On August 12th I will perform a live score for Luis Buñuel’s and Salvador Dali’s 1929 silent film Un Chien Andalou in the patio of Museum für Hamburgische Geschichte as part of this years Sommernachtskino. Joining me will be ST Kirchhoff who will accompany Germaine Dulac’s 1927 film The Seashell and The Clergyman (based on a script by Antonin Artaud). If you are interested in surrealist films and noisy/improvised music and happen to be in the Hamburg area, please consider joining us. Tickets are 15,- or 10,- Euros and are available via www.metropoliskino.de starting August 1st.
live
blurred edges: Jan Jelinek & Wallraf/Jetzmann
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Fr. 23.10.20, 20:00 in der Hörbar/B-Movie, Brigittenstr. 5. 20359 Hamburg
Im Rahmen des Blurred Edges Festivals. Einlass nur mit Kartenvorbestellung an csh44[at]gmx.de
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Jan Jelinek
Jelineks Arbeiten befassen sich mit der Transformation von Klang bzw. mit der Übersetzung von populären Musikquellen in abstrakte und reduzierte Texturen. Dabei kommen keine traditionellen Musikinstrumente zum Einsatz, vielmehr werden Collagen aus winzigen Klangsamples konstruiert. Diese Samples kommen aus den unterschiedlichsten Aufzeichnungsgeräten wie Tonbandmaschinen, digitale Sampler, Mediaplayer.
Die Aufnahmen werden zu repetitiven Loops verarbeitet, reduziert auf die wesentlichste klangliche Eigenschaft des Originalmaterials, wobei das Ausgangsmaterial in den meisten Fällen nicht mehr dechiffrierbar ist.
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Jetzmann / Wallraf
Jetzmann, bei diesem Konzert mit Mikrofon für Texte und Sampler für Sounds, macht sonst Radioarbeit und Bühnenmusik. An diesem Abend interessiert an den Möglichkeiten von Text und Noise.
David Wallraf forscht seit 2010 zur Theorie und Praxis von Noise. Besonderes Interesse für die verdrängte und unheimliche Akustik des Alltagslebens, an diesem Abend in Relation zu Jetzmanns Texten.
Anachronism footage
live, videoAnachronism Hamburg/Bremen
live
First shows since February with an actual audience are due on October 6th at MS Stubnitz in Hamburg and on the 7th at Schwankhalle Bremen. Playing with KvT, Sonic Glitch and Ana Berkenhoff. Organized by Anachronism, tickets are availbale here.
05.09.2020 A Wilted Valid Space – Let it Burn a Million Times
installation, liveRosh Zeeba – Videoinstallation, Joscha X Ende – Noise Reduction Performance, DW – Noisescapes

Samstag, 05. September, ab 16:00 – Galerie 21 im Künstlerhaus Vorwerkstift, Vorwerkstr. 21/20357 Hamburg
Stubnitz Video
live, video11.06. – Stubnitz – Stream
live, videoFirst concert since February is coming up – live show plus artist talk with TinTin Patrone at the new Plattenfroster TV by MS Stubnitz in Hamburg, streamed live via twitch/klub_forward on thursday, June 6th at 20:15 (18:15 UTC).
Of course it’s not a real concert. That’s still cancelled. Ambivalent feelings on the whole streaming thing: is noise a good metaphor for social distancing or is it totally pointless to play a noise show without physical presence?
A noise show doesn’t produce a community-vibe like other musical genres do – not much of dancing, sing-along etc. – it tends to isolate the attending persons in their own bodies by excess of volume. Paul Hegarty writes in Noise/Music – A History:
„The listener at a loud noise event is taken out of the subject body to be dumped back into embodiment, lowered into something like ecstatic noise consumption. The mistake would be to imagine any lasting freedom emerging from that ecstasy. It is certainly more ecstatic than pleasant, and closer to the sublime than the beautiful, with which it cannot share anything. Like Kant’s sublime, though, it is also a framing of the moment the self is lost as the rational reflection on the moment the self was lost.“ (p. 147)
But if noise produces this awareness that is centerd on the self in an almost solipsistic way, at the same time it can emphasize that which is the basis of any communal experience: the inbetween, the space of the inter between bodies, persons, individuals. By filling the room with excessive noise, it can create a space where a group can exist without being centered on a sonic or semantic structure like rhythm, melody or lyrics. Imagine a noise show where every single body finds its own rhythm and structure in the chaos – a community without identity.
It could be argued that noise itself creates a paradoxical inter between social distance and community. Watching a live stream of a noise show seems like a metaphorical comment on this paradox.
culture’s cancelled #5
live, recordingThis is the 5th and final part in a series of live recordings from before the cancellation of public life… Recorded at Berlin’s Zum Limit on February 21st. Let’s see what happens next. Maybe when everybody’s done with grief work for all the cancelled events we can agree to burn down Netflix and Spotify and expropriate Amazon. When there’s no more room in the internet, the dead will walk the Earth.
culture’s cancelled #4
live, recordingPart 4 in a series of live recordings. Recorded at Schute, Hamburg-Wilhelmsburg on December 3rd.
culture’s cancelled #3
live, recording3rd in a series of liverecordings from the pre-coronavirus era. Recorded at the Golden Pudel Club in Hamburg on November 13th 2019 during the release concert for the 1946-1949 tape. Other acts on this evening were E.K.G. (who also recorded the show) and Rosaceae.
This is a free Bandcamp download (a donation is highly appreciated).