[Microsound-announce] JOHN WIESE (Sissy Soacek, Sunn o))), Bastard Noise) live

Yves@GMX yves_tk at gmx.net
Sun Jan 13 05:00:27 EST 2008


Di. 15.01.2008

doors: 20.00h, first concert: 21.00h

aufabwegen presents:
<<<geraeuschwelten>>>

JOHN WIESE
(Hollywood, Teenage Noize Angst, see: Sunn O))), Wolf Eyes, Yellow Swans,
Bastard Noise)
&
Paul Devens
(NL, Noise compositions & real time live video)
&
DJ Kim Laugs
(NL, audioscoop Maastricht)

studio 672 @ Stadtgarten
Venloer Str. 40, 50672 Koeln
http://www.geraeuschwelten.de

Mit John Wiese kommt ein junger unerschrockener Laptop-Noise-Künstler ins
Studio672 des Kölner Stadtgartens, der zur Zeit wie kaum ein anderer Musiker
der Szene als Kollaborator und Remixer gefragt ist. So hat Wiese in den
letzten zwei Jahren unter anderem mit Sunn O))), Merzbow, Burning Star Core
und sogar mit dem Alt-Free-Jazzer Evan Parker zusammengearbeitet. Er wird
ultra-geschredderte Noize-Collagen präsentieren. Ebenfalls zu Gast in einer
Köln Premiere ist der niederländische Elektronik-Komponist Paul Devens, der
Lärm und Vehemenz als kompositorische Stilmittel einsetzt und seine
Klangarbeit eng an live entstehende Bildwelten knüpft. Eingerahmt wird der
Abend von einem DJ-Programm des Kuratoren Kim Laugs, der in Maastricht die
audiscoop-Konzertreihe veranstaltet.


Informationen

John Wiese

John Wiese is a solo artist and serial collaborator from Los Angeles,
California. His ongoing projects include LHD and Sissy Spacek, with plenty
of freelance work with many artists as diverse as Sunn O))), Wolf Eyes,
Merzbow, Dave Phillips, Smegma, Kevin Drumm, Cattle Decapitation, and C.
Spencer Yeh (Burning Star Core). He has toured extensively throughout the
world, covering Europe, Scandinavia and
Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a
tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the
United States alongside Wolf Eyes, and recently performed in the 52nd Venice
Biennale with artist Nico Vascellari. More information can be found at
www.john-wiese.com.


Tours
• John Wiese — Scandinavia/Germany, January 2008
• John Wiese & C. Spencer Yeh — East Coast, October 2007
• Free Noise (Tentet: Evan Parker/C. Spencer Yeh/John Wiese/+7) — UK,
April–May 2007
• Sunn O))) (Anderson, O'Malley, TOS, Wiese) — Europe & Scandinavia,
March–April 2005
• Sunn O))) (Anderson, O'Malley, Ritter, Wiese) — Australia, March 2005
• John Wiese — East Coast, February 2005
• BN (Nelson, Wiese, Wood) — Japan, December 2004
• Wiese & Koh — Japan, April 2003
• John Wiese — Europe, June 2002

Major Festivals
• Dissonanze — Rome, Italy, May 2008
• All Ears — Olso, Norway, January 2008
• Interface — Berlin, Germany, September 2007
• Colour Out Of Space — Brighton, UK, September 2007
• Venice Biennale — Venice, Italy, June 2007
• No Fun — Brooklyn, New York, May 2007
• Triptych — Glasgow, Scotland, April 2007
• Sonic Circuits — Washington, DC, October 2006
• No Fun — Brooklyn, New York, March 2006
• Wooden Octopus Skull — Seattle, Washington, September 2005
• Endtimes — St. Paul, MN, April 2005
• Roadburn — Tilburg, Holland, April 2005
• Domino — Brussels, Belgium, April 2005
• Inferno — Oslo, Norway, March 2005
• What Is Music? — Australia, March 2005
• Bowels Of Noise Vol. 7 — Tokyo, Japan, December 2004
• SFHN — San Francisco, California, August 2004
• Beyond Music — Venice, California, August 2003

Select Recent Discography
• John Wiese "Soft Punk" LP/CD (Troubleman Unlimited)
• John Wiese "Magical Crystal Blah" CD (Helicopter)
• Wolf Eyes & John Wiese "Equinox" CD (Troniks)
• Pain Jerk & John Wiese "Terrazzo" CD (Harbinger Sound, UK)
• Merzbow & John Wiese "Multiplication" CD (Misanthropic Agenda)
• LHD "Limbs Of The Fawn" CD (Misanthropic Agenda)
• Sissy Spacek "Devils Cone And Palm" CD (Misanthropic Agenda)
• Sissy Spacek "Scissors" LP/CD (Misanthropic Agenda)
• Sunn O))) "Black One" 2xLP/CD (Southern Lord)
• Sunn O)))/ Earth split LP (Southern Lord)

