work in the beginning: The february tapes

all through the shortened month of february this post will be messed up: SAMSUNG SAMSUNG February will be the month of a d.i.y. tape release: 15 cassettes that are continously recorded in more or less one large session. some projects start with a vague idea which gets more and more in shape. some projects are inspired by this and that.  The ones  I like most and pursue with a different Qi level are the ones that blop out of the vacuum. they occur.  accompanied by an inexplainable inner necessity.  maybe your heating broke down and you have your morning coffee at your kitchen table with two pullovers and a jacket and you have some troublesome time behind you and the calendar still shows january. . It s a tape series. Cassettes with transparent cases and 20 minutes on each side. it is a Kefir.  A life collaboration  of yeast and lactic acid bacteria. It s a picture containing nudity. SAMSUNG 4th of feb thoughts the internet / web is an analogy which has to serve for everything that is (re-)discovered like the  mushroom webs communicating over large distances , like the whales talking to each other through SOFAR channels. would you also think the moon is just a selfie the earth took 4.5 billion years ago? the tapes evolve. I have a base now of 10 tapes. recorded mostly in the last year. 3 loop tapes. found tapes. metal tapes with former recordings of deep purple b-sides, erased  spanish progrock, german  & swedish lessons. they serve as a base for the new 15 tapes. tapes are always personal memory. the unrepeatable magnetization of the played back , re recorded and mistreated tape. DSC08728 the recordings go on, usually at night after coming back from the studio. 13-2-15 5 tapes are done and already fotos received from Laura Izuzquiza, Tes Ibañes, Manuel Jimenez , Isabelle Hanikamu and anonymous participants. The c-15 tapes are not easy to handle for the short duration.  in a performance there s more time.  on a short release you have to condense down what you wanted to do. recording times usually after midnight. DSC00293 a first tape aid. 18-2 performance at loopsider III yesterday with real life stress test of some of the new recordeed tapes. it seems to work. 24-2 the shortest month of the year.  feedback and more feedback than i thought. tapes have an open end. it is surprising: breaking through the “roof” of a digital recording gives you just zeros instead of 1,0,0,0,1,1,0,1,0,1,. breaking trough the roof of an analog recording gives me indefinite variations of harmonics, clippings, harsh and warm noises. DSC00343 I added the mixer to my setup to  feed back sources from the recording tape back into the set up with some unexpected sounds as a result.  tonight xt will be the source of sound, i want to just record the channel crosstalk , not the source itself. just the communicating inductions. just a view days left. new pictures. new sounds. the word fieldrecording makes me think of this, although it might have nothing to do with it: DSC00307 25-2-15 Kefir DSC00455 Exchange Hermanstrasse corner to Boddinstrasse. Laura brings an Einmachglas with some Kefir grains.  My Kefir I lived with since 2010 passed away this winter. not exactly sure why but think I had it too long in the fridge with not much to eat.. It became my pet and travel companion since we met in Barcelona, la okupa de la playa en la  barceloneta. It changed flat with me maybe 5 times. more no-input: DSC00446 and a kefir conspiracy is growing. DSC00526 DSC00520 still cold in my kitchen, so kefir needs time. I bought Demeter Heumilch to get best resulsts, hope the kefir will like it. 28-2-15 more photographers are contributing. I ll post a view pics the next days. It is exciting how unpredictable everything gets. Thats what art for me is in a raw, “original” sense.. Field recordings of rain. 6-3-15 time is over. I m still working. waiting for a pair of microphones with primo capsules to do some direct field recordings to tape. every day in a project is different, the ideas wander off, find new destinations. Like The lost color, a film project I m thinking and working on for a long time already. It gets filled up with Quijote, purple colors and ancient easter marches meanwhile working on the cassettes. Have_You_Ever_LauraFIzuzquiza_18 a photography by laura izuzquiza that stays in my mind for long times, one of the photos i received. empty cigar boxes DSC00537 what hunts me these days is the title melody of Hals über Kopf a 80 s tv series for children, where adults are usually horrible stressed people which do mean things and don t make sense.

9-3-15

post process, re editing re recording some tapes. re listening, re re.

Isabelle Hanikamu just sent me her beautiful images.  the spring is coming with birds singing and smiles on people s faces. how things can change with a little sunlight from above.

