Rather they create a different dynamics around one another. The bromide prints create an immediate sociality around them — through being arranged in photo albums and seen, individually, in groups or by being passed around. The digital photographs create around them a mediated sociality of being seen on the computer screen, or through a limited number of print outs that can then be circulated. They, however, make for quick downloading and manipulation on the computer and find their way into the animations made.
Animations, or animated drawings which you see on the screen behind me reveal an enigmatic inner world of stories and rhythms. My sense is that a play of unravelling and revealing, that is accretive, draws the group into exploring narration through animations. Interestingly, it is the practice of creating animations which pulls and propells them into narrating through drawing — something they rarely do on paper otherwise.
These are analogue recordings — self-recording readings, eg , recording ambience, interviews in the locality and the city. At present we have about forty hours of recordings ranging from a confrontationist interview with an old grandmother, to a walk through the neighbourhood, to recording a circus, to self stuttering. The question now is what creative resources these practices are building.
- You Are Blessed In The Names of God.
- How To Declutter Your Home During the Weekend.
- Evolution – Fact or Fiction?.
- Haltung, Relevanz, Kontext und Tiefe;
They are constantly worked with, and also catalogued and logged. Thank you, Joy. The entire work, including the animations, the textual work, the work with photographs, is done on free software platforms. An important consideration is language, because up till now a lot of the work is done in Roman alphabet-Hindi, but now we want to work towards a desktop which is in Hindi and Urdu script.
So working with free software gives us the freedom — for programmers who work with us to enter the source, transform it and recreate it for new users. Joy mentioned the making of books.
2. The definition and concept of right-wing extremism [RWE], especially in the 1980s.
Also, I was asked to make a small announcement about this book, which is a Sarai Reader that we produce every year. These are not for sale, but you can download them in their entirety. What point is there in this kind of experience? So you can only form ways of resources for memory: by using computers you can print a wall magazine, make a little animation movie, do a little sound recording, work by manipulating photographs.
So it opens up many possibilities that would have otherwise closed down. You can have a power breakdown for hours every day in the summer, which means that you have to think about how you do things when the power goes. You have to think about the fact that the house itself and the surrounding neighbourhood can one day be destroyed, or there can be violent police action that just destroys the neighbourhood.
So you have to think about resources and tactics that keep alive a kind of practice in this form. So with that I will end our presentation. Thank you very much. So where do the people meet and how do you get in contact with teenagers? They already have many activities in these spaces.
We have a room there which becomes a self-regulated space, so the young people look after that space on their own. If there is an evacuation it will stand. There are always attacks but it still has a certain tenuous hold. They have networks with local politicians. It occupies the land between a big public hospital and another wing of the public hospital.
On the photos we saw one with posters and one with graffiti. Are there special neighbourhoods where that is possible?
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The posters that you saw are put up usually during election times. Specifically, the graffiti is actually the wall leading up to the door of the lab, which is inside. The wall space is actually auctioned, so the space of the wall becomes transformed into a commodity. There can be actually a lot of conflict over that, because somebody might have auctioned off a wall and then somebody else comes in and puts a poster.
Is it part of making it visible? But in the inside of this lab they actually do have a lot of material. So there are paintings, comic books that are made, small booklets that are put up, a lot of stickers from the writings that are done in the lab as well as translations of some words, some pictures or photographs that have been taken.
Since you were not really introduces, can you say a few words about that? I studied filmmaking and before that anthropology. So we spent many years doing nothing and sometimes doing films for television. I graduated about a year and a half ago now. One thing that you discussed and Katrin asked you about was this going on the outside wall or not going on the outside wall. We yesterday had a small discussion by the fire. One of the things that touched me the most was the workshop we did with the children in St.
Shveta noticed this and we discussed whether we should talk about these stories directly. It was quite clear that it had to be done within a private, intimate and trusting relationship. I understood on the spot, and later on I realized that my own desire to have such a group was very much telling about the kind of group I would like to have or be in, where speaking about such things would be possible.
I found it interesting that you went on about this in your lecture, in depth but very fast. Yesterday the discussion was much about where this does lead politically, on the one hand. What I found very strong in your experience was the aspect of perception, and I think that cannot be found in any group or collective project in Europe.
This aspect of perception has a very active function. Maybe you could comment on that. How do you have a politics of looking at yourself, looking at your friends? A lot of the work with the cybermohalla experience has been talking about what do you see. Constantly asking: Look outside. Who are these people? What are they doing? What are they wearing? In India, and perhaps over here as well, a lot of energy is spent in decoding how people appear in front of us, and that becomes the first cornerstone of prejudice.
How do they dress? How do they speak? How do they stand, slouch? For us, we found that this was one of the basic things that we needed to work with a lot: how are people seeing the world and seeing each other. This kind of relates to this private-public thing, because it immediately brings up a lot of your judgements. How public do you want to make your judgement?
You have to come here to see that, there is no necessity of representing ourselves beyond the point. I remember when we made the book and there was a little reading. A lot o young people came and read from the book. This gives us a bad reputation. So they had a little meeting about the meaning of this book.
Why is it there and what will it do? Then the boss realized that a lot of it was not apparent to the outside world. It was a communication between the neighbourhood that was more visible than what was visible to the outside world. This is an important thing, because there are two purposes to the communication: one is how do you talk about yourself to the outside world, and second, how do you talk about yourself to yourself? Very often, we have the experience of people going to the cybermohalla lab and asking them questions, and the kids never answer them.
They ask other questions. So whereas there can be a politics of making yourself visible all the time, there can also be a politics of qualified visibility or a little game with visibility. I suggested that you needed a place, computers etc. Margit argued it was just the opposite, that it was a tactical move to make it a bit unclear and maybe not accessible to the police or power. I thought it could be interesting to start with a different situation in Delhi and maybe Hamburg.
Suddenly your best friend was defined as the Other. So you start to have this prejudice. I have the feeling that here it has to be fixed. The Turkish extreme right is always present in Germany.
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So while some things are always said, there are also some things that are not said. In India, I think we come from a political culture where everyone is saying a lot, actually all the time. They never stop talk, politics is an entertainment. Do you have to synthesize it or what does it mean?
Assuming and having a trust that this is possible, if there is something wrong with the immigration law, we ask the government to make a better immigration law, which is a very necessary thing to do. People should keep doing it. But on the other side of your brain you should always think that they will never do that.
In fact, if you raise the question of an immigration law, that will make it worse. So what do you do? You do continue to precisely state your objectives, but I think you also continue to state what is necessary for you in order to survive with dignity. This is why I came back to the idea of the reclamation of consciousness. These are seen as the great objects of desire, whereas they should be the most mundane things.
Everyone should have a vaccination and a hand pump and electricity. I think that a better health care system is something that should exist, you should be able to demand something more fundamental and more important from your life. Often those who are deprived are also deprived by many of us on the left of demanding and articulating basic, fundamental desires: recognition, a conversation, the ability to have pleasure, for instance. The entire politics of the left in India I found anti-pleasure. They, on the other hand, are writers.
We write and take pictures. To give you an example, one of the spaces is predominantly Muslim and most of these young women are Muslim there are some others who are not Muslim. During the Ramadan many of them keep the Rosa, they will keep the fast and they will do the Namas, the prayer, five times a day, cover their heads and everything.
This needs to be stated in a trusted space. So you create an atmosphere of trust where some things can be said, with the understanding that they will not go out of the room, but in their saying, the person who says that becomes somebody that they did not imagine they were. In just saying it to someone else, it changes who you are. It may be that no one else will really hear it, but having said it you become someone else.