Paul Devens

The work of Paul Devens (Netherlands, 1965) commonly commits itself with
public life. By “quoting” or even literally “sampling” and reinterpreting
subjects from an industrialized and western reality, Devens issues the
well-accepted conceptions behind it. This research embeds in the
contemporary developed digitized culture that also characterizes the work
consequently. Sound works, video installations and other inter-disciplinary
productions processes this research.
The performances are live acts or concerts, based on computer generated
sounds, recordings and improvisations. These compositions are often based
upon musical figures taken from commercial pop music. By reinventing the
sounds and the aesthetics we are used to, the attempt is to remove them from
the symbolical and rhetorical clichés they are normally associated with.
Paul Devens studied at the ABK and the Jan van Eyck Academy in Maastricht.
His work has been installed, performed and screened at: le Magasin, Grenoble
(France, 1994), LU, Nantes (France, 2000), Confort Moderne, Poitiers
(France, 2001), Museum Z33, Hasselt (Belgium, 2002), Neuer Aachener
Kunstverein (Germany, 2003) Marres, Maastricht (2000 & 2003), Ctrl_Alt_Del,
Istanbul (2003, 2005, 2007), Pause / Oboro Gallery, Montreal (2004) and
OCA/ISP Oslo (2004), Love City, Tallinn, Salzburg, Maastricht (2006),
Experimental Intermedia, New York (2006). SoundSouvenirs, Intro Maastricht,
Het Domein Sittard (2007), Laptopia#4, Tel Aviv (2007).

www.pauldevens.com

Some examples from earlier works:
Testing Ground, 2006, Zaal (KC) België, Hasselt, Belgium
Testing Ground is a model, issuing the relation between concepts of
architecture, acoustics and sound. The setup is remotely similar to a pop
concert-situation, the way the audience is regarded as a standing group of
people. Only this time, there’s not one focus (to a performing band, for
instance), but several undefined ones.First, the audience enters a space of
around 80 square meters. Two rails, consisting of 3 loudspeakers each, are
supported by tripods. These speakers are aimed towards the ceiling from
above ear level. This way, the mid- and high pitched sounds are audible as a
reflection against the ceiling. The electro-acoustic music is composed on a
virtual modular system, designed to play eight different looping electronic
sound bits. Each sound is assigned to one of the six high-power speakers
through a programmed sequencer; the ‘route’ each individual sound-bit
follows from speaker to speaker into space, is predetermined in the program
this way. Except from the fact the music is a time based composition, the
audience is able to hear different emphasis on rhythm and colour by walking
around or choosing other standing positions. During the twenty minutes of
this time-based installation the room changes; the ceiling drops very slowly
from four- to two meters. The reflections of sounds changes, the acoustic
behaviour of the space changes, and the individual space of each person in
the audience changes as well.
On The Edge Of The Park, 2006 / 2007sound composition for the exhibition:
“The man who fell to earth”, CareOf, Milan
03’59” DVD dolby surround
“On the edge of the park” is a high-energy sound composition for five
speakers and one subwoofer. Besides the absence of images, it relates to a
great extent to cinematic sound-design: played on a high volume, it aims at
a specific emotional impact, which could be seen in the contemporary
tradition of spectacular films and its effects. As a consequence, we are
receptive because of its embedment in the common awareness of western
culture. At a distance, even a more specific relation to cinema could be
seen; the title is partly taken from the film: “The House on the Edge of the
Park” (“La Casa sperduta nel parco”) of the Italian filmmaker Ruggero
Deodato. This controversial film seems to issue its position in the public-
and ruling moral and the dictating role of mass media; even as a reaction
against these institutions, it makes its controversiality exclusively
dependent to it and play the market from there. Thus, a maybe elementary
difference shows here too; European cinema against Hollywood, which conforms
much more in line with the ruling moral and to commercial success. Another
lead from the title comes from “..on the edge..”. This resonates with the
outsider-position; usually the position of the criticaster / artist. You
could say being on ‘the edge’ is the only position where art really means
something. “..the park..”, of course, is a soothing enclave of relative
oblivion.. The sound composition “On the Edge of the Park” researches the
relation of ‘spectacular aesthetics’ with actual content by using a DIY
strategy to gain independency and authenticity and accordingly, to create an
alternative reality.

-----------------
a u f a b w e g e n
p.o.box 100152
50441 cologne
germany
http://www.aufabwegen.com
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