The collaboration with the painter/object artist/counter-reformer Wolfgang Petrick has led to a new sound work this year. On the occasion of his exhibition Turbulence at the Kunsthalle Osnabrück (and in 2013 in Sindelfingen), we created a video installation to accompany his huge object installation. We: this is Wolfgang Petrick, the performance artist Frédéric Krauke for video and editing, the performer Katie Dunbar and me for the music and sound design.
Here is a photo of the object in the exhibition with the screen and additional headphones (for the sound system for the object)
Here is a short summary of the 45-minute video as an appetizer:
A short info about the music and the instruments I used:
I used the Radical Technologies Spectralis II for the first time for the percussion instruments in the first part of the video (workshop situation). The individual percussion sequences of the percussion instruments have a different number of beats, so that rythmical shifts appear, which are important to me; in addition, the volumes and spatial depths of the individual instruments are adapted to the video and are constantly changing.
Here is a video from the manufacturer that shows why I chose the Radical instrument device, even though I avoid creamy pleasingness in my work.
The saxophone melody lines are played with the Korg Karma. I tried to play minimalistically in the style of Philip Glass, but more freely, in order to give the whole thing a strange intermediate life touch between minimalism and free jazz. To create small breaks in the lines, I also interrupted the Korg Karma engine with the Spectralis II while playing.
The cutscene for part 2 (text inserts and final credits) is my first glitch piece (Clicks and Cuts) made from ship sounds and generated with the very experimental software Audiomulch, mainly through extreme granularization and random processes. The Audiomulch setup had become extremely complex. It seems to me that the generation of sound gaps is almost more complex than the sound generation itself.
The second part (Amazonas in Berlin) is a sound collage of underwater and overwater noises. This is not as simple as it sounds, the sounds are massively processed, partly granulated with Native Instruments Reaktor and alienated with a modified effect instrument from Jazzyspoon on Reaktor.
Overall mixes with Propellerhead Reason
Production time approx. 5 weeks in August/September 2012