Decolonoising the Mind

The ugly sound of rampant globalisation: two noise pieces based on sounds from the Argentinian desert and the sound of a coffee grinder and a statistic on coffee consumption in Germany. / Der krasse Krach fehlgeleiteter Globalisierung: Zwei Noise-Stücke, basierend auf Klängen aus der argentinischen Wüste sowie dem Klang einer Kaffeemühle und einer Statistik über den Kaffeekonsum in Deutschland.

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Some more information on „2666: El Norte (Paisaje sonoro desertico)“

This piece is based on the field recording „Paisaje sonoro desertico“ from the Sonidos en Causa archive by Orquestra del Caos: http://www.sonoscop.net/sonoscop/sonidosencausa/argentina.html#tomas and was created for the Zeppelin Festival 2011 in Barcelona.

The basic idea of the piece is that economic change often results in a desertification, both literal and metaphoric, of natural and human conditions. This is why I chose the sound file “Paisaje sonoro desertico” as the source material for the piece. Instead of focusing on recognisable local elements of the place in Argentina where it was recorded, I wanted to express the sense of desolation that invests many places where massive economic change has happened or is about to happen. From the vantage point of Argentina, the source of this sound, one of these places may well be the Mexican-US border, a place which has become a symbol of the North-South divide in today’s globalised economy.

Roberto Bolaño’s novel “2666” is a potent literary document of the violence caused by this global division of labour in which the poor South is to supply the drugs that keep the rich North going at no matter what body count. This is why I chose “2666” as the compositional basis for producing this piece. It was defined as a composition of 2 x 6 tracks of 266.6 seconds each in duration, with no more than 2 effects devices and no more than 6 discrete actions used on each of the tracks.
The fact that it was impossible for me to determine before the actual performance what the piece was going to sound like to the listening subject is part and parcel of the piece’s metaphorical strategy. In this composition, just like in the global stock market economy, many actions that may seem rational in themselves coincide to create one (or two) hell(s) of an apocalyptic scenario: 2 x 666.

“2666: El Norte” certainly is a piece of experimental music in the way defined by John Cage: process takes precedence over result. The chance elements used in the piece are not seen, as is often the case with Cage, as an expression of freedom. On the contrary, what the piece is aiming to express is the oppressive nature of individual economic decisions (cf. stock market) accumulating to create a dangerous state of chaos.

The compositional framework of “2666”, then, is something of a Marxist re-reading of Cage’s rather a-political Zen anarchism. It is also true, however, that two of the 2 x 6 tracks are allowed to break out of the compositional framework. More than 2 effects and 6 actions were allowed on these tracks in recognition of the fact that the desire of human beings for freedom will eventually prevail in some way, no matter how deformed.

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Knark Esion: Disturbed Communication

„When it works, it’s great – what sounds like hell’s vibraslap plays in time with a martial beat. Ominous, immense organ heralds the coming of a pissed demon.“ – Luke Martin, Cyclic Defrost

Gerald Fiebig: Pferseer Klangtrilogie

The ’sound trilogy‘ was created for three successive performances in the studios of the artists Anda Manea, Gabi Fischer & Günther Posch, and Gerti Papesch. It moves from Word to Noise to Tone, confronting Fiebig’s poetry and fragments thereof with the sound of Günther Posch’s sculptures and an acoustic interpretation of paintings by Gerti Papesch, who also painted the cover.

Die Klangtrilogie wurde für drei aufeinanderfolgende Performances in den Ateliers der Künstler*innen Anda Manea, Gabi Fischer & Günther Posch und Gerti Papesch entwickelt. Sie bewegt sich vom Wort über das Geräusch zum Ton, indem Fiebigs Lyrik (und Fragmente davon) konfrontiert wird mit dem Klang von Günther Poschs Skulpturen und einer akustischen Interpretation der Bilder von Gerti Papesch, die auch das Cover gemalt hat.

Karl Heinz Jeron / EMERGE / Gerald Fiebig: Wafts

wafts
Field recordings from the Balkans by Karl Heinz Jeron and their ambient treatment by EMERGE, both cannibalised and condensed by Gerald Fiebig into 6 minutes of rhythmic noise entitled KANiBALi.

Karl Heinz Jerons Fieldrecordings vom Balkan und ihre Ambient-Bearbeitung durch EMERGE, von Gerald Fiebig kannibalisiert und unter dem Titel KANiBALi eingedampft auf 6 Minuten rhythmischen Noise.

Artificial Memory Trace / EMERGE / Gerald Fiebig: Intercept

Soundscapes from the age of total surveillance: Artificial Memory Trace intercepts phone calls, EMERGE makes them deep and gloomy, and Gerald Fiebig creates a restless, even hectic pulsation of more and more overlaid sheets of hiss extracted from both the previous tracks. / Soundscapes für das Zeitalter der totalen Überwachung: Artificial Memory Trace fängt Telefongespräche ein, EMERGE macht sie tief und düster, und Gerald Fiebig lässt ein rastloses, sogar hektisches Pulsieren enstehen, indem er immer mehr Rauschen aufeinanderschichtet, das aus den beiden vorangegangenen Stücken extrahiert wurde.

Sustained Development: Music for Bass Guitar 2010-2013

Music for Bass Guitar

Sounds improvised on the bass are used in the construction of the final pieces. The degree of cutting up and processing applied to the improvisations varies from piece to piece, but the compositional decisions made during the final edit always take precedence over the “live” element: “When cutting the prayer call in with hog grunts it doesn’t pay to be walking around the market place with a portable tape recorder.” (William S. Burroughs, Electronic Revolution)

01. Bass Determines Superstructure (for bass guitar) 02. Magnetic Tape (for bass guitar, electronics, voice, and samples) 03. We Are Here Because You Were There (for bass guitar, electronics, and samples) 04. Drone Blues (for bass guitar and electronics)

Sustained Development / EMERGE: Hörbar in Farbe live

„Im Mittelteil geben sich die Herren Gerald Fiebig (SUSTAINED DEVELOPMENT) & Sascha Stadlmeier (EMERGE) die Ehre, die gemeinsam am 19.02.2011 ein Konzert in der Galerie am Graben in Augsburg performten, das unter dem Banner “Hoerbar in Farbe” lief. Unvorhersehbare Wolke von Experimenten, beschreibt das Ergebnis von SUSTAINED DEVELOPMENT & EMERGE trefflichst, dessen “chaotische” Strukturen aus Rhythmik & Atmosphären gleichermaßen bestehen. Bestimmt nicht im ersten Hördurchlauf komplett zu erfassen, aber für Kenner improvisierter Inhalte ein Muss!“
RaF, Kulturterrorismus