1. could you just tell
us how you came to work with sound and if
you have been involved
in any other musical projects previous to DSM?
Guido Hübner: My
childhood and youth had been completly visualy dominant. I got into curses
for drawing, painting and the like from about 6 years on. When being around
16/17 I had a periode in that I started to create small installations in
cardboard boxes with peep holes. In that boxes I integrated sounds from
small cassettes recordes the like every one had in the kitchen. I menaged
somehow to connect a cable directly to the tape head and used modeltrain
transformators and small motors as kind of oscilator. By the strong impedance
resulting from this connection I not even had need for a distortion pedal,
but would likely have needed 3 dolby NR’s in series.
Later on I had a cassette
deck to which I could connect a microphone on one channel and a line signal
on the other. I used to mix by varying the distance of half a dozen or
so cassette recorders with integrated speaker to the microphone. A very
gestual approach, very much painterly. Few times later on I bought a Revox
open reel mashine that served me until in ’86 I sold it (and many more)
in order to move to Barcelona with Isabelle Chemin whith who I worked with
since several years.
I had been in relative ignorance
to any music till that very moment I started hassle myself with sounds
for that boxes, only coming across what runed in the radio or the rock’n
roll and swing music my parents used to hear and to which I felt more connected
to than anything my classmates used to listen to. Then there had been punk
and I went to a couple of concerts with a friend and discovered a completly
different world also the music meant little to me. Evidently I went into
the import recordshops and not only come across more interesting music,
but people as well. At the time there had been a cassette only label in
Berlin. The only one I ever heared of (in fact there had been two as far
as I remember) and I got and accepted the offer to create a release for
them. Something I never thought of. I mean I never considered this «
sounndtracks » apart from the work they resulted out and had quite
some difficulty with that idea. Naively I couldn’t imagine any sense to
get out of that isolated part until on a sudden it made some for me. My
own idea of « music » was still something with a continouse
beat, a melody and someone shouting on top of it. Something my own «
soundworks » had been quite far from, but that I also never before
considered as such.
Then my education in that
field had been rather fast since the release of this first cassette and
an imediate offer from another label for another one. I meet people involved
in the underground experimental music of TG and everything that followed
and at the same time learned from others about the contemporary (classic)
music. Living in Berlin in that time gave me the occasion to see SPK one
day and Xenakis the next. This has been an important support and I suppose
I still profit from this situation.
I never had any other music
project before, but dealed occasionaly in parallel with other people and
gruops.
2. how does the components of your latest album 'Some Conceptual Obligations..' relate to each other (the text + the www-links + the CD) are they to be combined into a narrative where the different components illustrate each other for example?
Guido Hübner: The
compositions had been created during some 1 ½ year. Everything was
done only by myself unlike other releases with sounds provided by Isabelle
Chemin. I posted a CD-R of the result to Jean René Lassalle. We
work together since some 15 years. He wrote a lot of texts for our releases
and moreover for our performances and has a couple of his works on our
sites.
He came up with the text
on the cover and on the site that, as I feel has the same mode of rupture
and nonlinearity, maybe fragmentation that I feel important to my compositions
and his text is evocative, but never works as an illustration nor telling
a plain linear narrative. I personaly have an allergy towards the idea
of a cinematic mode of visulisation (also merely mental) caused by the
music/sound just because some might feel that the music alone is not enough.
It seems to be a general consensus (also accepted amongst musicans) that
music has to have a function beyond being music and that this is visualy
concrete and narratively linear/causal in a cinetic sense. For me it is
already enough to struggle with the social implication of music (even I
play 9 out of 10 times at fridays or saturdays evenings, hence being part
of the leisure entertainment business with all it’s implications). My soundworld
has certainly developed to more and more abstract sounds, because of people
cannot listen to a repetative short soundevent with a slight modulation
and a slight reverb without projecting the image of a dropping pipe. Also
nearly all my sounds are from acoustic sources I treat them voluntary to
a state were there origin is unrecognizeable.
The website had been done
at last (overtaking parts of the coverdesign), mostly providing another
approach on how the different elements of this work can be presented and
read. By it’s more imposed imagery it could be even more illustrative as
what I consider is already a permanent threat on the coverwork. A threat
that I desperately tried to avoided by using exclusively graphic elements
with the exception of the fishegg on the CD itself, which sweeped from
the site on the CD . It had been used by reason of its quality as being
not much more for us then a black shape, knowing about it’s origin only
places it even more far away. It’s a bit of a tricky retroaction giving
the impression that the shape contains something that is not only the shape
(which is true but has no relevance in the given context).
