Video from the show with Yuko Araki and Daisy Dickinson on December 5th. It’s always great to play at Stubnitz. The crew is super nice, they have a heart for leftfield music and noise, one of the best soundsystems in Hamburg and you always get video documentation of your set (nearly all my live videos were filmed at that place).
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.
First 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.
by IIIIIIIIIIIIIIIII-I / norman neumann