I’m wrapping up this sickening year with a new release. ||| || | ||| is the second in the ’skull series‘ of tapes, containing two tracks recorded in 2020. On the A-side there’s Black Is The Color Of My True Love’s Hair. The title is taken from Patty Water’s 1965 version of the song. It’s not a cover by any means but listening to her song is highly recommended. The high pitched sounds on this track were generated by plucking human hair attatched to a contact microphone (taken from a very special person with black hair). The B-side contains Year Of The Plague which sums up some of my impressions of the last 12 months. The limited edition of 20 tapes with individual covers and/or a digital download is now available through my bandcamp account.
Wilted Valid Space– Let It Burn A Million Times is the title of a video installation by Rosh Zeeba, exhibited at Galerie 21/Vorwerkstift in Hamburg on September 5th 2020. The three channel installation was accompanied by sounds specifically assembled for this event. The resulting audio piece consists mainly of loops edited from 1970s Iranian popsongs that were suggested by Rosh Zeeba. These loops were played through a modular synthesizer, creating a ‚hauntological‘ soundscape – the aim of the work being to create an uncanny atmosphere that functions like an anachronistic radio broadcast from pre-revolutionary Iran. The exhibition and accompanying performance by Joscha X Ende (aptly titled Noise Reduction) lasted for four hours. Below you can find a recording of the soundscape, edited down to 48 minutes, videoclips showing the installation and a foto of the performance.
New Delhi’s gallery ONKAF comissioned international sound artists and musicians to produce works for their Life Inbetween series, running 03-12 October. My contribution, the 09:30 min. track Psyche – A Model of Infection is now available on ONKAFs website and on YouTube.
The Greek word psyche, analogous to the Latin spiritus, originally meant breath as well as soul or spirit. The invisible and ephemeral phenomenon of inhalation and exhalation connects the inside and outside of the body, it is both a carrier substance of language and of airborne diseases and also a sign for the liveliness of bodies.
Breath is the starting point of this work: a single and solitary breath, recorded with a throat microphone. The inside corresponds to the body of the individual in a symbolic isolation, which becomes a social reality through the distancing measures against the spread of the COVID-19 pandemic. This isolated sound, a reference to the desire for interaction with others, is linked to field recordings. These sounds were recorded during the recent years in places that are no longer accessible or difficult to visit due to travel restrictions (a collage of street sounds from Tel Aviv, Istanbul, Tokyo and Warsaw). Due to the currently unbridgeable distance, the acoustic reminiscences of these places are charged with nostalgia.
On a further level of the work, an interplay of four different waveforms produced by analog oscillators unfolds in the stereo image – sine wave (left channel), triangular wave (right channel), square wave (half left) and sawtooth wave (half right) appear in a fixed frequency ratio and form a chord. At minute 03:45 a noise signal begins to modulate the first oscillator, the random voltage distribution ‘infecting’ the homogeneous sine wave. The resulting ‘symptoms’ are fluctuations in frequency, a distraction from the normal or ‘healthy’ state. This audio infection is passed on to the next oscillator, while maintaining the characteristics of the sinusoidal oscillation – it is no longer the same noise signal, but a ‘mutation’. This process is repeated until all four oscillations are infected. At the end of the cycle, the output of the last oscillator is fed back to the first – an exponential growth of modulations/infections that changes the characteristics of the whole system.
What remains is the sound of breathing, but no longer as an isolated sound event. By using a vocoder, the sound of breathing becomes the envelope for the collected field recordings, a hybrid sound event that refers to the singularly plural dynamics of the social.
The four track tape album Inconvenient is now available on Industrial Coast.
C35. Jcard. Onbody labels & presentation envelope.
These recordings were assembled in a rather inconvenient way during a period in 2019 when the audio interface on DW’s computer did not work properly. All sounds had to be recorded on mobile devices and then transferred to a DAW for mixing.
The pieces revolve around impossibilities – transducing and transposing inaudible events into the hearable spectrum and mixing unrelated audio from different locations to create the simulacrum of a place that never really existed.
The détournements of song titles by Bob Dylan and Don van Vliet act as a reminder to the possibility of deconstructing your own memories and archives.
The aesthetic choices made during the recording process were influenced by the collage work Une Semaine de Bonté by Max Ernst.
This 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.
Part 4 in a series of live recordings. Recorded at Schute, Hamburg-Wilhelmsburg on December 3rd.
3rd 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).
2nd in the lockdown series: A recording from November 2nd 2019 at AZ Aachen. A case study in asymmetrical volume and no
Since nobody will be playing, attending or hosting any concerts for quite a while, this seems like a good time to sift through the archives.
This is the beginning of a new series of audio-documentations of past shows, starting with a recording of a concert from June 26th 2019 at the Bruital Furore festival on Hamburg’s MS Stubnitz. New releases will approximately follow in a weekly order.
It’s a free bandcamp download but a donation is very much appreciated.
Titled ‚— — —‚ this is a C74 recycled chrome position tape. In each of the four tracks included, sonic developements are explored in a harsh noise context over the duration of approximately 18 minutes. A limited edition is now available on bandcamp (plus digital download) and at shows.
ΔИ΅ϡ͆͊͌͢͟ΦѶ҈Հֆ͜͜͠Ώ---΅ϡ͆͊͌͢͟Φ is a C38 chrome position tape that combines one long track assembled from a collection of home- and field recordings spanning the years 2011 to 2019. Side two features three tracks that juxtapose field recordings with electronically generated rhythmic structures that are intended as soundtracks for nightmares. A limited edition is also available at bandcamp.