tag:blogger.com,1999:blog-12785199122914297702024-03-13T02:36:42.207-07:00Production DiariesTake a look in my lab - Working on music and anything else to bring it to you.
Since March 2014 my blog has moved to www.phyla.info
Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.comBlogger72125tag:blogger.com,1999:blog-1278519912291429770.post-4786704218758435762014-02-28T06:57:00.000-08:002014-02-28T06:57:27.150-08:00 Minimal Improvisation Duo Score<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/3aqWUOoPpKA" width="560"></iframe><br />
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Here are some impressions from yesterday´s lab. We are working on the Minimal Improvisation, using a duo score based on imitation and repetition that owe´s some inspiration to the Katajjait, a traditional form of Inuit duo singing. We had the pleasure of having british singer and performer William Woolf with us and vocal improvisator Yifat Cohen from Israel. From the duo format we went on to further explore Minimal Improvisation as a group which was delicate.Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-54525194309606847572014-02-14T03:26:00.002-08:002014-02-24T16:27:14.288-08:00The impertinence of constraint<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/-T8tb8ciFV8" width="560"></iframe>
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Jennie Zimmermann and me doing Minimal Improvisation at Tatwerk, Berlin.<br />
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When perceived within a certain context, for example in comparison to works of Morton Feldman, what we do seems pretty natural and while we do it, it happens within an easy flow. But still, in the broader context of music, there seems to be a certain obscenity, a provocative quality to it.<br />
No presentation of artistic skills, no effort to capture an audiences attention, the impertinence of constraint. What we do, may easily be perceived outside the boundaries of cultural practices labeled 'music'. Specialists may enjoy it, but for the general public, the amount of passivity involved causes irritation.<br />
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I am asking myself why I am content with this position. My aim is not to adress only an audience of specialists. What is demanding about Minimal Improvisation is it´s sparseness - as if something is missing. I do love this quality of emptiness, I enjoy it while performing, but I understand that it is demanding and I guess I do love it exactly in being demanding. It forces any listener to lean forward into the music or stay outside, there is no attempt to catch the attention.<br />
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Of course, there is a contradiction: art is always communication, although in many cases it is by no means clear what it is, that it communicates, it is basically an act of putting something forward, of showing something, it´s no use denying that.<br />
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Of course there is a long tradition of art that is centered around this contradiction: showing that it is not showing anything, or, emphasizing that it is showing only very little. With Minimal Improvisation, we are part of that tradition.<br />
I did mention Morton Feldman, but I do also relate to the repetitive primitivism of Heavy Metal pioneers Black Sabbath or the cold absence of human individuality that some Techno tracks display.<br />
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But still, there is the potential to irritate be acting so artistically restraint, by evoking the feeling that something is missing and somehow, that irritation is crucial to me. Why?<br />
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In my search for an answer to that question I came across the writings of Victor Klemperer and Imre Kertesz about their experiences under the Nazi-regime. I noticed that I actually enjoyed their descriptions, especially the point of view that they use to tell their stories: it is a somewhat disconnected perspective to the world, a remoteness from life and also, from one´s own personality.<br />
Something is missing in their descriptions, there is a lack of identification with themselves, with their own emotionality. Reading their works gives me a sense of comfort, because I strongly connect to this disconnectedness.<br />
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I have to go deeper into this later, but for now I feel that this is a perspective that is worth being shown and that it can not be conveyed by describing it, but by imposing the experience on the listener. Don´t get me wrong, I´m not about history here, I am about a perspective that is relevant today.<br />
<br />Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-76139064740997029432014-02-10T15:40:00.002-08:002014-02-24T16:27:30.801-08:00What is Minimal Improvisation?Minimal Improvisation is a form of improvising music and movement, developed by <a href="http://www.phyla.info/">Phyla</a> (Jennie Zimmermann and me). It´s main characteristics are strict reduction and repetition. Within this framework, subtle nuances can be highlighted effectively. Also, it can be used to develope more complex musical structures gradually and to transform these structures continuously in an ongoing collective improvisational process.<br />
