Now available is the 2x CDr No Audience Participation on Econore records. The 5 tracks were originally released as a series of downloads under the title Culture’s Cancelled in March/April. It’s a documentation of concerts I played pre-COVID 19 in late 2019 and early 2020.
Econore turned my collection of recordings and collages into this amazing thing with lots of goodies like show flyers, a 12 page booklet and a button. Limited edition of 20.
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.
Rosh 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
In the latest episode Difficult Music played some tracks from the Inconvenient tape. Also featured are The Primitive Painter, Akuma No Numa, Klara Lewis, Klein, Conrad Schnitzler and Bérangère Maximin.
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.
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.