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parallax

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I love Berlin Atonal, this festival is one of my annual fixtures and I’m already looking forward the announcement of next years edition. I love to just be there, got blasted by the low frequencies, the harsh noises, the hugeness of the venue and the big, clear video projections. There are some critiques about the, in this sense, monotonous schedule (The Quietus). But this year the stage was open for more variations, for more arty acts. There was this piece by Stockhausen played on a quadrophonic system. There were Pyur and Pan Daijing, the BBC Radiophonic Workshop and Puce Mary.

So, with some delight I received the announcement that Berlin Atonal wants to co-operate with the Deutsche Symphonie Orchester Berlin. Called parallax.

This event happened Friday, 29th September, of course at Kraftwerk Berlin. The audience was very different from the common atonal visitor. The place the same, some light installations, but no video projection. The stage was set up in a total different way: It now offers place for a full orchestra.

Lights off, and silent. Then a harp started playing, somewhere near the ceiling, a 10 minute piece of some beauty. The running order of this evening was as follows:

The most charming feedback from the audience was for the 17 minutes violin concert playing Bach.

And that’s where the evening is not working for me. It was mentioned that classical music and electronics shall challenge the industrial architecture of Kraftwerk. There was no such challenge and no reception in this way. The lights where lit the whole evening. As always, acoustic was stunning and I liked to have the space played at a more normal volume. But this is not what this space is made for (in my opinion). So many harmonics, no darkness, no harshness.

For me, and I may overreact a litte, the evening showed, or ought show, that classical instrumentation is the real music, and those electronic music artist are just knob fiddlers. This is what I read from the audience, there was applause and chants of “Bravo!” for the classical, acoustic parts, and not much feedback for Pyur or Jabanasam. And also in the one and only real cooperation between the orchestra and Moritz von Oswald… He only produced some soundscapes where to violins and real drums and trumpets played upon.

I learned something. And this is the role of the conductor (Robin Ticciati). It seems that he is for the orchestra what is the master clock to synth system. For the 6 minutes piece “The unanswered question” by Charles Ives the musicians stand spread around the main hall. And for the first time I understood what a conductor is doing. Liked it 🙂

It was a nice evening, full of great music at an beloved venue, but with some after taste.

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Written by Rayk Fenske

October 3, 2017 at 3:35 pm

Posted in music

cosmic kraut electro

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It happened on September 7th and I played the after show party for the Tangerine Dream documentary at Cafe Riptide. Here you’ll find the very playlist of that evening. It reads: Artist – Track (Album, Label). And yes, vinyl only!