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PARAL-LEL by Hopek Quirin & Kris Limbach – released on Classwar Karaoke

A double-deaf trial called PARAL-LEL. Several artists/musicians were invited to contribute one or more tracks of about three minutes, which were randomly combined. All tracks were kindly included in previous Classwar Karaoke Surveys. Editing (minimal) and mix by Hopek Quirin and Kris Limbach. These are the results of the experiment:

01 – PARAL-LEL Anthony Donovan (tapes), Anton Mobin (electronics), Kris Limbach (electronics)

02 – PARAL-LEL Adrian Beentjes (raindrops), Hopek Quirin (wood chopping)

03 – PARAL-LEL Jean Montag (all instruments)

04 – PARAL-LEL Ayato and José D. (all instruments, voices), Anthony Donovan (electronics);

05 – PARAL-LEL MaCu (guitar), Jochen Arbeit (electronics)

06 – PARAL-LEL Bryan Lewis Saunders (tape), Hopek Quirin (bass)

07 – PARAL-LEL Kris Limbach (vinyl scratchings, motors, electronics), Hopek Quirin (electric mandolin)

08 – PARAL-LEL Anthony Donovan (prepared zither), Hopek Quirin (guitar)

09 – PARAL-LEL Kotomi Nishiwaki and Yuko Matsuyama (bubbles), Kris Limbach (vinyl scratchings, electronics), Hopek Quirin (electronics)

10 – PARAL-LEL Anton Mobin (autobus linia 157 Paral-lel Barcelona), Maureen Lopez (text and voice)

11 – PARAL-LEL David Cunliffe (all instruments), Kris Limbach (electronics)

12 – PARAL-LEL akab-ondage (electronics), Jacki Engelken (keyboards)

13 – PARAL-LEL Jaan Patterson (text and voice), Der Gorilla Knurr (cut-ups)

14 – PARAL-LEL akab-ondage (electronics), Der Gorilla Knurr (radio cut-ups)

15 – PARAL-LEL Flavien Gillié (electronics), Der Gorilla Knurr (tv cut-ups)

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21 – Hopek Quirin & Kris Limbach out on amp-recs

download here from amp-recs webpage

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little excerpt from the “film & tapes” performance at boys club berlin, 2014

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antenas by kris limbach – music: hopek quirin & pierce warnecke

a experimental film shot in the year 2005 in Madrid, edited and released 2014 with music by Hopek Quirin & Pierce Warnecke at aadk spain.

released for the classwar karaoke survey 0026

 

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begin _if_ (3) released on Agxivatein

begin _if_ (3) is released at AGXIVATEIN.

front

begin _if_ (3) is the third installment in an ongoing series of sound works. Previous editions have been released on Richard Garet’s Contour Editions (begin _if_ (1), 2009) and Modisti (begin _if_ (2), 2010). The series was first conceived in 2005 in Madrid and finally brought to life in 2009 in Berlin, combining both field recordings and studio work, embracing cutting techniques that are common in visual design and audio post-production for film, fusing concrete sounds and improvisation. The series is following a wider lose concept that comes after different practices and approaches to sound that interacts with each release’s different and distinct physical or nonphysical medium. Inspired by Hidden Variable Theories and following a concept that ultimately remains hidden to the listener, begin _if_ (3) sees Limbach delve into the tape as sound carrier and celebrate tape hiss and saturation as compositional materials. Created in studio, the work includes field recordings made in Tokyo and Berlin, vinyl and tape manipulations, unprocessed instrumental sounds and bits and pieces from different locations and practices of sound work.

artwork & photography : Julien Charlon

violin: Angelina Kartsaki

A beautiful in depth review by Ed Pinsent in The Sound Projector:

German sound artist Christoph Limbach has crossed our path a few times in the last 2-3 years, with his appearance on Four Corners of The Night, a cassette release on Staaltape; and through items on the Berlin Emitter Micro label, such as the trio with Hopek Quirin and Anton Mobin, and the puzzling tape 2 (3) Incomplete Triptychs made with Pierce Warnecke. Equally “difficult” is the tape begin_if_(3) (AGXIVATEIN #12) which we received from the Greek label Agxivatein on 16 June 2014. It’s certainly a minimal item, a tape which you’re not even sure is working for about the first five minutes, and when it does finally yield up some sounds from its inscrutable surface, it’s far from clear what we might be listening to, if indeed we’re hearing anything at all. For a long time my personal benchmark in this ultra-quiet genre – which I used to call “Very Special Nothing Music” – was the work of Bernhard Günter, who ran the Trente Oiseaux label to publish his own work and that of like-minded inaudible sound-art types. But Günter always seemed ever so slightly affected, employing strategies in his compositions that somehow called attention to how quiet they were, and used absolute silence in the programme as another deliberate technique to emphasise the nothingness. I’m not getting any sense of that with this Limbach tape, which for all its mysterious pauses and inexplicable qualities, feels a lot more natural and honest to me. Mind you, I am probably missing the whole point somewhere. Three times now I’ve tried reading the press notes which “explain” the methodology here, and I am still none the wiser, except I now apprehend that the work (1) involves a mixture of “concrete sounds and improvisation”; (2) uses editing techniques that are more familiar to sound editors working in the cinema, than to musicians; and (3) follows a structural map that is so conceptual and hidden that the listener will never understand it, or even discern it.