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In the beginning of this process, each performer strictly reduces the vocabulary of sound or movement to only one. Reducing the means of expression of the single performer emphasizes the collective process, the interaction of the performers and the way the sounds affect each other. The decision, which specific sound or movement to use lies completely in the hands of the individual performers. Also, the temporal structure of that sound´s repetitions and, later on, it´s transformations are chosen by the performers - within a certain range.<br />
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By labeling this process 'Minimal Improvisation' we take recourse to Minimal Music, it´s emphasis on repetition and reduction. Also, we refer to Contact Improvisation and it´s non-hierarchical interactive approach.Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-2789762278172761462014-01-21T14:33:00.001-08:002014-02-24T16:27:46.576-08:00Minimal Improvisation Simulation<iframe frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/130663466&color=ff6600&auto_play=false&show_artwork=true" width="100%"></iframe>
This is a simulation of phase two of the MINIMAL IMPROVISATION process. We recorded some vocal expressions, I put them into the sampler software in ableton live and controlled them via Fabián Keslers DRK HETERO4 Max4live device, which I modified to use it for the slow tempos I desired. This device makes it possible to work with different tempos simultaniously which works fine as a simulation of musicians repeating material without sticking to a common pulse, so that the same material is shifted again and again. The whole recording is played backwards, thus emphasizing the surreal, non-human quality which already comes along with the process of sampling the human voice by seperating it from the person it may be associated with. Also, while any human singer would adjust the pitch to what others sing the samples are fixed, thus creating an impression of stoically sticking to one statement.
For more info on the MINIMAL IMPROVISATION process look here: phyla.info (german).Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-33667682940175147182014-01-09T05:40:00.000-08:002014-02-24T16:28:08.909-08:00Minimal ImprovisationOver the last month Jennie Zimmermann and me developed a specific improvisational process: Minimal Improvisation. An approach to improvising music by relating to the qualities of reduction and repetition taking from Minimal Music. Also, Minimal Improvisation is inspired by scores used in Contact Improvisation. Here are two exampes:<br />
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These are recorded by the two of us, which is the minimum setting for this score. We developed it in our Lab with more singers involved.<br />
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In the background we are working on the website for our shared project called 'Phyla', the future label for our teamwork and it will be online soon, yeah!Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-56705163211623331412013-09-20T13:01:00.000-07:002013-09-20T13:04:37.801-07:00Para Hybrid & Genia Mascara live at Zytanien 2013Some excerpts of Para Hybrid & Genia Mascara live in Weltraumhalle at Zytanien-Festival 2013. <br />
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<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F111445657"></iframe>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-64327725506412019822013-08-15T07:45:00.001-07:002013-08-15T11:12:35.472-07:00Lab: combining improvisational and meditative approaches towards musicToday we examined static musical structures. This was our experimental setup: in a first step all participants create a short vocal motiv. To be able to concentrate just on one´s own singing, everybody covered their ears. The next step is to uncover the ears and listen to all the voices while repeating one´s own motiv. And then: just keep on repeating that very same motiv while listening closely to the overall sound. The motivs where of differing length and there was no synchroniszation to a pulse, so the limited number of motivs occurred in countless new constellations. Within the static structure there was constant change.<br/>
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The chosen experimental setup combines improvisation with a meditative approach. The spontaneous creation of a vocal motiv happens just on the spot - once it is created, it is simply repeated and all the interplay, all the differing combinations of voices take place as an outcome of the shared process. The challenge of having let go of intentionality and spontaneous impulses is rewarded by the delicate pleasure of listening to the subtle nuances of the sound that can be cherished fully in a receptive state.<br/>
