Raumpunkte

by ZANDER/FIEBIG

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Jan Peter Bechtluft
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Shannon O'Neill
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Chris XFnX
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julien gury
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Gregory Skov
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/
1.
02:37
2.
02:19
3.
02:48
4.
02:05
5.
02:35
6.
02:11
7.
02:11
8.
01:56
9.
02:10
10.
01:41
11.
02:03
12.
32:20

about

Location:
Rehearsal room (1-11)
H2 Zentrum für Gegenwartskunst (12)

Date:
7 May, 2011 (1-11), 21 May, 2011 (12)

Concept:
Using Buddha Machines to mark acoustic points in the room and improvising along with them. In concert, the acoustics of the museum function like an echo chamber to process the sounds.

Sources:
Buddha Machines, kalimba, electronics, samples, prepared electric guitar

Commissioned by Dr. Thomas Elsen for H2 Zentrum für Gegenwartskunst

www.geraldfiebig.net

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more releases by GERALD FIEBIG on attenuation circuit:
emerge.bandcamp.com/album/for-the-record
emerge.bandcamp.com/album/recordings
emerge.bandcamp.com/album/pferseer-klangtrilogie
emerge.bandcamp.com/album/split-7
emerge.bandcamp.com/album/14-x-2b-4a-4b
emerge.bandcamp.com/album/compound
emerge.bandcamp.com/album/post-industrial
emerge.bandcamp.com/album/sustained-bending
emerge.bandcamp.com/album/gleaming-fluff
emerge.bandcamp.com/album/viator
emerge.bandcamp.com/album/condensed-endeavour
emerge.bandcamp.com/album/convection
emerge.bandcamp.com/album/confound
emerge.bandcamp.com/album/split-8
emerge.bandcamp.com/album/modul-3
emerge.bandcamp.com/album/soundcycle

as SUSTAINED EVELOPMENT:
emerge.bandcamp.com/album/sustained-development
emerge.bandcamp.com/album/water
emerge.bandcamp.com/album/water-remix
emerge.bandcamp.com/album/crossgrained
emerge.bandcamp.com/album/split

as ORIENTALISM:
emerge.bandcamp.com/album/alis-riot-men

as JESUS JACKSON UND DIE GRENZLANDREITER:
emerge.bandcamp.com/album/kohlenstoff-und-aspirin
emerge.bandcamp.com/album/zumauern
emerge.bandcamp.com/album/wall-of-sound

as DER BAYER:
emerge.bandcamp.com/album/sommerloch

credits

released June 21, 2014

Commissioned to play an extremely resonant museum hall in a converted textile factory, electroacoustic improv duo Gerhard Zander and Gerald Fiebig develop a set of slowly interweaving loops and textures. While the performers play as softly as possible using Buddha Machines, a kalimba, a prepared electric guitar, and samplers, the echoes and ambient sounds of the room add a grainy yet meditative, Rolf Julius-like quality to their small sounds.

For the concert at H2 Zentrum für Gegenwartskunst (Centre for Contemporary Art) in Augsburg, Germany, Zander/Fiebig set up several Buddha Machines around the performance space and then played along with the loops from these acoustic landmarks reflected in the title “Raumpunkte” (‘space points’). The full 30-minute performance is documented on track 12. Tracks 1 to 11 feature excerpts from the preparatory stages of the performance. Captured in the intimate acoustics of a rehearsal room with the same sound sources, these recordings display a more motoric, slightly noisier character than the more static, almost installation-like concert. Comparison between ‘Raumpunkte’ and the eleven tracks of “Modellversuch 1:100” (‘Small-Scale Tests 1:100’) makes for an earwitness account of how acoustics can shape the music improvised inside the room.

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BAD ALCHEMY

Auf Raumpunkte (ACC 1002, CD-R) hört man als Titelstück die halbstündige Performance des elektroakustischen Improduos ZANDER /FIEBIG. Dem schicken Gerhard Zander und Gerald Fiebig aber noch als 'Modellversuch 1:100' ihre vorbereitenden Versuche voraus, das H2 Zentrum für Gegenwartskunst in Augsburg effektiv als Echokammer auszureizen. Die 'Raumpunkte' werden durch Buddha Machines markiert, zu deren jeweiligen Loops sie mit fingerspitz gepickter präparierter Gitarre oder Kalimba und mit Sampler vorsichtig interagierten. Loops und Drones verweben sich erst in elf kurzen Versionen, um schließlich sich der Sache sicher zu sein, dass schon leises Georgel und meditative Handgriffe der Aufmerksamkeit ein raumakustisch reizvolles Erlebnis bieten, wobei sich der Hall und die Nebengeräusche - Schritte etwa, Stimmen und schla- gende Türen - tatsächlich vermitteln. Eine rumpelige und durch Feedback und monotone Schläge akzentuierte Passage lässt auch die Größe des Raums spürbar werden.

badalchemy.de

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