// Art

FINE-ART-STYLE proposes a fine video for #5 of the forthcoming album HOBBIES & RELIGIONS. Thank you Fatima & Paulette. The album is going to be released on February 15, 2013.

Updating...

This is the official video for track 8 of “HOBBIES & RELIGIONS”, the Lump200 album will go public on February 15, 2013.
More videos coming soon.

The eyes of Marion Masuch accompanied the soundcheck of Fatima Njai and me in the large cupola on Teufelsberg, Berlin. There is a constant reverb of about 10 seconds. Low action is working much better in here and it is worh testing the relation of source and place of reception. A funny game in an acoustically exeptional space.

Fatima is going to be featured in the Lump200 live shows starting in March 2013.

(All Photos: Marion Masuch)

CLASH MOB # 2 – official invitation from rene desalmand on Vimeo.

Join the 2nd mass music mob @ Flughafen Tempelhof, Berlin. We start close to Eingang Oderstrasse, be there some minutes before 8 p.m, August 22. We are going to march and play along the northern runway, it will take about 30 minutes.
This time we won’t follow a straight beat. Let us aim at building a polyrhythmic cluster with changing beats. Play iles of short tones, listen to the birds, sing for the sun, move.

If you feel like spreading the news, telling your friends etc. please use the unavoidable Lump200 facebook page. If you feel like confirming your attendance please do it here.

“Le miroir qui revient qui revient” is a piece of radio art I composed and produced for Deutschlandradio Kultur in collaboration with Michael Wertmüller (drums) and Elektroakustisches Studio,  Akademie der Künste. It is going to be broadcasted on August 17th at 00:05 a.m. The piece takes 50 minutes and 18 secounds. Below you will find two extracts and parts of the concept.

miroir excerpt 1

„ [...] toute réalité est indescriptible, et je le sais d’instinct : la conscience est structurée comme notre langage (et pour cause!), mais ni le monde ni l’inconscient; avec des mots et des phrases, je ne peux représenter ni ce que j’ai devant les yeux, ni ce qui se cache dans ma tête, ou dans mon sexe.“  Alain Robbe-Grillet: Le miroir qui revient

Le miroir qui revient

With „Le miroir qui revient“ Robbe-Grillet opens the genre of autobiography, he exposes memory as construction whose emphasis – compared to the memorized event or situation – shifts dreamlike. Fragments of memory differ in acuity, speculation and fiction breaks through. Attitude is reflected, Robbe-Grillet’s and the one of some close ones and some remote ones, in his familiy and in literature.
In „Le miroir qui revient“ the variations that have led to a kind of serial arrangements of scenes in Robbe-Grillet’s earlier work occur as variations of breaks. The broken material is like stranded goods fished out of the sea of percieved situations and aspects, only its combination reveals the subtext.

Le miroir qui revient qui revient

I suggest a composition of original tone and music that mirrors Robbe-Grillet’s composition of text layers and perspectives and that understands itself as a complement to the text. The text does not occur as language in the piece but as form and in forms and as a grid of links and breaks.

Can there be a similar relation between music and original tone like there is between fiction and perception? Can music reveal additional aspects of the ghosts Robbe-Grillet places in and around the Atlantic? Do that for the musicians have to dig in their own (musical) chasms?

miroir excerpt 2

Procedure, material, staff

A formal analysis of the text concerning its layers, their diffusion and the spread of the breaks is done. The record of these relations will provide the architecture for the musical and tonal score. Field recordings are done in the Bretagne and in the Jura – one rough main scene and one mossy and undulating side scene in the bio-/mythography. Both are border regions, once between solid and fluid and once between two countries (RG mentions a hotel that exactly is built on the frontier and where he spent some holidays when he was a child).
I will look for voices of the sea, voices of the landscape and voices of people who have a certain relatedness with locations and motifs appearing in the text. Some of those recordings will already be manipulated musically.

The original tone will be arranged according to the formal matrix of the text. Based on this arrangement as well as on RG’s motifs that have been translated into acoustics I will write instructions for drums and saxophone. Thereby the main focus remains on a versatile and permeable boundary between original tone and music: How and where can arise music from the field recordings? How must the algorithms for recording, improvising and playing be designed in order to vary the relation between music and original tone? Can music simulate the original tone?

Until this point I will be in charge of all work. Michael Wertmüller joins me and we record drums and saxophone in the electroacoustic studio of the Akademie der Künste. Michael plays the drums and I play the saxophone.

etc.

The entire piece can be heard @ sonoshpere.

springagain720 from rene desalmand on Vimeo.

We clashed with Jonny Cash (or who is in charge of the weather at present?). There was a hard rain when the folks were supposed to get to the point to be…

Thanks a lot to every single person who ignored or enjoyed the shower and joined us!

I painted the mob from behind.

Naa.

This is a stiggstill. Original, 2012.

We are going to play an improvised mass music and march along the runway of the historic airport Berlin Tempelhof. Join us, bring a portable instrument, just play on one single tone. Recording devices are welcome.

Start: close to the entrance Oderstrasse at 8:30 p.m. (in order to enjoy warmth and light of the sunset). MAY 15, 2012
We play for the sun and for the birds. If you want to record yourself while playing please do it and put the file on a public server. It would be lovely to hear loads of mixes and to see various clips of this very moment after the mob.
Please find details, info on coordination and peers on the unavoidable Lump200 facebook site.

I think that we will achieve the most interesting result (music!) if everyone reduces from what he or she really can. That is why I suggest that every musician (professionals and amateurs are equally welcome!) just plays on one tone and tries to find the precise moments in the texture to place it.

Come as you are, bring your friends and please respect the rules of the park.
The plan is that we start in time, play for some 20 and something minutes and then leave the park within the opening ours (till 9:30 p.m.).

I am planning a music mob. As many musicians, dancers etc. as possible are going to play and walk along the runway of Tempelhof, the central ex-airport of Berlin. One way, about 20 minutes. Last week the core of the Lump200 Band tested the place. If you are interested in this experiment please come back to this very site. We launched the unavoidable Lump200 facebook site in order to gather the crowd. Please read on soon.

These guys are playing in Berlin tonight. I am excited. This is the most outstanding and awesome music I have heard for years.