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Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-67229632048099377802013-07-19T17:11:00.000-07:002013-07-19T17:11:45.790-07:00Actions within a musical field - an open collectionIn a workshop by Heike Kuhlmann and Gesine Daniels on contact improvisation and gender I got to know the 'Underscore', a collection of options of individual and collective behaviour shown at contact contact jams that was started by Nancy Stark-Smith. To label these options raises the awareness and so widens the scope of possibilities.<br/>
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As we are looking for structures to apply to collective musical improvisation, Jennie Zimmermann and I decided to start a collection of musical behaviour and work with it. I´m looking forward to using this as a tool with a group of performers in our lab.<br/>
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Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-26048291573756607192013-07-19T16:47:00.000-07:002013-07-19T16:48:21.106-07:00Lab: sound, body and rhythmThis week saw the premier of the ongoing lab to explore sound, body and rhythm. Two hours devoted to come together and experience and share that Jennie Zimmermann and me will offer twice a month from now on.<br/>
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Working together as a duo, we both realised that many of our musical ideas go beyond the constellation of two people and are aimed towards a group of people.<br/>
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This is our invitation:<br/>
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We are creating a space to focus on sound and body, dance and sensual experience.<br/>
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Inbetween minimalist cyclic musical structures, delicate dissonances, harmonies and grooves which combine monotony and variety we like to find listening and communication that unites us as a group while offering a space to express individuality through music and dance.<br/>
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For the lab we offer structures and ideas and a warm up based on voice work, overtone singing and contact improvisation techniques.<br/>
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We have a longing for experiences of communal sensual intensity and are looking forward to open-minded, critical and enthusiastic folks to share with us.<br/>
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The open minded, critical and enthusiastic folks have graced us with their presence and together we explored some very basic aspects of rhythm:<br/>
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Rhythm is based on a series of impulses, that are perceived as seperated entities, but for these impulses to form a rhythm they must be grouped together to one continuous entity. So there is a paradox mixture of discontinuity and continuity that is essential to the nature of rhythmic phenomena. Operational modes of the mind that are normally exclusive to another must be combined for the perception and execution of rhythm. German philosopher Simone Mahrenholz elaborates these aspects in her essay 'Oszillation zwischen Inkomensurablem' (Geteilte Zeit. Zur Kritik des Rhythmus in den Künsten, Hrsg.: Patrick Primavesi und Simone Mahrenholz).<br/>
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We examined these ideas by using different modes of bodily movement, stepping on the wooden floor or causing clearly audible distict impulses, or rolling around in a fluid movement, while using these different qualities as an inspiration for vocal sounds and singing.<br/>
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I already knew very well that I like rhythmical situations that create tension and friction and that I love to improvise with performers with whom that is possible, yet it was very interesting to focus on the social aspect of this: coming together with differing positions and withstand and cherish the friction these differences are causing.<br/>
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I´m looking forward to the next lab, which will be on August the 1st.
Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-36825231998752924412013-07-17T03:39:00.000-07:002013-07-17T03:40:32.832-07:00Composing with patterns 1 - achieving complexity within a minimal scopeThe usage of short motivs is a central feature of my style of composing music. I will share some thoughts on this in a loose series.<br>
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Around 1990 the father of a friend handed me a tape of south african Xhosa music. One track on this tape consited of a rhythm beaten on some kind of metal device. The sound was raw and cheap, giving me the impression it was a dustbin lid. That particular rhythm consisted of two or three tone colours, that were played in a short pattern without variation. A very limited range of expression, but: I was not able to get grips on that rhythm, it was beyond my analytical capacity and that thrilled me. The underlying principle - in my interpretation - was to make up something quiet complex and elaborate by combining very few elements. This has become an important aspect of my approach to composing music. Some of my guitar parts for Blotch reflect that, for example `Rigidur´.
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Das Pattern beginnt 2:19.
