Stevie and I have been playing jazz concerts in 6-tet and 8-tet formations since 2000. We have often performed in special locations such as museums instead of concert halls or clubs. These buildings were not originally built for concert events and have demanding acoustics. This often means: reverberation, echo, reflections. In order to offer the listeners a pleasant listening experience, working on the sound check means taking measures such as: reducing the tempo for certain pieces; or the drums or the whole ensemble has to play softer. Sometimes parts of the repertoire have to be left out entirely.
In 2015, Stevie and I sat together between the sound check and the concert in the Museum Kurhaus in Kleve and considered that we should actually make music that is not designed AGAINST the space, but FOR the special acoustics of such a location. We both have a preference for 20th century compositions and had independently acquired knowledge of electronic music. So we met in 2016, brought our equipment and first compositions together, learned from each other and planned a first duo concert.
From the very beginning, we had the idea of digging into a live dialogue with a different art form. So we performed with visual artists, dancers and graffiti artists. To this day we appreciate this interaction, which influences our improvisations in the performance. But we also regard the room itself in which we play as a counterpart and use the acoustic phenomena that industrial monuments, airport terminals and mining tunnels offer us. We’re constantly learning. Two „milestones“ mark our current point of our journey: the sound installation „EQ“, in which we lead the listeners interactively through the „worlds of electronic music“ and the soundtrack „Contakte#21“ to the film of the same name. On the vinyl record we demonstrate the status of our compositions between electronic and improvised music.
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