We could write further essays drilling down into each of these three points, but as to (1), that mixture of source materials is extremely common working practice now, and a large percentage of releases received at TSP follow it. That said, Limbach’s take on the technique is sympathetic and subtle. As to (2), this approach is very welcome, and one day I wish to write an essay extolling the innovative sound design work of Walter Murch, except that the task has largely already been done by other writers; find articles if you can about his sound design for the films of Francis Ford Coppola, and for American Graffiti. As to (3), this is not unwelcome either, and it reminds me very much of the structural cinema of Peter Gidal, whose films I have studied and whose polemical writings I have read. He was a very strong advocate (and practitioner) of using abstract, number-based or otherwise pre-ordained structures to build his films, and often stressed that it didn’t matter if the viewer managed to decode the structure; “the activation of the mind towards material analysis is the process that is relevant,” he wrote, “whether or not the actual structure is revealed.” 1 Gidal did this because by the end of 1960s he wanted to destroy mainstream narrative cinema, and the point of his efforts (with that of other structural-materialist film-makers) was to replace story-telling in film with something that would function as its exact polar opposite 2. Naturally I would never ascribe these same motives to the splendid Herr Limbach, whose sound-art here is, while challenging, also very beautiful, refined, and highly intriguing. Guest musician Angelina Kartsaki appears somewhere on the tape with her violin, and Julien Charlon did the near-imperceptible photography.

 
  1. I can’t find the source for this just now, so I may be paraphrasing this slightly, but the sense remains intact. ↩
  2. This was being done for ideological and political reasons, I gather. ↩

excerpt:

order directly at Agxivatein

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Music for dysfunctional airports log

2014-05-21 15.13.09

I

21-5-14 Blanca – Murcia – Alicante – Murcia – Corvera – Murcia – Blanca

This is the first post of a series of post in the next days –  a residency diary.

After the Performance at the beautiful Practicas Contemporaneas at Centro Negra I stayed in Blanca where I will be located for the next week, going back and forth between Centro Negra of AADK and the  Fonoteca Archive for the investigations….

Yesterday was a really complete day: I did the first expedition to the Corvera International Airport. Before picking up the rental car at Alicante, at the estacion de autobuses in Murcia I ran into an older german guy who got robbed and left without laptop, money, passport, etc… I bought him a bus ticket to

Alicante, so we went on the same bus. He turned out to be a lawyer from Berlin and once was number 56 in the chess toplist. Both facts may have caused him being quite a wise ass and despite his desperate situation he knew everything better and became more and more pesado. I just wanted to get back to town to start the filming and finding the airport..  After an annoying car ride I dropped him off back in Murcia with a 100,- in his pocket and a piece of paper with my bank account written on . I felt it was a bad deal. I should have given him 200,- the minute we met and leave him without a comment. Sometimes it s better to be ruined and have no discussions. Try to  explain it to a lawyer.

But he explained me how speculation is working. And how people get rich by this giant projects putting the IVA / Mehrwertsteuer in their pockets. I believed him but didn´t really understand all the details.

Of course everyone in the region knows where the airport is situated and it was not that hard to get there.. Nevertheless: on google maps navigation the airport  is not tagged and I had to look for coordinates & streetnames nearby..

2014-05-20 17.15.47

Arriving at the airport. I shot some video from outside  and then just went in by car till I got stopped on a barrier. A friendly security guy. But no way to convince him spontaneously to let me in.

I interviewed Abraham Hurtado this morning about his thoughts about airports,  the daily use and appropriate dosis of it. I ll transscribe that text later and use it for the video.

Working on the project will give me also the possibility uploading some fieldrecordings to aporee maps. The first piece of sound I uploaded is an ambient recording of a sudden electricity blackout in Blanca at night which lasted several minutes:

Screenshot - 05212014 - 05:40:42 PM

more to come..

The next afternoon I began researching at the Fonoteca about experimental sound approaches to airports, checking various releases of experimental music related to airports..  I listened to all the Music I could findDSC07687

by just typing airport into the search engine of the SONM Archive

The titles I found gave hints: Michael v. Hauswolff: THREE OVERPOPULATED CITIES BUILT BY SHORT SIGHTED PLANNERS AND UNBALANCED AND QUITE DANGEROUS AIRPORT AND AN ABANDONED CHURCH.

