, was den betreibern gefällt. bei aller stilistischen unterschiedlichkeit, erkennt man doch das einheitlich ästhetische ziel, progressiv( im sinne von eigenständig) elektronischer und elektroakustischer musik eine plattform zu geben. auch das artwork des labels ist sehr inspirierend.
diese musik ist frei und um einiges besser, als manche kaufbaren releases stilistisch verwandter labels. von der label seite:
"Frozen Elephants Music is interested in closing the gap between electronic music and electroacoustic composition, since their production techniques are becoming more and more approximate to each other. We hope to create an ongoing discussion of these works, based on free presentation using both contemporary digital technologies and creative commons licenses allowing you to use our publications. Frozen Elephants Music uses the Attribution-Noncommercial-No Derivative Works 3.0 Unported license. This means you are free to share to copy, distribute and transmit the work acording to these rules"

download restless dreams of one koala

mtdw_ 2: “Phantom orchard”

"This collaboration happens between Zeena Parkins (multi-instrumentalist, but recognized for her talent as electric harp player) and Ikue Mori (known for his improvisations). The result sounds pretty strange, a bit unusual and definitely experimental. The harp sound creates an interesting kind of spooky glasshouse impression. The more you walk on this surrealistic path, the more the strange atmosphere will surprise you. We’re miles away from the familiar dark impressions although the atmosphere remains anguishing. “Phantom orchard” sounds like entering a twilight zone. I personally appreciate the “Ghostlake”-cut, but can’t totally get into the experience!"

und aus dusted reviews:

"Though they’ve played together numerous times, Phantom Orchard marks the first album featuring Ikue Mori and Zeena Parkins in a duo setting. The pair, both heavyweights in New York’s avant-garde community, came from distinctly different musical beginnings, but they’re both innovative icons on their respective instruments. Mori, whose American musical career began as the drummer for DNA, took up the drum machine and founded a new world for the instrument, taking it far beyond backing rhythms and robotic fills. Parkins began as an acoustic harpist, but, in the late ’80s, she and Tom Cora began to explore a design that revolutionized the harp in terms of both technique and palate, and, as her electric harp has been further modified and refined, Parkins continues to rediscover the harp in both its acoustic and electric formats. She’s an impressive composer in her own right, and an oft-desired member of other composers’ groups and backing bands. On Phantom Orchard, both women make use of a larger array of instruments, with Parkins playing not only harp, but piano, mellotron and a collection of analog synthesizers, and Mori, various digital electronics. The music keeps its feet firmly in two worlds, collaborative improvisation that, at its best, weaves the acoustic and electric sound sources almost seamlessly.

The disc’s opening track, “Jezebel” features Parkins on harp, a dreamlike haze of plucking and swaddling ambience from Mori. The exchange of harp for piano on “Savage Flower” creates a shift in tone, but not in theme, with Mori’s squiggles and sweeping tones enveloping the piano in a manner that is surprisingly engaging for how thoroughly comfortable the music feels. Phantom Orchard, however, slowly leans toward Parkins’ synthesizers as the album progresses, and the resulting improvisations lack the more interesting interplay that makes tracks like “Jezebel,” and, for instance, “Deft,” so alluring.

Mori’s samples run the gamut from echoes of the natural world to science-fiction alchemy, and she’s usually adept when it comes to synthesis with Parkins’ music; she sometimes uses more percussive strains to propel the music, other times layering the background of the mix with blankets of tone, cushioning her collaborator’s creations.

Phantom Orchard remains a beautifully sculpted bit of improv, ethereal and celestial. The crowded, more jumbled moments are few, and Parkins and Mori don’t seem to be hindered by these momentary potholes, never allowing them to fester into something bigger. Such a simpatico relationship is a joy to experience."

By Adam Strohm

“Phantom orchard”

-videoremix- karajan und die berliner hardcoremoniker

karajan dirigiert die hardcore philarmoniker;-) muss man gesehen haben!
bitte schaut/ HÖRT euch das mit kopfhörern an!
aber vorsicht: ich habe mich beim ersten mal fast totgelacht.
es lebe der sound der anarchie! cheers.

mehr infos und das ganze im großen videofenster gibts hier.

typisch für diese art von arbeit und sehr symphatisch:
"This work (audio tracks, cover, text) is licensed under a creative commons license."