What you just described, that was a certain power in the utterance, and when something is articulated and how it can actually change you. That can become — we were talking about perception before — a highly closed, subjective thing and the interest here is exactly this kind of blending of different subjectivities, which creates like you said this secret language, or more opaque language that is in common. These two separate languages in common that have been developed. What happens when there is an encounter between these two different labs?
The interactions are almost on a weekly basis, or some of those interactions are in terms of gifts of hospitality, where eves? The former non-legal, now legal settlement is predominantly lower cast, which is a different kind of social category altogether. However, the status of legality makes it possible for people there to have more permanent jobs, just because they have a legal status. So you recognize that. If you put these two kinds of people together, they are the kind of people who have been accustomed to fighting each other for a very long time in this city. Although these are the reasons why many things happen.
The reason why a particular settlement will be more easily destroyed that another is to do with the fact that some of the people there are Muslim, of course, but then how do you talk about this without getting into [trouble]? They want you to talk about your being Muslim and Indian, but can you talk about your being an year-old woman instead?
One example that I can take is that of the experience of heat. This is an interaction in LNJP that I only heard about much later, but electricity as Shuddha mentioned is very important. The experience of heat for someone who lives on the second floor of a house, where there is a workshop underneath which works with iron smelting and has in the heat of summer the bright hot sun beating down from the roof, how can an experience like that speak with other experiences?
Because it is a significant experience outside of the experience of poverty and of identity, specifically. In India, all these clothes become read immediately. At one point you were talking about silence or the necessary secret that people own. Is there any means in the things that you show or that are open to the public that talks about the silence? So I think a lot of the strategies are like games. The distinction between what people may be communicating with each other without ever talking about it directly, through a lot of word games. In one of the contexts — again, this is a different cultural context between the two labs — within the LNJP context, within one of the labs, which is the predominantly Muslim lab, there is a long history of a very articulate, verbal culture, which always talks in puns and riddles.
So everything can become a metaphor: electricity, for instance, is a great metaphor. As you consider yourself an artist or at least the art world incorporates you e. So Raqs is like an entity, like an author that resides in a space called Sarai. The fight for medical care is to sustain the world as it is. Everyone should have the right to have a productive everyday life. To create another world, which is also the beginning of another kind of political sensibility, is to talk about: having it the way as it is, now what do we do with it?
I think that the mistake that we often make is to collapse these two as if one is more important than the other. A lot of us forget this relationship when we articulate our politics, and we create a false hierarchy or priority. We forget the important philosophical dimension of everything that we do.
So thanks again, Shveta, Joy and Shuddha, and please use the chance to speak to them. All other artists, all groups are present in this room. We will have an extra long lunch break now. I advise you to please use the restaurants in the neighbourhood for this and come back in time. Maybe we should start a bit earlier? First of all we want to introduce you to the context of free radio we work in, and how it has been constituted in Germany, especially in Hamburg.
We only broadcast in Hamburg. Free radio was not to become a kind of vessel to contain such disintegration, but to offer a space of critical reflection instead. Basically, the political structure of our radio is based on people getting together and associating in order to run free radio. Also important to us at the FSK was not to take our location in a city for granted, but to establish a connection to the local, doing grassroots work.
Of course it never worked out like that. We never wanted our radio organization to remain some abstract idea, but to become concrete through a discussion process. Free radio has always seen itself as the location where suppressed information gets disseminated, based on the assumption that public information is manipulated by plainly leaving out specific facts. Of course free radio has always referred to media theory or the history of leftist media practice. Basically, this text dwells on the transformation of radio from a distribution apparatus into a communication apparatus.
It is merely an apparatus of distribution; it only shares out. And now on the positive side, that is to turn to the positive side of radio, here is a proposal to give radio a new function: radio should be converted from a distribution system into a communication system. Brecht thought radio was merely a distribution apparatus. Apparently the fact that radio disseminates the voice through many radios is not satisfactory enough for him; he thinks the transformation of radio into a means of communication is more important, and that is the interpretation that other free radios have adopted.
People own them; they have them at home. The media have only one setback: they impede communication, which is seen here as being interactive. Following Enzensberger, any transistor radio can be considered a radio station. The distribution of radios, its massive availability as cheap commodities is seen as a chance by Enzensberger, but this chance can only be grasped when the setback is removed.
The medium must be reversed and transformed technically in order to become political; only if that process is carried out in the hands of the masses, can radio become a true revolutionary medium. The medium can only be appropriated if that process of reversal is accomplished. We assume that these practices can only be brought about in specific situations, and we will introduce you to some of them. Our next point argues that the specific structures of radio impede thorough appropriation. First, we address the question of broadcaster and listener. We knew other radio stations do music request programs, boasting of their huge archives and sorting out the requests before going on air.
Music request programs are a typical radio format and we wanted to adapt it to free radio. The first and most obvious one means the listeners become broadcasters for the duration of their song. We favor men with record collections as well as people with a certain need to show off, therefore the program mirrors a music and group socialization. In this case, a living-room broadcasts to other living-rooms, so that the most diverse reception situations become audible. Incoming calls react on former ones. For us, direct communication is not as significant as the distribution of music through all radios, which makes it possible to refer to earlier calls.
There is no pre-selection, as in other radios. As this program was aired every two weeks, it enabled us to rethink our practice in new ways. Another subject in our work on which we have based various radio shows is the uncanniness of the diffused voice. He talks about the origins of music being nowhere and everywhere it is listened to.
Radio destroys precisely this neutrality of space. To Anders, music is in any place a radio broadcasts the voice. One is in the music. It is nowhere. Ten steps away, the same music resonates from the neighboring house. Since music is here as well, music is localized both here and there, planted in space as two poles. Each loudspeaker claims to be a separate voice. So radio always exists in plural form. What marks the uncanniness of radio is the diffusion of the here and now, of the immediate presence that we associate normally with the voice. Actually, the ideas that hold radio as a medium of control are quite prevalent.
Earlier on we introduced you to a leftist discourse that sees the manipulation of public information as a byproduct of the mass media. The idea that listeners are spellbound by radio plays an important role in a left-wing practice of appropriation. Because both deny that the actual listening to radio, which transforms space, can bring about other radio practices. If we realize that it hinders appropriation, then we can conclude that it is this very ghostliness that must be challenged. Here we have an interesting contrast: on the one hand, the uncontrollability of the voice — its uncontrollability through radio — and on the other hand, the increasingly controlled city.
In Hamburg, everyday life is increasingly controlled; in other words, everyday life is placed along other controllable and predictable situations. Behavior that deviates from the norm is ruled out. Zones of consumption stand out in that only certain things are possible there.
Each zone regulates behavior patterns: that which is possible in one zone becomes impossible in other zones. The most extreme case is the central train station, where sitting on the ground is already prohibited behavior. The central train station is a prototype of this development, which will take over the downtown area and its shopping quarters.
It will be impossible to have a political public space in these areas. These models are based on the prospect of scattering listeners with transistor radios all over the city space, making radio site-specific and adapting radio to the situation of its reception. The first model is about making radio-listening public. Our action in December last year involved broadcasting an open invitation to radio-listening in public space. It lasted for ten years, and it was defended victoriously already in FSK covered the development almost in its entirety and participated in the accompanying demonstrations.
Kalkman argued the problem was the quantity of people a demonstration would involve. First, they were concerned about a potential loss in sales volume, which would be detrimental during the Christmas period. Second, the downtown area would be already too full by that time to allow for demonstrations and larger crowds could cause conflicts. He suggested timing adjustments that would allow people to shop during the day and demonstrate in the evening.
The point is that during this period, every time a large group of people tried to make its way into the city center, it was blocked off by a three or four-ring security cordon and plenty of water cannons. That theme was pinned down and no real discussion regarding the political context of such eviction developed. That still seemed too little to us, because we wanted radio to intervene. Buy radios.