By this gesture the set
returns to the text that shares it’s concern for form with the music, but
not transcribe its contents into a ticket for another territory. Every
expression creates and engulfs it’s own matter.
Jean-René Lassalle:
I think the music - it comes first, here for the CD - the www-extension
and the texts relate to each other because we do things in parallel directions,
with similar ideas about composition, and for a common project. On another
hand each work exists separately too.
Associations are let free,
there is neither an illustration nor a narrative. I transformed my texts
listening to the music, and I hope to bring with
them some small things which
are not in - could complete? - the music, but not necessarily. In words
I like to deal with memories, dreams,
emotions, a „dance of thought“.
I feel I work on texts a bit like Guido works on sounds and Isabelle on
forms/pictures: complexity, transformations, ruptures, abstraction, multiple
points of view, conceptualization, random parts, concreteness of the elements
of the medium (for me: words), etc
Isabelle Chemin: :The
relation between the text and the site issues from one priority expressed
by the author Jean-René Lassalle: « I want people to read
this text in a loop ». It was very important to have this possibility
to read again and again through the text, to enter the words’composition
in different (?alternative) ways.
For the conception of the
visual part, I decide to create a visual loop in a likely manner. I proposed
some key words , picked from the text, that can be selected at each position
of the loop when people rest with the mouse on one position.
Creating a loop was not
intended to mean to construct a slow and boring environment. Therefore
I decided to illustrate the loop with a sort of little, strange (?odd)
form running through the text like the sounds and the words are running
in my mind. It's not something meant to identify, only the dynamic of the
shapes was determinant at each position.
G.H:"I personaly have
an allergy towards the idea of a cinematic mode of visulisation (also
merely mental) caused by the music/sound just
because some might
feel that the music alone is not enough. It seems to be a general consensus
(also accepted amongst musicans) that music has to have a function
beyond being music and that this is visualy concrete and narratively linear/causal
in a cinetic sense."
This is interesting, the eternal problem with live electronic music is that it's often so *boring* to watch, so some people add a video backdrop to their music without considering the sound/visual relationship that it creates, how do you deal with this in concert?
I have years of creation
of performances with Isabelle Chemin behind me. This discipline generaly
allows to develop every element : visualy, audio or other in space or in
time in complementation and usefull relation with each other. At least
this is the way it should be also many practical constraints can become
obstacle to that ideal. Since some 3 years now I do nothing, but music
and it wouldn’t occure to me to add anything to it and especialy not for
the sake of distraction. It seems obviouse that with music everywere were
we go and with very clear intention behind its massive diffusion the capacity
to listen and to listen for the only pleasure of doing so, or better being
aware of a possible pleasure in such a specificaly isolated activity is
difficult to maintain 1*.
It seems to me that art,
culture is viewed now as a ready to consume plus to the everyday life not
something inherent and necessary to it. It has become a kind of mental
tourism to oppose the ordinary, common, mondane and the less supportable
this gets the more dissimulating sensation and spectacle are in demand.
Senses have become so saturated that not even serial killers can satisfy
the audience anymore. The question the artist faces is if he wants to play
the game or if there are other priorities, higher ranking matter to his
creation that count more then just spending a good time 2*. I believe the
creator has to be exigent and the more he is to himselfs the more he can
be to his audience. It has to be defended that effort is mutual in order
to get out the most of a work and that’s not done by simply adding unessential
extras to it. What we are heading for can’t be advertised at least not
through illustrative imagery. One has to be distinguished and demanding
a discriminating audience. Were this is possible it can become an experience
otherwise it is nothing but a job.
Anyway I expect that with
the quantity of efforts done of fusing sound and image, driven by what
ever intention, there should be the one or other creation were the both
are complementing and work out well. I can’t remember anything recent,
but vaguely do i.e. an Antigroup « concert » a couple of lifetimes
ago with nothing but tv sets on stage feeded with different videos of fire
in saturated colors with a vertical mirror split. This was intense and
far beyound being mere decoration and therfor left its trace. So, I won’t
pretend the fusion could never be satisfying, but I wouldn’t go for it
as a possibility if I couldn’t be sure that both can attain the audience
attention with similar concentration. Of course one could do music less
demanding, but that’s not what I’m looking for.