And another title called Tinkling (killing time in an airport lounge and getting arrested) by Yannis Kyriakides.

and there was much more. While listening the sounds mixed with the church Bells close to the Puertas de Castilla , where the SONM Archive is situated, and the sounds of the tape machine running in the background.

This discrete set of sounds dividing time into slices of more or less equal length.

II

22-5-14 The Natural History Museum of Sound

Listening to Rinus van Alebeeks Cassette The Natural History Museum of Sound at the SONM. Reading the Inlay tele ports & time travels you on a journey to Sidi Ifni in 2002. A short story, more a poem. The upside down landscape format of tape inlays  reminds me of roman papyrus scrolls.

2014-05-22 12.23.29

Think I should give up writing everything in English and just mix the phrases as they appear in my head. Some sentences lose so much sense when translated.

2014-05-22 12.24.22

Is there a short cut to a short cut? I want to take some closeup pics of the inlay and thought of a d.i.y. microsope I saw on the Science Hack day in Berlin not long ago. Well, despite the fact that i dont have a laser pointer to break into parts I just put a little spit on the smartphone lens that works as a macro lens converter. maybe.

III

24-5-2014 the blind spot  – der blinde Fleck – el punto ciego

More uploads the last days of sounds of Blanca and Murcia to aporee maps. Still, the native airport sounds are missing and i hope i have time to get there again for fieldrecordings. Filmed the street signs at night that gives hints to the airport. some are covered with black tape, andere sind intakt und nur wie mit einem Schlüssel angekratzt. Die Tage gab es eine Demo gegen die Verschwendung von Steuergeldern pünktlich zum morgigen Wahltermin.

Die Nacht ist schwarz und der Flughafen nur mit 2-3 Spots beleuchtet. Die Strassen leer.

Para escuchar como la investigacion suena al Sonm:

sonm

Empece a editar material de video y render algunos archivos..

Working and researching on a specific topic makes you sensitive for all kinds of infos connected to them, and and of course , airports pop up everywhere..

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and I remember a sound i recorded in an airplane starting from San Francisco Airport back to Berlin in 2012:

Screenshot - 05242014 - 08:19:57 PM(click to listen)

it s all these times at airports we re idle. and being idle and busy, like the new binary philosophy of modern man, converges strangely. It is not free time, it s being on hold, like in the press button process when you call your phone company. IT doesn´ t leave you alone.

Screenshot - 05242014 - 08:45:23 PM

IV

28-5-2014  Poetry , thoughts and signs

Yesterday last filmshooting around the airport. Abschied.  I gave up on getting in. The blind spot.

senal4

I reread Rinus Text full of sound and Life. I asked Pierce Warnecke to send me his beautiful thoughts about airports as we discussed that topic before:

Tomorrow’s Cathedrals

One of the most interesting man-made spaces in our modern world is the airport. More than hubs for incessant rhizomatic connectivity, more than miniature collages of contemporary cultural signs and symbols, they are monumental homages built all over the world to our unique modern god: time. This subject of worship is absolute now more than ever, making airports the new temples.

They belong to no country and function permanently, like strange ships sailing outside of space and time. This timelessness is necessary, since they must function according to the local and many distant clocks of their faithful attendees. But at the same time, in our era of instantaneous exchanges, they are reminders of the last limitation we face in order to maximize our minutes and hours; practically everything we do has been transferred to virtual immateriality and light speed, yet these huge human sorting machines bear witness to the fact that the last frontier of our optimal acceleration and growth is our physical body.
I can’t help but imagine a distant time when, thanks to whatever technological breakthrough, physical transportation becomes unnecessary and these immense architectural exceptions (most of them flamboyant personal landmarks of the architect to himself or status symbols of the city or state financiers) are forsaken, cracked and crumbled. I see them then as I see churches and cathedrals now, landmarks of past eras when other things mattered and different gods were worshiped. I imagine them being rediscovered, and the sense of awe one might feel in their empty grandeur, the incomprehensible mystery of their forgotten function.
I see them already as witnesses of past glory, when after centuries of pushing and pulling we rose into the airs for a few brief moments before this was surpassed by a better means; to me they are even now already temples to another period when minutes mattered, hours were counted and time was of the essence.
I see them as tomorrow’s cathedrals.
P. Warnecke, June 2014

Before Abraham took me on a trip to another kind of oversized and underaged ruin not too far from Blanca: What should become a luxury golf resort ended  as  a Mad Max version of an upper class dream holiday. Verlassene Gebäude, vertrocknende Palmen in der Wüste. Encontre un cuaderno en el suelo Screenshot - 05292014 - 12:02:11 AMescrita con  tinta azul una lista larga de imobilarias españolas. Añadido algunos comentarios en rojo como NO LLAMAR!!!.

empeze´ con el proceso de feedback. proyectando 2,50min de material y grabarlo en celuloide.