Pauli and Schanzenviertel neighborhoods and reduced to a minimum there. There were declarations as in a rally, with slogans, music and live coverage from the demonstration which is something that could be done more often. We invited the listeners to take their radios into the city and to build a diffused demonstration — not an assembly, but a diffusion. It was a very heterogeneous situation, which meant people could appropriate this situation any way they liked.
It was clear that having all these radio carriers on a Saturday in the city center could make more things happen. So a lot of different people joined this thing and made other interventions, because it was clear to them that there were enough people around to cover them in case they did something that would normally cause trouble. A radio that also conveys matters of political interest. Be aware of the noise level regulations.
Nobody can prohibit radio-listening in public. A lot of people were ordered out by the police, even people who were listening to radio very quietly, which was ridiculous because the whole Christmas business going on was way louder. However, diffusion proved to be an advantage since it would involve only few people at a time,who could therefore remain flexible. We realized it was more sensible to extend the time allowed for demonstrations than to ask for longer opening hours for retail sales.
We wanted to review the question of which kind of public sphere this space of the city center allows for. During our evening walks through the city center we perceived it as a deserted planet, a strange space. We thought we were making an expedition: as we encouraged our listeners to explore this space, we noticed how they held their radios with antennas: they looked like aliens examining a place foreign to them.
We proposed five ways to deal with this double sense of alienation. Only then does it become a great space to rethink the public. An exercise in utopian public space. You listen to radio. Radio is yours. The radio voices come from far away. Many voices speak simultaneously The radio voices ask you to: — Turn around until you find a vitrine. Go there and stand closely in front of it. Behind the store windows, a desert planet opens up.
You face this abandoned planet as aliens from a distant star. The commodities rest within window displays and houses. The commodities sleep. Check your outward appearance. Rearrange your hair. Smooth out your eyebrows. Check your posture and correct it. Observe the range of commodities. Verify the range of commodities. Go against the grain by using the commodities against its purpose. Knock on the windowpane. Touch the store window. Press hard against the windowpane. Does it resist? Take your face very close to the windowpane. Press your ear against the windowpane. Take out the barricade tape from your bags and fasten the tape to the store window.
About 80 — people participated in the action. We did some brainstorming on the use of radio. We concluded that we could create a diffused public space that functions differently from the ordered one. The Hamburg Art Gallery is closely located to the central train station. Unnecessary lounging refers to any behavior that diverts from travel or consumption, for train stations have been turned into shopping malls with tracks attached. For example, there are video cameras at the Leipzig central train station, in which we just performed our radio ballet as well.
According to the Deutsche Bahn, a space that gives the impression of being neglected affects the sense of security of travelers and consumers. They are constantly looking for crystallization points of disorder — they must be removed in order to keep the space under control, which generates a completely paranoid system of control that sees a potential germ of disorder in every corner. Of course they can be privatized, but they must maintain this public character, which means no people can be banned from the train station, because the people refused will eventually have to use the trains and come back.
We set off at this legal gray area and asked our listeners to come to the train station with their radios. We aired a choreography there. It was about specific gestures that were banned from the train station, and were to strike back at this space. The choreography was a quiet event. The following radio ballet examines the gray zone between permitted, obscure and forbidden gestures. The first voice gives the title of the gesture. The second voice describes the related movements to follow. The third and fourth voices will read out statements on radio ballet, gesture and public space during calm breaks.
See to it that you get enough space around yourselves. Refrain from focusing your eyes on anything. Concentrate on listening. Concentrate on your movements. Listen to radio. Stretch your hands out. Turn your palms to look forward. Turn it left. Look straight ahead of you. Bring your arms down. Video surveillance is a prosthesis protecting against stimulation, making travelers and passersby immune to the public realm of space. The unexpected makes its way in through radio ballet.
It had three parts. There were lots of moments in which gestures could be exercised. The radio ballet is something like a counter practice. The staging of an abstract constellation of listeners at the main station becomes the premise for political action. The constellation turns into a cooperation and therefore becomes organized. Normally very little is permitted — e. It changed the whole picture of the space. With this we get to the second point of this action: an actual transformation of space through the materiality of gestures.
The radio ballet reintroduces forbidden gestures into the space of panoptic control, and at every corner the predictably unexpected becomes concrete. We had this vision of somebody who sits in the control room, and suddenly all the surveillance cameras show people violating regulations, and therefore all security people must be sent to all these areas simultaneously. An overload… Radio ballet brings the censored back into the space. Precisely this alienation is the materiality of the forbidden that interests us.
It was to be left in its state of alienation and fearfulness in this space. We suggested gestures. The people changed the situation at the main station and it was up to them to decide how they wanted to discuss that there. In our opinion, that sets radio ballet apart from the techniques of control that reign in this space. We want to encourage non-conformist acts and it is not our wish to control them, but to make a practice possible.
I have some questions myself, before others come up with their own; then we can start with the discussion. Too bad, because their website and information were pretty good; they had good material but the related action was extremely bad. I also wanted to discuss a contradiction. In other words, they prefer either to stay within the stores or be looted.
The whole question revolves around how we practice a behavior that is consistent with a certain control. The interesting thing is that city inhabitants can also be seen as mannequins that shatter the windowpanes from the inside. Why are you walking around with radios? In a way, radio created another kind of direct communication. Is that what you were thinking of before you organized the intervention, is that what you found interesting after all happened? The other aspect we had learned from radio ballet. Already during that action, the people who participated had been asked what they were doing there.
So it was predictable that such discussions would also develop during the radio demonstration. Torsten: … Das andere war eine Sache, die wir auch schon wussten vom Radioballett her. Zeitlich haben wir das Ganze von der Chronologie her ein bisschen umgedreht; das Radioballett am Hamburger Hauptbahnhof war von all den Sachen, die wir vorgestellt hatten, das erste. Schon da war es so, dass die Leute, die daran teilgenommen hatten, angesprochen wurden, und gefragt wurden, was sie eigentlich da machen. Dass sie den Hauptteil ausgemacht hatten, das hatte sich so entwickelt, aber war dann eine sehr positive Feststellung, die wir getroffen hatten, dass so was einfach funktioniert.
Die Bahn hat darauf versucht, es zu verbieten. Stattdessen hat die Bahn versucht, es zu verbieten. Es gab ein Prozess. Die machen eine Zerstreuung, wo ist das Problem? Sie wussten, sie hatten es verboten. Es hat insofern ein Unterschied gemacht, dass in Hamburg fast keine Rolle spielte, dass wir von der Kunsthalle eingeladen wurden; das hat keiner so richtig mitbekommen. Da ist der Ansatz auch, dass Leute sich nicht versammeln sollen, sondern sich gerade auch zerstreuen sollen, beispielsweise mit Hilfe von Musik.
Wenn der Bahnhof Leute zerstreut, sind sie nicht organisiert. Was die Leipziger auch vorgeworfen haben, war, dass eine konfrontative Strategie besser ist. Wir hatten [welche], die dabei standen und nicht wussten, ob sie anfangen, einzelne herauszugreifen, aber bevor sie die raushaben, ist das Ballett schon wieder um. Die Gefahr ist, dass sie dann einfach abwarten, bis es vorbei ist. Es muss schon eine bestimmte Verteilung in einem Raum geben.
Bei dieser Radiodemo ging es auch um das Hineintragen von Protest, sehr viel mehr um Inhalte, aber auch um die Praxis, also darum, sie mit in der Praxis zu verbinden, die dann die Aneignung des Raumes bedeutet. Ihr habt den Begriff der Selbstorganisation auch im Zusammenhang mit Radio benutzt. Wahrscheinlich ist zu lernen, dass es um die performative Umsetzung im Raum geht. Es war euch ja wichtig, diesen Inhalt und die verbotenen Gesten in dem Raum zu transportieren, durch dieses Hinsetzten und dieses Handaufhalten, eigentlich im Einklang zu bringen an Dinge, die jetzt gar nicht mehr erlaubt sind.