G.H: "For me it is already enough to struggle with the social implication of music (even I play 9 out of 10 times at fridays or saturdays evenings, hence being part of the leisure entertainment business with all it’s implications"...
How do you mean, have you been 'forced' to play in front of drunken friday night crowds? (there was an interesting discussion about a similar problem on the 'microsound'e-list some months ago where it was revealed that many people seem to expect some kind of 'performance' when they go to a concert and some get provoked when all they get is someone sitting behind a powerbook staring at the screen the whole show.)
Guess the answer is already
partialy present in the former paragraph. We played in pubs and squats
in theaters and contemporary art galleries and museums and had the same
show in front of most opposite audiences in one day interval. Anyway what
can causes difficulties is that one is supposed to be there for the same
reason then anyone else. Space, locality turns to instantly perceiveable
conformity of its users to pretend difference to other spaces. Clubs as
museums are like supermarkets, they all have the same produce only the
shelfs are differently arranged. This situation creates expectations and
we are not necessaraly present nor motivated to satisfy them. The demand
for sensation, ceremony, celebration is excessively growing and at the
same time it has to remain in established forms to be recognized as such
and we feel we have little if any concern with all that, are there for
a completly different « mission ».
The one wants red curtain
and musicians in tuxedos the other needs the sweat and smashed amps, desires
easy to meet and that’s at least something one can talk about till the
next weekend. All this opposed reasons to be present can create interesting,
ideed intensive tensions, but I’m not interested in such confrontation
and certainly not if it starts dominating the situation.
However, are concerts in
that visualy nothing is going on (thus like concerts of electro-acoustic
music since 40-50 years, in which there’s little more than a spot on the
surrounding speakers) meant to be an escape for todays electronic musicians
or is it meant as a provocation, or anything else ? Apparently there’s
little difference between someone lifting a fader on an old analoge synthesizer
or someone dragging a mouse. At least a recently attended Mazk concert
appeared visualy close to one of Esplendor Geometrico more then 15 years
ago, merely watching feets tapping beats. So what’s going on ? Are thus
labtop shows opposing expectations or are they just going the easy way
(at least I haven’t heared anything musicaly exciting in that direction
and this could become an argument). Or is there a change in the audience
going on for what reason they attend a concert. Maybe it’s only that noise,
electronic or what ever term to be coined has become so commen, but also
preconceived that an audience joins in that comes through noise via commercialy
acceptable and prepact versions framed by a steady off-beat and accompained
by a 365 days a year halloween fanatic.
For my own recent experience
I have to say that the situation is occasionaly difficult to menage, but
this has nothing to do with the equipment used or the way to deal with
it. It’s more that sometimes there is already so much noise in a space
we feel we have nothing to add. On the other hand our compositions are
of so fast dynamic variation and successive alternations of moods, strong
peaks and sustained silences that attending people often witness to us
to be baffled, even stressed by being keeped in prolonged tention because
they can’t get hold of a significant characteristic other then its immediate
disappearance. It’s somehow unconfortable and attracting the same time.
With the right P.A. this can become very physicaly, maybe is performance
enough or makes one obsolete, maybe even turn the spectator into the performer.
However, no one ever asked us why we don’t jump on our equipment or burn
our CD-R’s on stage. We even played several times from behind the audience,
thus right in front of the speakers the same way like them and it seemed
nobody missed us neither a projected artefact of ourselfs. 3*
I strongly believe that
listening can become a kind of performance, meaning a purposeful, very
singular act and thus an rewarded experience. But this needs a context
that can’t be established everywere at anytime and against all odds. To
me it seems that an accord is necessary between the opposed parties of
musician and audience that allows to isolate the event from preceeding
ones. A bit of cleaning the head out seems necessary before that can be
established. That this isn’t all the time possible is not only a problem
with the audience, it’s also a problem of the organisation. Dispite their
most welcome intention one can not expect they are able to anticipate the
particularities of every group they invite and even if they could they
have to deal with to many contrains as well.
We in any case have many
good souvenirs and concerts are a good way to meet and exchange ideas and
opinions with very different people. Some that already know you, other
that never have heared anything even only close to it. I won’t miss that.
G.H: "My soundworld has certainly developed to more and more abstract sounds, because of people cannot listen to a repetative short soundevent with a slight modulation and a slight reverb without projecting the image of a dropping pipe. Also nearly all my sounds are from acoustic sources I treat them voluntary to a state were there origin is unrecognizeable."
