Party: CTM 2018 - Unease

Party: CTM 2018 - Unease

Berghain | CTM 2018 - Unease: Cevdet Erek | Hugo Esquinca | Marcus Schmickler | Maximilian Marcoll with AAA---AAA | Okkyung Lee
31. Januar 2018 | Einlass & Beginn: 21:00 h / Doors & Start: 9 pm | Eintritt ab 18 Jahre! / x-rated | Bitte beachtet das Fotografieverbot / Please respect our no-photos policy | Abendkasse / Pay on the door 19 Euro

Info:
http://berghain.berlin/event/2261
https://www.residentadvisor.net/events/1056810

Der Berliner Komponist Maximilian Marcoll präsentiert ein neues, an seine Amproprification-Reihe angelehntes Werk. In dieser Reihe unterzieht Marcoll Stücke anderer Komponist*innen mithilfe einer computergesteuerten und extrem schnellen Laustärkenmanipulation einer radikalen Transformation. Das musikalische Ausgangsmaterial für das neue Stück „H A C K“ liefert die Live-Performance des E-Gitarrenduos AAA---AAA. Zwischen zwei Verstärkerwänden positioniert finden sich Musiker und Publikum im Zentrum eines mit psychoakustischen Effekten operierenden klanglichen Aufruhrs, der entsteht, wenn die zähen Schichten der Gitarrendrones durch den Computer rabiat zerhackt werden. Auch die Avantgarde-Cellistin Okkyung Lee sucht nach einer musikalischen Wandlung von Unruhe und Unbehagen durch ihr expressives Vokabular erweiterten Spieltechniken. Ihre Inspiration zieht sie aus einer Mischung aus extremem Noise, Jazz, westlicher Klassik und traditioneller koreanischer Musik. Der türkische Schlagzeuger und Konzeptkünstler Cevdet Erek präsentiert sein auf Subtext erschienenes Debütalbum Davul mit einem Soloauftritt im Berghain. Bei seinen Auftritten spielt er eine große, in der Türkei unter dem Namen Davul bekannte Trommel, wobei er selbstentwickelte, idiosynkratrische Methoden verwendet, um die Klangtexturen des Instruments zu maximieren.

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Berlin composer, sound artist, and performer Maximilian Marcoll will present “H A C K”, a new work closely modelled on procedures developed in his “Amproprification” series, which takes works of other composers and transforms them using computer-controlled, lightning-speed volume manipulation. The piece features the electric guitar duo AAA—AAA. Both the musicians and the audience will be situated between two walls of amplifiers and thereby subject to powerful aural and psychoacoustic turmoil as the guitar’s cascading drones are violently “hacked.” Turkish drummer and conceptual artist Cevdet Erek will give a solo performance in association with the release of his first full-length LP, Davul, on Subtext. In his performances, Erek plays a large drum known in Turkey as the davul, using an individually developed, idiosyncratic method that maximizes the textural profile of the sound. Erek’s improvisations reference the tradition of shamanic healing rituals as well – in his own words, he plays “to get the negative and aggressive away from inside of me, hoping that I could do the same for the other people surrounding me.” His CTM performance will act as a special ongoing exploration of the sonic and improvisational territories laid out in Davul. Prolific avant-garde cellist Okkyung Lee’s expressive vocabulary is made up of self-designed and well-honed extended techniques, and draws from extreme noise, jazz, Western classical, and traditional Korean music. Hugo Esquinca will create a special site-specific piece for Berghain, calibrating his system to the cavernous venue’s resonant frequencies. Titled "Study of (In)operable Rigour," his performance is a stress test of the audience’s and Berghain’s sonic limits through feedback between spatial resonance, the venue’s sound system, and Esquinca’s own programmed musical disturbances and glitches. Marcus Schmickler co-opts a public domain algorithm used to model gravity as a tool for sonification. When dealing with large systems such as a model of the collision of galaxies, the auditory domain has certain limits. While it’s hardly possible to listen to billions of objects at once, it’s arguably possible to visualise them. “Particle/Matter-Wave/Energy” explores the borders of a scientific universality of sonification towards something that becomes a singular experience – sound. Simultaneously, Schmickler also points to communication gaps between human and machine worlds; while machines can interpret complex algorithms at increasingly high resolutions, the realities that they create ultimately exceed the realm of human perception, comprehension, and/or enjoyment.

http://www.ctm-festival.de/