Es gab z. In Leipzig haben wir sogar 50 Cent auf diese Weise bekommen. Es sind ja nun viele Themen, die am Bahnhof kumulieren, die nicht thematisiert sind: rassistisches Kontrollregime, das BGS, die Arbeitssituation dort, etc.. Die Idee war zu erproben, ob es funktioniert, wenn man eine Situation vor Ort schildert, z. Nur genau so lange wie diese Aktion lief, das ist klar, nach dem Radioballett war alles wie zuvor. One is: some years ago, I was involved in a very big initiative to try and have free radio in India.
We tried to lobby a lot of people, because the situation with radio was that the possession of a transmitter was a non-bailable offence, which would put you up for five years in prison, and that was the law. So we tried to create a situation where we could say that — because we had a Supreme Court judgement that said that the airwaves are public property. I was wondering if at the beginnings of free radio movement, was there any discussion of this kind over here? The other question was, taking the sender-receiver model, turning it around — which I found very interesting — supposing instead of radios in the station, people carried microphones and recording equipment and were trying to send back transmissions on to the radio station: Do you think that would create a real problem?
Because then it would be like you are interrogating something that exists, and then going back to the source. What is this for? Are you a terrorist? What we do is record sounds at night. The idea is that there can be only one kind of person who makes this documentation of everyday life. Only the police should be listening. Offenbar funktioniert Klang ganz anders als Fotografie. Eine Bildaufnahme hat immer eine Berechtigung, aber eine Klangaufnahme, das scheint etwas Unheimliches zu sein. The facts and then the theory and then the legal demand. Es ist sehr schwierig. Freies Radio ist nicht so eine Sache, die einem geschenkt wird, es war hier ein sehr langer Kampf.
Was wir gerade versucht haben darzustellen ist, dass es nicht reicht, sondern dass es anderer Praktiken bedarf, um dann erst Freies Radio zu machen. Das Spannende ist, das Handy zu verwenden, um Sound aufzunehmen, direkt zu senden. Das hat der Vorteil, dass es nicht erst aufzeichnet, sondern direkt auf dem Sender gehen kann und direkt auch wieder ausgestrahlt wird. Das ist ganz nett, besonders wenn man Leute trifft, die eben aus dem Bahnhof ausgeschlossen wurden — wie es auch in Leipzig der Fall war — und direkt gleich sagen, was sie ankotzt.
Nach dem Ballett in Leipzig gab es eine Situation, da sollte jemand verhaftet werden, weil er ein Dachschutz T-Shirt anhatte, und er hat das T-Shirt dann ausgezogen zu dem Zeitpunkt, als unsere Reporterin dahinkam. Are you theory or radio fetishists? Ich glaube, dass eine bestimmte Auseinandersetzung auch eines bestimmten Kontextes bedarf. Da gehe ich mit Medienwechsel vorsichtig um. Wir haben neulich eine Arbeit gemacht, die in die Musikrichtung ging, und es war sehr anstrengend festzustellen, wie es funktioniert. Because I think that all of us have grown up with the kind of politics of demonstrations where you are all together in a mass.
In , when India exploded once again its nuclear weapons, there was the beginning of a completely undirected anti-nuclear movement for the first time in Delhi. This was very confusing to people, because although there were many people standing together, no one was giving a speech, no one was addressing the crowd, no one was giving slogans together. Can you stop me from standing with a piece of paper? Of course people there might have known each other, but there was something about it that was a bit sad. As far as I saw it, it was an extension of that discourse in the gestures, and that becomes an exercise in powerlessness.
What do you mean by powerlessness in the radio ballet? You said it was an experiment, a form of research, and when I say powerlessness I mean it in the sense that we have to move from a stage where we are reflecting on a normative space and maybe begin to try to inhabit them. With your thing about the city centre at night, which is a very good point: How can that place be inhabited differently at night, and how can it be inhabited by a tribe of silent people, who go in to do contemplative, meditative practices?
Those are potential, interesting areas of discussion. Going back to the radio ballet, I think the powerlessness was that the gestures took on a character that was divorced from their normal use — to be actually begging, to lay actually drunk on the floor in the station. The important idea about it is the experience in the space — an experience one cannot have, usually, without being thrown out.
We wanted to enable people to have the experience of making things there in this dispersion, but at the same time in a collective form. We certainly hope that this does enable them to do something; at least that this reminds them that something outside of the customary is possible within that space.
We hope that being in that space as collective changes the space for a certain moment. Certainly other practices can do different things, but a demonstration would never be able to generate anything there, as it is quite easy to throw out a non-dispersed demonstration group. Das ist die Situation von Massenmedien, dass die Leute dadurch voneinander getrennt werden.
An dem Abend gibt er aus, das Wahlfieber auszumessen und stellt fest, es ist keiner auf der Strasse und die Wahlergebnisse werden nirgendwo angezeigt. Diese Form von Austausch, das kann das Medium Radio nicht gut. Das kann man versuchen, aber es gibt immer eine bestimmte Begrenzung. Da ist sicher noch eine Menge denkbar, aber gerade [bei ]mehr als Leute, da ist es wichtiger, die Zerstreuung genau zu machen.
Es hat wenig utopische oder richtig befreiende Momente, eher Gesten, dass man versucht, wieder an das zu kommen, was verboten ist. Aber was ist verboten? Es ist ja nicht utopisch, zu sagen, das Betteln oder die Geste des Bettelns muss wieder erlaubt werden. Eine Euphorie hat sich bei mir auch nicht breit gemacht, sondern zwischendurch so ein Kick. Somebody asked if you were media fetishists. In that sense, the notion of spectacle is very useful.
What does it mean to stop something that is going on? Ich verstehe das ja gar nicht so rein utopisch, was ihr da macht. Seht ihr das auch so? Oder seid ihr da ganz ungebrochen? Mit solcher Arbeit versuchen wir nicht eine bestimmte Form von Organisierung, wie sie seit den Zehner Jahren in der Linken bis 89 vorherrschte, fortzusetzen, sondern andere Formen von Organisierung zu denken. I find it quite interesting how you give that freedom to the audience, to become the producer as well.
So seeing that kind of participation in traditional radio is really interesting to me. They had a sort of citizen council, like a board of directors run by citizens. Somehow persons with certain interests guiding that board of directors started changing the programs, so suddenly all the programming there was only music, all the political programs were shut down or they were switching the schedules of the show. All the political programming started to disappear. People went on mass demonstrations, specially in San Francisco, and they took back the station, but the kind of control that the people had over the radio station was never the same.
On the other hand, there are fights within the left. As I said before, many fantasies of the left wing are projected on to radio and then everybody wants to have radio his or her way, so there are fights among the groups within the radio. That is a situation that endangers it, perhaps even more than enemies from the outside, because I think that we are licensed for a year now, and it is quite difficult to take away the license that is already authorized, as is our case.
Thanks to the translators. The next program points are short guided tours of the exhibition starting in 5 minutes with Margit. I advise you strongly to take the guided tour, because then we will walk to the park, and on that way there will be an intervention by the Schwabinggrad Ballet. After that, there will be some time to get a bite and at eleven p. Stephan Dillemuth, Video mit Fleischeinlage.
I thought we might use this situation in order to collect a few questions that came up yesterday. We could take them up today and keep them in mind. That might be connected to nationality, but I think that it also has to do with different approaches. The questioning of what is local and what is global — it was all in there, in all the presentations, but in completely different forms. If we connect that to the term of constituent practices, this constituting moment is not as much in a given structure as in a mindset. Both presentations Ligna and Sarai were much involved with communication between communities and projects that catalyze communication within communities.