2014-05-29 00.37.58

y preparando la performance en el SONM. La performance sea la base , el inicio por el montaje de la pieza mas tarde en junio.

V

31-05-14 A Fata Morgana &  minimal Stone Henge

y ya me voy. aqui un log con muchos vacios, espacios, huecos.

DSC07837la noche en blanca.

un minimal stonehenge? cerca de corvera?  quisas..

last nights performance transformed the erased airport signs into decaying images of erased airport signs.  la base por el montaje final.

Screenshot - 05312014 - 12:45:41 AM

Auf der Suche nach Safran und der verlorenen Farbe Spaniens: Purpur

Screenshot - 05222014 - 11:57:49 AM

Lisa speaks Rinus´ text into her phone.

2014-05-29 20.11.14

Dictators and Sports. Somehow reminds me of the Street Kaiser-Wilhelm-Ring in Mainz, Germany.

My latest impression of the airport is the heated up air flimmering over the black asphalt. Como agua.

Screenshot - 05312014 - 12:41:58 AM

un poco de magia en el punto ciego. el calor llevando imagenes desde el lejano. la dispersion chaotica.

Screenshot - 05312014 - 12:45:13 AM

10-6-2014 Berlin:

volviendo a berlin el dia 31 de mayo desde Alicante. Esperar a un vuelo unas horas, en un aeropuerto de verdad, que sensacion estraña. la multitud. mucho tiempo , mucha velocidad. el duty free. todo este mundo que nos juega trucos de velocidad.

Processando el material en Berlin y empiezo a editar piezas para luego juntarlas.

to be continued editando….

 21-8-14 “Die versiegelte Zeit”

zurück am Schnittplatz, mehr Material und mehr material

tomorrow i m going on a bus trip on the B E R , berlins new Cathedral:. You can book a guided tour on Berlins most expensive ruin. The press text sais: “Flughafen einmal anders. Nicht nur Passagiere, auch Besucher kommen an den Flughäfen auf ihre Kosten. Ob Flughafentour in Schönefeld mit Blick hinter die Kulissen, Infotower, Bus- oder Fahrradtour am BER – es gibt viel zu entdecken. Die Flughafentouren finden grundsätzlich auf Deutsch statt. Es besteht jedoch die Möglichkeit, BER-Touren auf Englisch zu vereinbaren.  ”

They changed their opinion about visitors quite rapidly. I asked in january if theres a chance to access the airport to take some pictures and got this answer:

Screenshot - 08212014 - 04:03:09 PM

editing makes the fracture visible. Digital material, re-filmed footage, original super8 footage , smartphone recordings, screenshots.

A lot of work for the sonics to glue together (or tear apart even more) these fragments.

Lisa Müller-Trede recorded new voice overs in the studio. I found Rinus van Alebeeks DIKTAT

in my mailbox and the sounds on that cassette enhanced my room to unknown spaces in NYC. There are still these Cassettes, A´s and B´s, reel to reel. Another path. man will die orte der kassetten auf einer landkarte einzeichnen und miteinander verbinden. die orte der schlafenden Flughafenruinen ebenfalls.

Screenshot - 08212014 - 04:22:14 PM

12-10-2014

edits, and sounds. re-listens and test renderings.

Screenshot - 10102014 - 10:15:32 PM

setting up the alchemist val de omaresque laboratory.

9-11-2014

performing in the black cube that symbolized somehow the airport, the blind spot, and the camera, the image production process, was a strange experience. images flickering, fading, people attending on both sides of the screen. the lab looked devastated after 2 days of workshops. one projector gave up .  alles in allem wunderbar.

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the final rendering was a vague process, feedback between video and sound, como acabar, como dejar algo que se queda siempre “in contruction” ? gente empieza contar historias sobre proyectos parecidos: ciudades sin habitantes, una estacion de tren sin banos, las locuras diarias de la especulacion a nivel global.

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things vanish thinking about them too long. like a  word loses meaning when you repeat it 4, 6 times

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the feedback is one such thing. it changes everything into another entity, whatever origin it has. the statue close to the airport gets filmed, and burned, and captured again, till everything dissolves into the white noise of memories.

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