  1. Tomita – Promenade (Pictures At An Exhibition, RCA Victor)
  2. Lustmord – Sub Space Edit Part 1 (Dark Matter, Hydra Head Records)
  3. Dopplereffekt – Cellular Automata (Cellular Automata, Leisure System Records)
  4. Cluster – Beste Freunde (Echtzeit, Bureau B)
  5. Deuter – Night Rain (Ecstasy, Kuckuck)
  6. Harmonia – Sehr kosmisch (Musik von Harmonia, Grönland Records (reissue))
  7. Deutsche Wertarbeit – Guten Abend, Leute (Deutsche Wertarbeit, Bureau B)
  8. Tangerine Dream – Quichotte Part 1 (Quichotte, Amiga)
  9. Tangerine Dream – Bent Cold Sidewalk (Cyclone, Ariola Club-Edition)
  10. Moebius/Neumeier/Engler – Verirrt (Another Other Places, Bureau B)
  11. Tangerine Dream – Quichotte Part 2 (Quichotte, Amiga)
  12. Deutsche Wertarbeit – Deutscher Wald (Deutsche Wertarbeit, Bureau B)
  13. CAN – Future Days (Future Days, Spoon Records)
  14. Automat – Ost (Ostwest, Bureau B)
  15. Barbara Morgenstern – Dr. Mr. (Eine Verabredung, Monika Enterprise)
  16. Heinz und Franz – Immer (Magnetband, Zonic (Bureau B))
  17. Kraftwerk – Ruckzuck (Kraftwerk, Philips)
  18. Dopplereffekt – von Neumann Probe (Cellular Automat, Leisure System Records)
  19. Roedelius – Regenmacher (Who’s The Man – A Tribute To Conny Plank, Grönland Records)
  20. Moebius/Neumeier/Engler – Wohlauf (Another Other Places, Bureau B)
  21. CAN – One More Night (Egg Bamyasi, Spoon Records)
  22. Conrad Schnitzler/Pole – Wurm (Con-Struct, Bureau B)
  23. Conrad Schnitzler/Pyrolator – 288-1 (Con-Struct, Bureau B)
  24. Greie Gut Fraktion – Alva Noto Remodel (Wir bauen eine neue Stadt, Monika Enterprise)
  25. Dopplereffekt – Gestalt Intelligence (Cellular Automata, Leisure System Records)
  26. Kraftwerk – Elektrisches Roulette (Ralf und Florian, Phonogram)
  27. Automat – Plusminus (Plusminus, Bureau B)
  28. Conrad Schnitzler/Pole – Sieht hoch (Con-Struct, Bureau B)
  29. Gudrun Gut – Parfum (500m, Bureau B)
  30. Die Wilde Jagd – Austerlitz (Die Wilde Jagd, Bureau B)
  31. Conrad Schnitzler/Pyrolator – 289-2 (Con-Struct, Bureau B)
  32. Chris and Cosey – Useless Information (Heartbeat, Rough Trade Records)
  33. Tangerine Dream – Trauma (Autumn In Hiroshima, Eastgate Music)
  34. Kenji Kawai – Ghostdrive (OST Ghost In The Shell, We Release What Ever We Want Records)

Written by Rayk Fenske

September 11, 2017 at 6:52 pm

Posted in music

ars macabre

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“Be careful about the volume, this CD was recorded on a very high level, so reduce volume amount for the beginning.”

“”

“Really, it’s better for your ears. And my headphones.”

I took place in a comfy chair, put the CD into the player, reduced volume as advised, put on the headphones, pressed play. And was washed away by a still loud wave of pure noise.

The CD was the The Japanese/American Noise Treaty, a 2 CD compilation of furious noise and power electronics from Japan and America. Outstanding compilation, hard to listen to, but always a pleasure.

The year was 1995 and the place are macabre, a Rostock based record store by then.

They had everything, which was of my interest, all the industrial and neo folk records, all the limited releases with the ever special packaging from Staalplaat or CMI (sadly enough, but this label is also gone). They got a tattoo and piercing studio attached. In times when both of it was not so popular and received so well as it is now. They moved within Rostock. And now (or for a while) they are gone. Just gone.

IMG_1352

This picture was taken 27th of December 2015 at the address associated with are macabre on the internetz. No record store there, just a Kindergarden and something similar.

And that’s what happened to most of the places I was aware of to get the records I’m looking for. And to do a sort of walk-by shopping, just discover new stuff more accidentally. There is no Hörsturz in Nürnberg anymore, only, hopefully, mail order. The small shop at Mainzer Straße, Berlin is long, long gone. As well as the Dense Recored Store (what a los, they led my actively to Burial long before it became hottest shit, just because of the stuff I bought there). And the record section at the Neurotitan shop also has seen better times.

There are dedicated record shops for techno or all kinds of electronic music. But what I’m really looking for, at least in big cities, is something like are macabre. A store dedicated to the more obscure and bizarre genres of music. Help me!

This was not only a record store. It was a great place to talk and to discover. And not only new bands, but magazines or concerts to took place. They as well organized a lot of concerts at MS Stubnitz. Some of them I’ll never forget!

Gone, all gone. Or hidden, somehow.

Luckily, there is a small, lovely record store here in Braunschweig: Riptide, with an cute little cafe attached to it. A place I like to visit now and then, scan the new arrivals, have a beer and a chat with the owners. I love it to be in a store, to see things, to talk about records with other customers. Sit there, read, drink and get into the right mood for music.

And for the records I really want I for now order them directly from the artists. It’s working well, but needs some energy to stay up to date. Maybe this changes in the future.

Written by Rayk Fenske

January 1, 2016 at 4:29 pm

Posted in music