These other forms of constituent practices make me rethink several issues related to my work. I suppose some are to Park Fiction, others are for other people here. There are now lots of housing cooperatives in that area. Where I live the park was brought about by people with a connection to gardening, rather than arts. So all of the work has been done by the people who live there, and that has been quite heavy duty at times. It is like an investment in an emotional sense. The other question is how do Park Fiction describe their relationship to arts.
I ask that because in the U. Our group is a bit like Park Fiction, but they tend to sever that connection to art, so they very much go off in a sort of community direction. The way that you described certain potential in London comes from a concrete gardening background. Some things are like that in here, too, but the gardening aspect was very beat. There was only a very small slope of land, and a precondition for the park was the construction of a sports hall. There were all the institutions in the community — the community centre, the St.
Pauli church, the school, which actually started this with all the people living in the area. With art, I think it also opened a field. We were shown this critical and precise watching of what is going on, and how the world is built up. I like the fact that we started with Sarai and its very precise, local view.
As they said, you can see the whole world in your own street. We should really watch what we see, how it is represented and which spaces are constructed precisely through representation. We should watch ourselves: what are we doing here? We should continue with this awareness. If you write about things, you realize you lack the tools — the necessary vocabulary or categories — to describe processes.
I would be very interested in looking at that perspective a lot more when examining the work done by collectives in art or other processes. That could refer to the question of where art is located, where the art system is, all the usual questions posed to a project like Park Fiction. I think it was who Shuddha or Katrin who started thinking about the presentation of Andreas Blechschmidt the day before, on the walk through the Flora. Another point about Ligna was the strong negativity and self-criticism emphasized in their own presentation.
We talked about the fact that it is necessary, on the one hand, and how it could stop things — I thought it was a German thing, but Shuddha said it happens in India, too: a strong negativity in the leftist scene, a helplessness. The desire is to be completely omnipotent, and as this is bound to fail, you feel very powerless and the trick to get out is irony or strong self-criticism. It was so important for me to work with Shveta and Joy for a couple of days, this deep concentration and seriousness. We had a talk with five people sitting on a bench facing the door of the Butt Club, and we started decoding that door via descriptions with Joy and Shveta, who were in Europe for the first time for four days.
It was as if they were going to find a northwest passage of utopia in that door. It was a fantastic moment and I heard the best description of that space with a sentence Joy said. The world is nothing until revolution happens. There is no white in the black. What I really saw was that it was not a temporary confusion as one of the participants here stated yesterday. I understood a lot of Sarai said as getting rid of all the dichotomies in order to find new fields, such as experiences of the city beyond being Muslim or Hindi. This would be a necessary discussion in left-wing discussions in Germany.
We have to look very closely at what is happening and be very self-critical. Christiane suggested thinking about categories, which is a very interesting point, but you still have to look carefully at each situation, because they are all different; they create their own context in a very different way and people are in different positions.
Asking for categories was more in terms of trying to establish a looking at processes, rather than looking at results. It has to do something with what you said. In , the art system was completely through with projects that were categorized as participatory and interventionist; it was done with. It was actually a time where it was possible to take a closer look at the differences. What happened then over here? Then it entered the art discourse; there were art magazines writing about it, the market was down and it came up again, and suddenly there was a complete silence.
But when you get on with strategies, you take the formal things and when you go into the art context what is really discussed? Is it the content thing or is it the formal aspect? We work on this in here, right now, and we make it public, and I thank Park Fiction for taking a big step in this discussion. We have to be careful with projects like Park Fiction.
Once they are created, where do they go? How are they used? Who uses them and for what purpose? You could discuss it from the perspective of Hamburg. Participatory projects: in the U. In fact, artists can only do experimental things with galleries in the U. Their response is to go back into conservative notions of modernist projects, and do the political-social work in the arts, in the gallery. Really quite extraordinary, I can give you some material about them.
Beata is our sound engineer. Please play the jingle, and play it loud. Please proceed to your seats. Heute wird die Strukturierung von unserem Spezialgast gemacht, Eva Sturm. I was absolutely stunned by the precision of their talk and work, which is interventionist in the most radical sense, and taking place very far from what has been conceived as the art field, and I felt very much ashamed as to how unprecise artists are in Germany, on a general level, in a much laid back and controllable situation. They impressed me a great deal. I believe their work is connected to Park Fiction ,too.
We thank you all for coming here this morning. We wish to thank also the organization team, Christoph and Margit. We thank as well Park Fiction and all of St. We perceive these transformations as being active in the field of aesthetics, transformations subverting a liberal aesthetic, the manic creation of objects for consumerism, the notion of creating objects only to be exhibited in galleries and museums, and the creation of objects with a happy end.
As you know, our country and the region specified on the map have been the centre of many public activities that have happened over the last two years. The communities have really taken charge of certain aspects of the country, through public assemblies, processes involving collective decision making, and I think we have been working already for twelve years to make something like this happen as well.
Here you see another satellite image of the area in which we work. This area of the city of Buenos Aires and its surroundings concentrates about half of the population of a country almost four times the size of Germany. In , we decided as a team to center our actions on recuperating public space. We started to look for public spaces that had been in cultural decay for many years. At that point we initiated what we call our connective practice, immersing ourselves in society so as to catalyze a process of transformation.
As I mentioned, the library is within the zoo, which is a very old one. It preserves the Victorian notion of confinement and isolation of the animals. In this case, we tried to use photography to create an awareness of the situation. The medium of photography enabled us to link our own vision to other, more scientific visions of the situation. The question was: What do we do now? We spoke to our friends, other fellow artists, scientists, naturalists and researchers, and together we pondered the best way to represent this situation in order to put an end to it.
As much damage "Crasher" does - it's cause and relief in one. Like analgetic trance You said the t-word! I said the a-word, too. Can I still crash on your couch. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland.
A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels.
Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Seeking the overwhelming vibration of the genuine sound wave and its profound echo on the soul, Kenneth James Gibson has spent his career experimenting under a variety of aliases like as many brushstrokes to an ever polymorphic palette - successively releasing as a pendics. A piece of intricate scales and moods, by turn streaming with the quiet flow of a small meandering rill, then suddenly veering off into an oceanic kind of tumult, 'In The Fields Of Nothing' was conceived as a proper film soundtrack with its rhythmic ebb-and-flow and deep sense of immersion, pulling the strings to an imaginary scenario where the uncanny rubs shoulders with a minute care for the immersion and deep emotional involvement of its whole.
Like entangling multiple levels of consciousness through a millefeuille of textures, piano and strings as well as a flurry of subtly FX-soaked instrumentals, Gibson reflects on his new album - created and recorded right after 'The Evening Falls' came out - as hugely inspired by the lushly forested mountain landscapes of his home region, the bewitching Idyllwild, California. With each track being an essential petal in the narrative corolla figured by Gibson, it's a breathing forest of sounds that deploys, bearing the memories of Kenneth's early morning and late night wanderings in the wild, alone and not, with the ancient trees' vital force for main companion.
An attempt at capturing a slice of these ephemeral sensations felt when striding along across the steep ridges and stony paths of the San Jacinto mountains, staring at the star-studded dome or gazing into the quiet horizon at dawn, 'In The Fields Of Nothing' eludes the single genre encapsulation, opting for the all-embracing openness of scope as it hops from droney melodic interplays "Her Flood" and roomy string-laden folk drifts "Further From Home" through Ligetian webs of sound "Thirsty Lullaby", "Fields Of Everything" and poignant threnodies "Unblinded" , onto sorrowful pop ballads "Far From Home" and lulling ambient scapes "To Love A Rotting Piano", "Plastic Consequence".
