A new limited edition cassette is now available. My tracks Not Bored & Just Angry were recorded during lockdown in April 2020, Jeans Beast’s Decay & Destroyed by Machines in July. J. Flemming did the cover artwork and offset printing. We split the 20 copies and they are available both through my and Jeans Beast’s Bandcamp.
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.
Radiophonische Vorlesung über Noise: ein Begriff, der die Grenzen seiner eigenen Definitionen sprengt und ein semantisches Rauschen in den Apparaten der begrifflichen Sprache freisetzt. Als Lärm, Geräusch, Rauschen und Störung durchquert er verschiedene Wissensgebiete, insistiert in ihren Zwischenräumen und zieht neue Verbindungslinien. In diesem Beitrag wird Noise als chaotisches Bindeglied zwischen Diskursen der Akustik, Philosophiegeschichte, Musikwissenschaft, Politik, Thermodynamik und Informationstheorie vorgestellt.
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Ein Projekt des Online Musicking Call Mai / Juni 2020 des Verbands für aktuelle Musik Hamburg, gefördert von der Behörde für Kultur und Medien Hamburg.
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[Radiophonic lecture on Noise: a term that breaks the boundaries of its own definitions and releases a semantic noise in the apparatuses of conceptual language. As hissing, sonic disturbance, entropy and acoustic violence it traverses different fields of knowledge, insists in their interstices and draws new connecting lines. In this feature, noise is presented as a chaotic link between discourses of acoustics, history of philosophy, musicology, politics, thermodynamics and information theory.]
This Pudel Produkte/Noisexistance co-release of Rosaceae’s first LP is now officially available:
Written and produced by Rosaceae, 2019
First performed on March 29, 2019 at the
Noisexistance Festival at Kampnagel, Hamburg
Mastered by Rashad Becker
Additional Mixing by Anders Fallesen
Additional Vocals by Jesseline Preach, Mazlum Nergiz
Liner Notes by David Wallraf
Layout by Markus Izzo
Released by Pudel Produkte
In cooperation with Noisexistance
Released June 26, 2020
This collaboration was originally intended as a live performance for Hamburg’s Blurred Edges festival in May. Now two spoken word/noise tracks are available as a joint-release on Jetzmann’s and my respective Bandcamp accounts. The project started with Jetzmann providing lyrics and me developing soundtracks based on the texts, using material recorded during sessions originally intended as preparations the performance.
Wahrschau is a reaction to the current pandemic situation, Nizza NY is a travelogue. English translations are provided with the downloads.
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.
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.“
The first cassette-album by H, -log p, is finally released on the new STOFFE-label. The featured tracks span a five year period of live improvisations recorded in a practice room at Hamburgs FleischGroßmarkt. The tape was mastered by Brandon Hacura and designed by Konstantin Bessonov and Phil Struck.
Limited edition of 50, available now at bandcamp.
The tape was reviewed by Tristan Bath on The Quietus:
„Spanning five years worth of live improvisations recorded by a German duo sparring noisemaking electronics and drum kit, – log p by H (one of the first tape issued by the brand new and mysterious STOFFE imprint from Hamburg) shouldn’t be anything like as cohesive and satisfying as it is. Recorded in a practice room at Hamburg’s FleischGroßmarkt, these six tracks head deep into long rhythmic wig outs, perhaps latently resembling Black Dice or even Boredoms. But overall it’s slower and darker – haunted even. Tracks such as the catchily titled ‘p(AB)p(B)p(A)’ go menacingly nowhere slowly for ten minutes at a stretch.
David Wallraf mans the aforementioned electronic noisemaking gear, with online video clips showing him controlling banks of netted synth modules and mixers, yelling inaudible gibberish into processed microphones, turning voltage into a mixture of cycling drones, bass buzz, and leering ambience. The fact that drummer Klaus Frieler is so patient throughout is perhaps the key to what makes H so damn compelling for such a simple duo. He calmly moves forward on the lengthy ‘E = hf’ without ever falling into a motorik loop or pounding angrily; he just calmly sets the pace while Wallraf’s bed of noisy flowers slowly blooms into a breathtaking chaos of bubbling electronics growing angry. They take their time getting there, but H at their peak are something exceptional.“