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The whole guitar part consists of three notes, but most of the time I only play two of them, or, more precise, the variation of one note, because it is an octave. The pattern is definitely not interesting for it´s tonal aspects, but rhythm is it. In `Rigidur´ it´s function is to be a complementary part to the guitar part of my colleague Michael Hauck. Before weaving it into this composition, I had already arranged it as a central motiv in this electronic sketch:
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Two more tracks build around complex two-note-patterns are next. Both are sketches realised in ableton live to be played by a live band, but they have some cold charme in these stripped down electronic versions:
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Haeree and Decrule share some features in addition two the usage of only two notes for the central motiv. Only a minimum of musical material is used for all parts, no variations, just exact repetitions. Both aspects are in line with the aproach described above and show my interest in minimal music and techno. Repetition without variation has some resemblance to a ritual that is performed in a mechanical way, rather than personal expression. Circling, dwelling upon a single moment, the only element of change being the parts starting or stopping, and, in the case of Decrule, the harmonic progression in the end.
Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-14689014105090007362013-07-03T06:23:00.000-07:002013-07-03T06:23:18.060-07:00Para Hybrid & Genia Mascara Photos<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-Yt3_g1O5BdE/UdQhAUXBGdI/AAAAAAAAAU0/fTxIHGST2BM/s1600/Para+Hybrid_Genia+Mascara.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Yt3_g1O5BdE/UdQhAUXBGdI/AAAAAAAAAU0/fTxIHGST2BM/s400/Para+Hybrid_Genia+Mascara.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-cisexOOTNOQ/UdQjf1m8AbI/AAAAAAAAAVE/MmdrpX3A97I/s1600/DSC_8525.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-cisexOOTNOQ/UdQjf1m8AbI/AAAAAAAAAVE/MmdrpX3A97I/s400/DSC_8525.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-4qLT6uu1pTM/UdQjyazSjdI/AAAAAAAAAVM/uVbAPfpi47A/s1600/DSC_8534.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-4qLT6uu1pTM/UdQjyazSjdI/AAAAAAAAAVM/uVbAPfpi47A/s400/DSC_8534.jpg" /></a></div>
Fotosession Para Hybrid & Genia MascaraAnonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-22602730851168420302013-02-01T14:54:00.000-08:002013-07-16T01:27:38.586-07:00Gogokokoroko sung by Genia Mascara<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F77457211"></iframe>
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Another version of my composition Gogokoroko, sung mainly by Genia Mascara. This was done in a rush and without much editing but I feel that adds to the charme of it. I like the contrast of this version to the Para Hybrid-version of Gogokokoroko.Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-12145116776222540992013-01-29T04:33:00.000-08:002013-07-16T01:27:19.930-07:00New version of 'Gogokokoroko'<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F76950647"></iframe>
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Gogokokoroko is one of my 'Fake african memories' compositions, I already recorded a powerful version with the 'Kargyraa Krew" Kolja Simon, Felix Mönnich and Martin Pässler (www.youtube.com/watch?v=aN8s7lMUCJk). The Para Hybrid-Version I uploaded on soundcloud emphasizes the polyrhythm and polyphony I originally had in mind when composing the track. For now I tried to make it sound like taking the bus in india - I guess I will do other versions that have less nervous energy. Like with Fek Ber, I designed the overall shape of the composition, but let the random mechanisms of the ableton live software execute the actual combinations.Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-7888082940024939402013-01-24T16:21:00.001-08:002013-07-16T01:27:00.263-07:00Fek Ber<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F76338600"></iframe>
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This is a composition of mine that belongs to my "Fake african memories" works. In these works I am mixing polyrhythms inspired by Pygmy and west-african music with the techniques of overtone singing and throat singing.
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Starting with song-type structures, after a while I realized that I wanted something less clear - I love the "always the same/always different"-impression when listening to pygmy music. So here I tried to organize the musical material in a similar manner, mimicking a group of people gathering and singing always the same phrases, but in a loose way, without discipline.
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To achieve this I heavily related on ableton live´s options to include chance in what is played next. I recorded all the phrases and then the software did the actual combinations within the rhythmic frame. Playing the set again would result in a different version of the composition, so, as I read just today, it is a form of 'generative music', as Brian Eno names it.