Born in Poland and now operating out of the ever-effervescent London, the adoptive city where she's learnt the ropes of music production and Djing, Anii - real name Ania Iwinska - has lived many lives in one. Yet if one thing's remained a constant over the years, no matter the harshness of the obstacles life threw at her, it's indeed a deep and inextinguishable love for music; be it behind the mixing desk at Wired Studios or in her own Shoreditch workroom, the key place where she's kept honing her skills with unfazed diligence, up to the point of making it her actual second home.
Anii lands her debut transmission on Kompakt and surely not the last. Named after the Polish word for 'roots', 'Korzenie' finds Ania threading her way in between subtle deep-house and techno folds, delving into the essential strength of her past and present to carve out an hypnotic maelstrom of traditional Polish music strings, tribal percussions and elegiac melodies. Coupling eerie ostinatos with stealthy bass moves, it's an ode to the magnitude of memory and power of resilience that reels out, blurring the line between late night club environment and further spacious, moony soundscapes.
Be it solo or through a host of multifaceted collaborations, Tejada keeps himself busy on all fronts in and off the club environment, be it by contributing the 44th number in Fabric's seminal mix series, playing drums for Detroit legend Daniel Bell as DBX , testing the limits of acid with Tin Man or joining forces with the hilarious self-proclaimed "disinformationist" Reggie Watts as Wajatta. Since his beginnings and the drop of his debut 12", 'Waxing', released through his own label Palette Recordings over twenty years ago, John has been carving out a lane of his own - combining and assembling elements from all ends of his wide-spanning spectrum of reference in a way that allows a more direct transition from the realm of the mind to the circuits of the machine, as confirmed by the deliberately limited studio setup used in the making of the present album.
Navigating across the lines, from the arrhythmic machine spook of the album's opener 'Autoseek' via the straight out thumping and jacking pulse of 'Hypochondriac' and heavy-lidded breakbeat of 'Sleep Spindle' onto the kosmische-infused vibrations of 'Telemetry', vibrant slo-mo inertia of 'Loss' and wistful club-ready winds of 'Duty Cycle' and 'Heal', John threads his way through genres and tempos with optimal chameleonic effect. Cloaked in a beautiful sleeve art courtesy of John's long time friend Juan Mendez aka Silent Servant - another key contributor to the Los Angeles scene worldwide, based upon a picture by Mark Richards, 'Dead Start Program' draws its title from the analog start up program used to boot an old CDC computer from a dead start and which metaphorically invites in John's own words to figure a "reboot from the challenges life throws at you".
K7 in The result is a peak time monochord banger that takes both producers' extensive expertise in propelling dance floor cuts to new heights. A skilled combination of an with an obscure vintage beatbox of eastern origin, an Oberheim OB8 and a Kunstkopf Mic Instructions mixed on the original Deutsche Grammophon Valve mixer. Recorded between their studios in industrial North London and the rogue outskirts of Berlin, The Dreemas is an electronic cryogenic stasis of two life-long friends in varying states of crisis, conversion and transcendence in the year Two minds and hearts coalesced into an ocean of sound, the groundwork formed with over a decade of instinctive studio sessions, sweat-riddled DJ conferences, and shoulder-to-shoulder dance dos in clubs, pubs and dusty down under doofs.
They've spent endless hours together at the bottom of salty oceans gazing up at alien aquatic life forms. For years they've shared synthesisers across continents, exchanged records, lived together, flown together and bleed together. And at long last they have signed a contract that says they will 'techno together'. The past presents the future, and the future presents the past on this soul-state snapshot of 2 friends encapsulated in the epoch of a 12'.
He's joined by the two latest recruits to the series, both well-established artists in their own right: techno provocateur T. Stripping away even more percussion than on its predecessor, "II" saw Marcus Worgull and Danilo Plessow zooming in on ambience, texture and sonic cohesiveness, allowing "each electronic voice to come into focus" Pitchfork. As one of the album's most highlighted cuts, DSCHUNA gets the royal treatment by Innervisions head and internationally revered selector DIXON who proves his strong command of the dance floor with a hypnotic ride that surrounds the soaring sounds of the original with tribal- esque vocals.
The instrumental version drops the chants, but retains the enchantment, all elegant rhythm and gorgeous strings. JOHN TEJADA carries a reputation as one of North America's most prolific electronic music producers for good reasons: maintaining a steady stream of releases on iconic underground labels as diverse as 7th City, Plug Research, Tigersushi, Playhouse, Areal, Pokerflat Recordings or his own Palette imprint for more than two decades is one, the unabated high quality of his output another. A member of the Kompakt family since the full-length Parabolas', Tejada has continued to fill the crates of demanding selectors worldwide with two more Kompakt albums 's The Predicting Machine' and 's Signs Under Test' and much-acclaimed EPs such as Lakewood Drive' from Music became my savior - the only way to overcome my family's hard times.
I found a soundtrack to my grey life, and suddenly there was color. WHATNESS is Kubikov's first solo full-length under his proper name, weaving airy and iridescent sonic tapestry that takes up where his excellent contributions to our Pop Ambient compilations left off. ANTON KUBIKOV's special ear for ambience and tonal spaces was always an integral part of SCSI-9's musical DNA that would alternate between tight dance workouts and vast melodic range - but it's as a solo artist that he truly started to explore these spaces, following mysterious sonic trails into foggy, reverb-heavy territory.
Kubikov's contributions to the several instalments of our Pop Ambient compilation series announced the arrival of a promising new project in our talent pool - a promise more than satisfied with the immersive sound bath of first solo outing WHATNESS. B side follow-up FLASH POOL seems equally committed to the human voice, deploying its intimate groove whispering upfront, but takes an unexpected turn into psychedelic cowbell territory where feral bleeps roam the lands and hooklines grow in the weirdest of places. Closing cut HEAVEN presents a comparatively straightforward house arc - while still sniffing out some trippy goodness that'll leave your thirst of sonic adventure wholly satisfied.
Berlin's own Marco Haas aka T. These two formative releases elevated the "Schaffel" sound to raw and shameless places we never could have imagined. In an off-chance reunion with Haas in his studio, we learnt about what he'd been doing since the "Monstertruckdriver" days.
On the way out, he passed over his self-titled album - which proceeded to blow our minds. It was mutually decided that it's time for him to return home. It presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. It's perhaps the best recording so far from this man who asks so deeply, so extensively, so much. And at some point even answers. As internationally renowned DJ and producer, UK dance pioneer SASHA doesn't need much of an introduction - he's been busy revamping genre expectations since the late 80s and became famous through a plethora of musical endeavours, from residencies at legendary clubs such as The Hacienda, Shelley's and Renaissance to an era-defining DJ partnership with John Digweed in the 90s or his solo studio efforts that include remixes for The XX, Pet Shop Boys, Foals, GusGus, Madonna and countless other stars.
SASHA's peerless command of dance floor sensibilities is on full display with OUT OF TIME, his stunning debut entry to the Kompakt catalogue: it's a perfectly executed slice of prime time bliss, navigating emotional thrust and propulsive beats with the effortless style that is a hallmark of true champions in the field. Together with a simple, yet effective instrumental verison of the original, it's an well-rounded package that will find its fans all across the electronic spectrum. In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences.
The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP. Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie.
From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum. While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many.
A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP. In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning.
Truth is the prettiest illusion. DJ, musician, former saxophonist - there's a combination of skills you don't get to see too often. Meanwhile, the title cut invests in texture-rich atmosphere without forgetting about the precise amount of momentum you need to tip the floor over the edge. The new outing continues where the first full-length left off, strolling further down the luminous and undulating path that the duo turned into, influenced in equal measures by kosmische, krautrock, minimal wave and synth soundtracks.
