culture’s cancelled #1

live, recording


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.

Two new tapes released

recording, release

totenkopf hülle und tape

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.


gehirn tape stuff

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.

1946-1949 released on neoprimitive

recording, release

A limited edition of 100 C30 tapes and/or a digital download is now available on Neoprimitive’s bandcamp site. This album was recorded in 2016 and mixed in 2019. It is based on field recordings collected on north sea beaches and the harbour area of Hamburg.

The concept and design revolve around a flag that german ships had to fly between the years 1946 and 1949:

„After the defeat of Germany in World War II, the country was placed under Allied administration. Although there was neither a national German government nor a German flag, German ships were required by international law to have a national ensign of some kind. As a provisional civil ensign of Germany, the Council designated the international signal pennant Charlie representing the letter C ending in a swallowtail, known as the C-Pennant (C-Doppelstander, C as in capitulation). The Council ruled that ’no ceremony shall be accorded this flag which shall not be dipped in salute to warships or merchant ships of any nationality‘.“

The Noise Beneath The Snow wrote a review of this album:

„Coming to us from the shores of Germany is an intriguing piece that makes heavy use of ocean-side field recordings.  David Wallraf brings us 1946-1949, his new digital & cassette release on the Neoprimitive label.

According to the artist: “in those years (1946-1949) all German ships had to fly a special flag that was not a national ensign due to an order by the allied forces. The sounds and noises on the release revolve around a nautical theme and should be listened to as a critique of the rising tide of nationalism we are dealing with today.”

Taking context aside, what David Wallraf brings us is a recording that is sonically immersive due primarily to the ocean field recordings.  Perhaps the most dynamic and enveloping piece is the 15-minute title track where we hear waves of harsh noise in conjunction with the environmental noises (ocean, birds etc).  It’s quite engaging and almost impossible to take in all at one listen.  One might find the equivalent of the security of a intact ship floating upon the ocean only to be greeted by an oncoming violent storm (tastefully done with harsh noise, I might add).

A track like “Submission” seems to explore more of a structure vs. chaos dynamic with the hypnotic rhythm on top of rising tides of harsh noise only to be completely enveloped like a tsunami.  At 3:40, “Capitulation” is the shortest cut on the 5-track tape.  Definitely a deep-see diving vibe here; very exploratory as we envision the blackened, deep ocean with the distant noise of the cresting waves above and marine life around.

There is definitely a variety of levels of comfort ranging from frightening and paranoid to secure and serene.  Taken with the aforementioned context above, it just makes 1946-1949 that much more of an effective concept and recording.“

Glissando II

installation, recording

Glissando II entstand aus einer Kollaboration von Benjamin Sprick (Cello) und David Wallraf (Elektronik/Montage) für die Abschlussausstellung yet incomputable des Graduiertenkollegs der HFBK Ästhetiken des Virtuellen. Diese Audioarbeit steht in engem Bezug zu Benjamin Spricks Dissertation Resonanzen des Virtuellen, die Ausstellung kann am 04.11. und 17.12.2017 in der Sammlung Falckenberg in Hamburg Harburg besucht werden.

Die Dissertation Resonanzen des Virtuellen. Das Bewegungs-Profil und das Zeit-Profil der Musik bearbeitet eine Problemstellung im Spannungsfeld von Musiktheorie, Philosophie und Komposition. Sie geht von der Frage aus, inwiefern sich der von Gilles Deleuze in seinen beiden Kino-Büchern beschriebene Übergang von einem Bewegungs-Bild zu einem Zeit-Bild im Film auch in der Musik aufzeigen lässt. Das Ziel der Arbeit besteht darin, eine musikalische Ästhetik des Virtuellen zu entwickeln: Sie fragt danach, wie das Virtuelle musikalisch wahrgenommen und empfunden werden kann.

Ein Übergang von Bewegung und Zeit bzw. deren unausgesetzte ›Amalgamierung‹ lässt sich in der instrumentaltechnischen Operation des Glissando ausmachen: einer gleitenden Klangbewegung, die Kontinuität und Veränderung in vielfacher Weise ineinanderfließen lässt. In seiner sowohl extensiven als auch intensiven, verschiedenen Formen der Beschleunigung und Verlangsamung unterworfenen Bewegung erweist sich das Glissando als unteilbar, um sich in dieser Unteilbarkeit zugleich permanent zu verändern.

Als ›Klang-Bild‹ (image-sonore) konzipiert, setzt Glissando II Cello-Sounds verschiedenen digitalen Manipulationen aus (Ring-Modulator, Granularsynthese, Time-Stretch). Den theoretischen Ausgangspunkt bilden dabei musikalische Begriffe (›Modulation‹, ›kontinuierliche Variation‹, ›universelle Verzerrung‹), die Deleuze in seinem Text »Postskriptum über die Kontrollgesellschaften« verwendet hat.