I am looking forward to perform this live with a group of singers and musicians...Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-82628007264832483612013-01-22T18:38:00.004-08:002013-07-16T01:26:17.594-07:00Shibari loopsIn december 2012 we - Para Hybrid & Genia Mascara - did an improvised set at the bondage jam at Schwelle 7, Berlin. At this jam, people practice the art of erotic bondage in a cultivated atmosphere - an atmosphere which attracted us to participate in a musical way.
For Shibari loops I mixed loops that were recorded during this improvisation with loops from other recording sessions. Arranging these loops, I decided to go for lots of repetitions, which may cause boredom, but may also bring about a calm and focused sensuality and that is what seemed special to me at that bondage jam.
Here it is:<br/>
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<iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F76069447"></iframe>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-68761951360870960582012-11-13T05:04:00.000-08:002012-11-13T05:06:18.282-08:00Jamming with PrudeeffMe joining Prudeeff (Pierre Gordeeff and Matthieu Prual):
<iframe width="640" height="360" src="http://www.youtube.com/embed/PUo_Wn8hrQQ" frameborder="0" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-73318830905521025292012-11-13T04:57:00.001-08:002012-11-14T14:31:35.505-08:00Nibiru Transit and Lost World rehearsalWorking with Blotch on the new track Nibiru Transit. We did some more complex, prog-rock oriented versions of the material before, but this version - more simple and danceable - fits better to the profile of Blotch. The unison pattern following to the intro reminds meof the offbeat bassline of the old Blotch-track Rigidur.
Following this video recording, we did some more arranging on Nibiru Transit, in the half-time-part at the end, Michaels adds his ascending eights phrase.
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And here we have a take of Lost World, with Dennis playing to a click, which gives it a good drive but does not prevent me from making silly mistakes...
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<iframe allowfullscreen="" frameborder="0" height="270" src="http://www.youtube.com/embed/ykBWNxv9Hhc?fs=1" width="480"></iframe>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-78317797242258847582012-09-30T00:05:00.003-07:002012-09-30T00:05:53.556-07:00Blotch @ Robodonien 2012
Some impressions from Robodonien Festival 2012.
Thanks to Christiane Kaja for taking these pictures.
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<a href="http://3.bp.blogspot.com/-4kOYLD98bAc/UGfdoep8M3I/AAAAAAAAAP4/rLaga5VcBEM/s1600/DSC_1955.JPG" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="212" width="320" src="http://3.bp.blogspot.com/-4kOYLD98bAc/UGfdoep8M3I/AAAAAAAAAP4/rLaga5VcBEM/s320/DSC_1955.JPG" /></a></div>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-57720672133785818272012-08-31T06:25:00.000-07:002012-08-31T06:48:31.264-07:00Working on a duo setI am in a phase of intensive rehearsals with Jennie Zimmermann, to develop a duo show. Starting from our artistic interests wie move forward to build a profile together.
This is an excerpt from an improvisation, we both loop our voices using ableton live and some of it´s effects. Our laptops were not synchronized as we were interested in an open, ambient-like process.
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The next video shows us rehearsing a vocal improvisation accompanied by my composition 'afrobeant'. The rehearsal was in preparation for our first short performance, under a tree in the garden of the Villa Kuriosum in Berlin.
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Our aim was to be one element of the garden, so that our performance would be part of the whole experience of being there, so we were after making a kind of ambient, or furniture-music. The composition 'afrobeant' consists of two main melodic parts, one of which is repeated in cycles of two measures, while the other is three measures long. The piece has a calm, but rhythmic flow, some kind of a waltz, also comparable to the atmosphere of an african lullaby. To achieve a more static situation I inserted silences, which are triggered by the launch function in ableton, which can be controlled by parameters of probability. All the sounds that are heard then are still in perfect fit with the two cycles, but the surrounding silences give them the quality of fragments.
I read about John Cage using chance operations to insert silence into traditional chorals and I noticed that this method is fun to apply. I like to change the probability and listen to more dense or more open versions of the music.
The vocals in the video to Afrobeant are a first try, in the long run the voices may come to another level of interaction and interweaving with the instrumental parts.