Featuring a guest performance from Robbert Van Der Bildt aka Kaap on guitar, it's a telling starting point for the album that - similar to Vermont's self-titled debut - successfully navigates between economic, careful studio arrangements and playful, incidental exploration further pushing into jam session territory. Still, Vermont's synth contraptions remain the album's main attraction, with the extensive array of gear encompassing an entire panopticon of analog bling - from Arp Oddysey and Moog Prodigy to Fender Rhodes, Juno and Prophet, list-studying gear heads will find lots to drool upon.
Continually intriguing, immersive and texturally rich, each one of Vermont's new pieces betray the experience, precision and determination of the producers involved - while opening up Worgull and Plessow'a vocabulary for patient experimentation and subtle discoveries. A musical treat for synth aficionados - and everyone else, if you ask us. It's the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music. An expertly crafted ambient experience from two pioneers at the height of their creativity g standard vinyl version comes with download code of the full album Being pioneers with a new album created in no more than 6 months, THE ORB are bound to be exposed to fan expectations running high, while quizzical questions about little fluffy clouds and the good old times take over.
It's especially jarring as the duo of accomplished soundsmiths Alex Paterson and Thomas Fehlmann has become known for its genre-bending curiosity and surprising sonic detours, exploring experimental soundscapes as well as club-friendly beats. This geographic intimacy and the spontaneity are among the top reasons why we love this album so much.
The spice of our concerts is improvisation - a fertile process that we've brought to the studio, where we operate with very simple rules of engagement in this case "ambient" and go wherever the flow takes us. We're finessing ourselves, sort of, always looking for the next sonic surprise that leaves us rubbing our eyes about how the heck we got there. It's not so much an obscure trope coming full circle as a perfect example for THE ORB's multitimbral approach to sound and meaning - a compelling, immersive journey to diverse places and impressions.
Each track title is a conceptual work in its own right, playing with multiple references, some of which remain highly personal and mysterious. But the greatest feat of THE ORB's latest outing might just be how all this semantic doodling never gets in the way of the actual listening, at all times directly relating the artists' sonic vitality and cheerful nosiness. Chill out world! The latter is no accident, as Rex has become increasingly involved in DIY synth design, building his own modular hardware for studio and live use.
Meanwhile, the flip side shells out a proper rave whacking with industrial-infused banger SHORTWAVE - another relentlessl piece of prime time techno that is as monolithic as it is playful. TOTAL compilation series hardly needs an introduction: we rummage through the Kompakt releases to select our favorites from the past year that reflect our best and unsaid tracks, compiled and packaged as a cohesive whole.
What you have is a dynamic assortment and comprehensive profile of Kompakt's current label portfolio, including both newcomers and veteran producers in peak form. Not one to be pigeonholed, highly respected DJ and producer WILL SAUL has always run the gamut of electronic dance music: from deep house to techno and UK bass, his sets and tracks like to rock the boat of any given genre, taking in contemporary impulses as well as classic inspirations.
As label honcho for iconic imprints like Simple or Aus Music, he further honed his ear for the perfect groove and was invited to bring his expert selection to the revered DJ Kicks mix series in Komon has been a mainstay on Will's Aus Music imprint, with solo releases and regular collaborations with Appleblim. For Kompakt, they turn in a swooping trio of floor-versed cuts that are no strangers to atmosphere and experimentation, but like to keep the crowd in check with outbursts of pressurized funk.
Their debut EP 'Half Age' on Atomnation featured painfully intimate and surprisingly kinetic electronic chamber pop that convinced us they were a perfect fit in Kompakt's family. What you have before you is not a mere collection of tracks, but a complete listening experience with organic flow, emotional heft and a narrative thread. Smitten with WEVAL's uniquely personal and catchy approach to producing dark electronic music, it didn't take much to win us over However, Harm and Merijn's music - while astonishingly fully-formed even in its earliest stages - always seemed destined for more, a bigger format, more space to explore the nooks and crannies of their rapidly evolving sound cosmos.
Simply put, they needed to think about an album and their beloved living room studio wasn't cutting it anymore. An old school building became WEVAL's new home, repurposed to house small creative businesses - but in the summer of , it was abandoned most of the time, with everybody out in the sun while our heroes turned the building's attic into a sweet spot to make some noise, have hour access and lose track of time. And apart from a sketchy tenant being evicted, the occasional soccer game with friends and live gigs across Europe, there really was no interruption to the focussed vibe.
It's not like they were looking for distraction anyway: "working on the album all by ourselves in this bloody hot attic was all we had on our mind", the artists admit. And they decided that their album shouldn't sound too clean: "We try to find the beauty in imperfection. It makes things sound more human". Weval draw their inspirations from no single genre of music but a cumulation of music that inspires them. No doubt about it: this is WEVAL's most powerful and organic material yet - which means a lot, considering the amount of skill already on display in their small, but weighty portfolio.
Sie mussten schlichtweg zum Langspielformat wechseln, und ihr heissgeliebtes Wohnzimmerstudio konnte da nicht mehr mithalten. Mit Studiozugang rund um die Uhr liess es sich bestens die Zeit vergessen. The iridescent quality of these recordings almost appears to be born out of an auditory illusion - with the arrangements seemingly evolving in time lapse and slow motion at the same time. The natural, wholesome flow of the album certainly finds itself influenced by Gibson's recent move to a ft. There've been beatless tracks on many of my albums, but this is the first full-scale ambient album I've done I simply needed to find the right focus.
Three slick, enticing cuts show him comitted to rolling basslines, rising synths and snappy percussion, all embedded in the futuristic sound design Alex has been honing over the course of his career. Unfolding to the backdrop of brooding metallic drones, the title track only needs a handful of carefully processed sounds to tell a highly evocative story - a focussed, geometrical jam that nonetheless allows for freewheeling outbursts of creativity. However, this was only one piece of a psychedelic puzzle, with the full ALPINE trilogy now getting the attention it deserves.
Honing a satisfying punch and mesmerizing melodies, the two producers based out of Milan and New York have already turned in two installments for our Speicher dance couture series, with "Hexagon" Kompakt Extra 83 reaching the coveted 31 chart of Resident Advisor's monthly DJ Top 50 - all the while prepping an equally thrilling live set that feeds off a deep, handcranked groove in collusion with ebullient licks and percussive fervor.
It just has this profound impact on you, seeing a place that you only know bustling with human activity uncovered and naked, realizing to what extent human presence has somehow contaminated that piece of nature. His rework of the bass-laden, atmospheric WE MIX AT SIX is no different, steaming down the sophisticated textures of the original and soaking the resulting concentrate in a stirring bounce. The album saw the duo at the peak of its creativity, indulging in that distinct style of warped miniature epics they've perfected, ever oscillating between ruminant sampling and propulsive jamming.
It's a particularly prolific trajectory leading up to his latest offering TEACHER - which turns out to be a more than fitting addition to SONNS' versatile back catalogue, thanks to its skillful amalgamation of electronic songwriting and floor-oriented beat design. It is certainly not a small feat to have an ambient compilation series running for over a decade and keep it fresh and interesting - especially when the core aesthetic idea is as well-defined as POP AMBIENT's. Pushing for a trance-inducing throb, the BEN WATTS mix is a fitting companion cut, promoting a slightly bouncier approach and seasoning its propulsive beats with tension-building synths for that special whiff of epic broadness.
As founder and co-head of Terranova, he certainly knows where to apply the pressure - resulting in an energetic groover feeding off its thriving percussion and powerful bass injections. This mix wraps up a compelling package full melodic breaks, freaky effects and succinct arrangements ready to shake any punter from its tree house.
