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Listed in genres:
· Electronica, Ambient
· Industrial, Noise, Power Electronics
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Notes:
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Bernhard Schreiner presents on his debut-CD a live-recording from the 29. August 2003 at Hörbar, Hamburg and two studiotracks.
first edition, 300 copies.
Tracks:
#1
#2
#3
#4
#5
#6
11'33
low-guitar-code
’Low-guitar-code’- to begin at the end-explores guitar samples through the optics of different filters, and thereby sketches the spatial and temporal refractions, as well as the different spectral reflections that the material emit in the light of the repeated, microscopic analysis. ‘11'33"’, in comparison, explores a species of corpuscular sounds that live close to the edge of noise and repeatedly break into the composition when the acoustic camera crosses the line between noise and sound.
In contrast to this studio work, in his live performances Schreiner uses a reduced equipment, forgoing computers, samplers and other sound-reproducing tools. The setup consists essentially of a virtual analogue sound generator that is controlled by internal sequencers as well as directly, i.e., manually, through regulators. An analogue filter, a delay and a mixer are then added to this supposed core as peripherals. But on the one hand their output is partially fed back into the sound generator and on the other hand these elements lose the character of mere subordinated sound processing tools by self-oscillation, feedback and saturation effects.
In so doing, Schreiner allows the established sequential orders to interact on a chance basis, whereby an unstable game between controlled and chaotically self-organised parameters develops in which new situations of switches between comprehensible and incomprehensible orders continually arise. Particularly in the case of rhythm, expansions of something one can just about hear as rhythmical, often develop. The musical tension in this basic material is further charged through the synchronicity of extremes - extremely loud and soft, high and low, fast and slow, extremes that - analogous to the limits of the rhythmic - further exhaust the range of other musical parameters and shape a music that oscillates in the realm of the physically audible, thereby drawing images of movements that we hear."
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