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.
After a two month hiatus, Markus Izzo’s excellent radio show Difficult Music has been back on the air since February, both as a broadcast on Radio Z and as a stream on Hallo:Radio. The archive of 255 episodes so far is accessible via Mixcloud.
The topic of the latest broadcast is the psychological effect of lockdown and for this I was honoured to produce a short radio play based on William S. Burroughs text The Danish Operation. The short story was first published in 1964 in Arcade magazine, for this piece I used a German translation by Carl Weissner. The seven minute audio track can be found here.
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.
Update: due to a case of Covid-19 in the team this event is sadly cancelled
Amidst the total cancellation of cultural public events, including its experimental fringes, going online seems the only way left to stage concerts at the moment.
The show with Qian Geng, Wang Ziheng and Anton Kaun at Acud in Berlin on the 20th is cancelled, but there will be a livestream on friday evening. Anton Kaun is staying in Munich, so Qian Geng’s calligraphy-performance will be accompanied by Wang Ziheng and me.
The details of the livestream are still being worked on, but the platform used and the exact time will hopefully soon be posted at this place or at the facebook event.