It sees the duo embark on a universal journey, departing from the club comfort zone and exploring the deeper shades of world electronica from within. Here, each track is part of a bigger story, accomplishing its role in a vibrant, colourful mix of electronic moods, field recordings, traditional instruments and polyglot vocals - a masterfully crafted and fully intoxicating soundscape unlike any other album debut out there.
Things start off in the most unassuming manner, when opener SHY GRASS lives up to its name and gently introduces a few fleeting chords to what sounds like the recording of casual child banter. The first real bass drum takes its sweet time to hit - and when it does, it does so like the wind caressing your cheek. That's not an accident, but a very deliberate aesthetic choice - the result of what seems like the duo's very own alchemic procedure turning water into wine, and a multitude of disparate folkloric snippets into a blueprint for a unique new kind of ambient-infused dance floor.
A further exploration and expansion of the territory initially marked with the first fulllength "In Technicolor" KOMPAKT CD , the new outing shows the artists commanding their craft with confidence and style - a sonic treat for seasoned connoisseurs and recent scholars alike. Those of you following the TOTAL series already know, we also love to sneak in unreleased material - unheard original music from our core artists and most iconic projects, spiced up with exciting input from some of Kompakt's new inductees.
Title track NAI NAI bum-rushes the stage with prowess, inflicting its bass-heavy demeanor with some funky voice cut-up work that will conciliate the hardcore floor heads with the more casual headbangers. The flipside shines with STATION, a relaxed, somewhat introspective belter giving its epic synth pads enough room to breathe without sabotaging its percussive agency. All in all, this is an impressive calling card putting these fresh talents on the road to worldwide floor domination.
PRIORITY RELEASE Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life.
My father of course did not like it, and it never grace the official cassette deck of the car, obviously" These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer.
German Historical Institute London Bulletin Bd. 38 (2016), Nr. 1
The scenery would change, and so would the mood in the car. From beatless opener and title track to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes.
Fest verankert im robusten Beat-Fundament, liegt hier der Fokus auf der schnittig umformulierten Melodie. Hearing WEVAL's music for the very first time, you might wonder from what geniuses' vault of vintage milestones these sounds have been pulled: the Dutch duo's incredibly catchy arrangements seem perfused by a rarefied pop magic that only a chosen few have truly mastered.
Surely, this must be the work of a wellestablished veteran - or two youngsters so massively talented that it borders on the obscene. Weval's EASIER EP is here to demonstrate that it wasn't an accident, either - with four epic cuts that will haunt you long after you've left the floor. Since its first outing in , Matthew Dear's AUDION guise has predominantly acted as a darker, edgier commentary to the pop-infused house concoctions to be found under the producer's birth name.
A twisted reflection of sorts, it contemplated electronic music through the lens of grime-flecked techno and sinewy funk - resulting in relentless floor-fillers like the aptly named 'Kisses', 'Just Fucking' or 'Mouth To Mouth'. Having established a firm artistic presence in the annals of electronic music through iconic collaborations like Closer Musik or his genre-defying solo work, MATIAS AGUAYO is an artist well known for his deep investment with innovation in club sounds and a keen sense of the varying social context that informs them.
One can safely assume that - besides constant performing and travelling - this makes for a pretty busy schedule. Partial Arts continue their adventure in the borderlands of kraut and disco. On the new 12", she reintroduces her unique brand of battle-hardened, deadpan soulfulness to the searing funk of the reinvigorated project. In any case, this adds much-needed depth to today's dance floors, providing them with a riveting soundtrack for the most intense of prime times.
There's no need for EP closer TOURETTE to hide behind its compatriots, either: it's a full-blown thrill ride in its own right, brimming with jittery sampling, arresting percussion and some pretty rad bassline abrasiveness thrown in for good measure. An unparalleled - and timeless - listening experience. Merging the textural dexterity of the former with the narrative scope of the latter, these new solo tracks from THE ORB's premier fuss-pot put his fine-grained trademark sound back on its feet and reintroduce the Swiss-born producer to club culture's sweaty habitat.
Neo-tribal thriller ride EYE kicks things off swiftly, with variform percussion intercepted by frowningly swelling pads, seriously stirring up the track's seemingly linear structure in the process. A truly headspinning experience, the cut's trajectory reveals a staggering level of detail consummately serving its dense atmosphere, but never getting in the way of the forward propulsion.
Like a heat-tracing laser beam scanning the surroundings for a stubborn escapee, the track hunts down its own loose rhythmic ends and throws them back to the hearth around which it has gathered to speak in tongues and implore the savage gods of the dance. Fehlmann continues his excursions in high-definition percussion ranting with TREE, an equally polynomial beast of a track that starts off with a stumbling downbeat feel, but soon finds its rousing groove, employing it to deadly effect in the course of its 9-minutes-plus running time.
Already a stone-cold classic in all alternate universes, this one knows a thing or two about how to lure its listeners into a false sense of security, only to hit them over their synapses with the slinkiest hi-hat on this side of the credibility gap. While both tracks' names allude to natural phenomena, the producer clearly toys around with reality's parameter settings, triggering that classic Fehlmann paradox where you never really know if you're just listening to a bunch of crickets or the perfect mimicry of an invading paranormal force. Finally Repressed! The Field invites you to a immersive experience that feels as good on the dance floor as it does in private.
Ein perfekter Grund, um endlich mal wieder die beste Tanzmontur aus dem Schrank zu holen. Multi instrumentalist Gregor Schwellenbach took 20 label classics and re-recorded them as chamber music. Comes in a 2xLP mediabook with 44 page booklet. While keeping the emotional impact at the forefront, the extended live version ups the ante and converts the intimate original into a full-blown space opera ready to throw eager dancers for an interstellar loop.
A fierce dancefloor juggernaut, this mean machine will blow many a mind with its edgy sultriness and powerful momentum Since its inception in , each entry in the POP AMBIENT series has included its year of conception in its title, an irony in the fact that many consider the music being timeless in more than one way: a feel-good classic to some, a rigorous experiment to others, POP AMBIENT always has located itself between the poles of habitual listening and sonic curiosity, with the space in-between beats being a way more interesting material than the beat itself.
The result is massively sensual abstraction between harmony and dissonance. Pulling out all the stops for this remix, promises to push him as a major club force to be reckoned with. Delving deeper into his trademark Kraut Techno approach, Barnt replaces the original's thrills with creeping tension and reaches a new understanding of what the prime time should sound like. THE MOLE is well-known for his heavily sampled, organic loopiness having a special place reserved in nearly every DJ's record crate, but this beat-driven. It's not just a case of 'let's put a beat in there and we're done', but a fundamental rework eliciting hidden properties and finding a new perspective on an already perfect slice of music.
A personal favorite of many Kompakt aficionados, 'Baumhaus' finally gets the club treatment it so clearly deserves. Order now. Collecting orders for repress. Kompakt News disponibile solo. Enzo Elia add artist to watchlist Gilli 88 EP. Dj Balduin add artist to watchlist Lost Cat. House Deep Minimal. Rex The Dog add artist to watchlist Vortex. A1: Vortex B1: Elektromekanik. House Electro Nu Disco. House Minimal Techno Minimal. Ethik add artist to watchlist Music For Stock Exchange.
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A1: Made Of Steel. House Minimal Electronica. Thomas Fehlmann add artist to watchlist Los Lagos. Beats Ambient Bass Abstract. Thomas Fehlmann add artist to watchlist Los Lagos 2x12". Techno Minimal Dub. Various Artists add artist to watchlist Total House Minimal Tech Beats Ambient.
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House Tech Techno Electro Techno. Reinhard Voigt add artist to watchlist Apokalypse Mau. Various Artists add artist to watchlist Total 17 2x12". House Deep Minimal Tech. Anton Kubikov add artist to watchlist Whatness.
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