This brings to mind the collaboration CD 'Geosynclines' that you did together with ERG(j.ronsen, m.northam) and MSBR(koji tano); it evidently has a very distinct 'DSM-sound' to it, and i've heard that ERG wasn't pleased with their contributions being processed beyond recognintion, do you have something to say about this?
Finaly we are talking
music ? ? ? The story is that I got the material of ERG and MSBR that they
already processed mutualy. I have done 2 pieces with ERG before that will
be soon published on a CD with other collaborations. Michael let Koji listen
to a copy and they agreed it would be interesting if I alone would carry
out the final composition. Such a decision of course implies a certain
tolerance. It will never become what you expect. To be precise I haven’t
done that much treatment on the sounds, but getting in fact 2 different
kinds of relatively static sounds, distinct mostly by the huge difference
of volume and intensity, I mostly had to face the problem of sounds simply
masking or dissolving in each other. Thus I used a lot of equalisation
and bandpass filters of getting only the material out of a sound that functions
well with the others and eliminated everything else. That often resulted
in flat dynamics thus I processed them as well and occasionaly used spatial
enhancers to place sounds in different distances. What so ever, my use
of cut & paste is certainly what shapes things most and is certainly
opposed to what ERG and MSBR are recognized for.
It’s not so much an actual
processing of a sounds as when adding delays or modulations to a sound,
but i. e. just fading in a sound that had a straight atack before can make
it completly unrecognizeable also every other parameter remains untouched.
What was interesting was
that also they couldn’t hear all steps towards the final pieces we had
communicated quite a quantity of emails in which I told how things go and
alredy when receiving the proposition I told what I was interested to do.
What now has become the « distinct DSM sound » realy depends
more on the way I carry out composition as what the actual inividual sound
sounds like. In collaborations with Toy Bizarre and RLW as well as one
with Artificial Memory Trace on the above mentioned series of collaborations
I have done nearly nothing on the actual sounds. It’s all in the spliceing
and arranging of the fragmented material. There are very view moments were
there are no ruptures and then there are at least some slower alternations
going on. I also like to use silences, not so much as quieteness, but as
dense counterpoint, a charged, heavy silence. If I believe the reviews,
all this has through the years become kind of a trademark to DSM. A degree
of complexity in the composition is essential to me. I like to listen and
relisten pieces on which I still discover things after many times. I like
surprises, a certain discontinuity, unpredictable changes, etc. Many music
I hear out of our circuit leaves me disapointed mostly because the compositions
are so poor. All concentration is on the sound, but it’s understood after
very view listenings and becomes quickly tireing and uninteresting.
On the said CD with collaboration
are works with ERG, The Oval Language and Artificial Memory Trace and I
wish to continue with Toy Bizarre, the people of THU 20 and others. Let’s
hear what they will have to tell.
What are your current projects, any new releases coming up?
There had been pieces on
compilations by Kein Babel/Artefakt (Berlin) and the one accompaining the
Elektnoiz journal N°4 by MSBR Rec. (Tokyo). A third one is supposed
to be published on a compilation by Erratum Musicale (Strasbourg). The
three create a kind of tryptich. Another piece will be on a compilation
by Harbinger Sound (Nottingham).
There’s a ‘8 inch on Spite
Records (USA) coming out and I’m loking for a label for the CD of collaborations,
I continue the series of works on processed acoustic instruments started
with the single « drum » on Povertech with a pieces on trombone
and work on a piece entitled « the CD-player in my life » for
Piano, Saxophone, Violine, Accordeon and a CD-player for each instrumentalist
to be presented by the Zeitkratzer Ensemble in june and we will play in
Berlin in may and Barcelona in july.
1* How often you got told that this or that music is very suitable to do or to accompain this or that other activity ? Indeed some record titles already encourage such a perception.
2* Michael Northam once told me that he beliefes that the highest ranking motivation for doing music amongst people he know (when living back in Austin) is to impress their friends.
3* It’s not that I conceive the music I do the way it is for gathering this kind of effect, it’s just the way I like it and the way it makes sense to me and obtaining this effects this way is very satisfying. Of course especialy for concerts we experiment with intensities, orders and duration of pieces and try in that way to direct a certain way to perceive our work, but I believe we would rather let a piece besides then to sacrafice it. Certain pieces simply won’t work out live.
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