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The costumes are part of our search for a profile as a duo. Being Para Hybrid, I am a poeto-sexual transgender creature, bringing along a certain kind of sleaziness and lack of seriosity. We are up to find a fitting constellation for this together. The costumes in the video above suggest that a fantasy-person and a fantasy-animal singing together. But this difference between person and animal is not reflected in the music or our way of singing. So we decided to go for a different outfit for me.
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The second piece we played at Villa Kuriosum was 'dishöz', in the video above you can see us at one of the first rehearsals for this.
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This composition is based on a rhythmic grouping of 4, 3, 3, 3 and 4, 3, 3, 2 impulses. The first and second part of it are nearly identical, only in the end of the second part one impulse is omitted. The first part of 13 impulses and the second of 12 impulses are combined to a cycle of 25 impulses. Jennie added a phrase with 12 impulses. By inserting one impulse of silence every second repetition of this phrase, we get 12 + 12 + 1 and so both phrases share the cycle of 25 impulses. In this video we sing first my phrase, then the one composed by Jennie.
Here a sketch in ableton live, both phrases are superimposed:
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<a href="http://soundcloud.com/parahybrid/dish-z-skizze?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/parahybrid/dish-z-skizze">Dishöz skizze</a>
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(I would like to perform this composition with several singers so it becomes more lively, in this demo version we use layered loops and both phrases are sung on different pitches and with some variation in articulation.)<br/>
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Combined together, the different accents in both phrases create wonderful polyrhythmic tensions, especially in the middle of the cycle of 25 impulses. The ambiguity that this combination creates makes it possible to repeat this same thing again and again, give full concentration to one momentary musical situation and I love that.
Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-79919099183815029552012-08-13T04:08:00.003-07:002012-08-13T04:09:05.889-07:00Blotch @ World Music Festival<iframe width="560" height="315" src="http://www.youtube.com/embed/tpqaz0zUmwQ" frameborder="0" allowfullscreen></iframe>
Some impressions of the Blotch gig at the Loshausen World Music Festival, pictures taken by Cinja.Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-67679535590657524962012-07-20T04:42:00.002-07:002012-09-02T01:31:44.846-07:00Blotch @ OdonienOdonien is a beautiful location in Cologne, which is threatened to close down at the moment.
We played with Blotch at the Robodonien Festival there every year since it´s beginning, so we were happy to play a benefit gig there. Here are some impressions, thanks to Christiane Kaja for artsy camera work.
<iframe width="560" height="315" src="http://www.youtube.com/embed/zOf7cWSdgzg" frameborder="0" allowfullscreen></iframe>Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-9224592504733353862012-07-14T13:05:00.000-07:002012-09-02T01:32:02.434-07:00Blotch @ FusionWe played at the Dubstation at this year´s Fusion festival, on saturday night just before an approaching rainstorm forced the festival to stop for a few hours... lucky us.
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A few hours before, I saw a french band called 'Kaly Live Dub', guys who combine the studio gimickry of dub productions with a live band, very inspiring stuff.
All in all the Fusion is a very cool festival, organized in a pleasing way, lovely executed and freaked out; love the mixture of electronic music and bands.
And now some more pics of glittery me:
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I moved my gear to a new workshop near Berlin, to develope a duo programme together with performing artist Jennie Zimmermann. Yeah!Anonymoushttp://www.blogger.com/profile/04017535279243825457noreply@blogger.com0tag:blogger.com,1999:blog-1278519912291429770.post-91744777025002603702012-05-21T06:09:00.001-07:002012-05-21T13:18:47.538-07:00Aka Music WorkshopI attended a workshop given by Aka pygmies at the Klangfestival Naturstimmen in Alt St. Johann in the Swiss Alps.
I loved singing this wonderfull music!
The workshop was held in a church and the reverb of this space made it not easy to distinguish all the different parts but still it gave an impression of the rhythmic interweaving of the voices of this great music.
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The Aka who gave the workshop recorded a CD as 'Le groupe Ndima' and can be found here:
http://www.myspace.com/ndima
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