this video of a short tape measure kid set from this past winter provides a nice bird’s eye view of me & hellmut at work. it also really captures the kind of rapport and telepathy we’ve built through playing together for seven years. the new record is shaping up nicely!
The Dorf, a huge collective from the German rustbelt that I am a member of, is very proud to announce the official release of our newest records, the twin albums “eviL” and “evyL”, which both document our spring 2014 collaboration with noise rock guitar legend Caspar Brötzmann and honorary Dorf member FM Einheit of Einstürzende Neubauten infamy. We have chosen to spread out six high energy tracks across two releases in two different formats. The CD “eviL” features the band tackling four multi-facetted Jan Klare compositions with our guests, while the vinyl EP “evyL” contains a blistering ensemble version of Brötzmann’s “Massaker” and Klare’s Beethoveen inspired drone epic “5 3/4”.
Both releases are now available for order and/or digital download, along with all of our previous records and an acclaimed documentary film about the band, from our new webshop at Bandcamp:
We hope you enjoy the tunes and would like to thank those of you who came out to share those special nights in Cologne, Duisburg and Dortmund with Caspar and Mufti and all of us! Go pick up the records, there’s some chance you’re on there too 😉
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and here for your home viewing pleasure is a full video of my set at noiseberg the other night (you can still grab the audio at the link in the post below). don’t be alarmed: there are brief rolling blackouts between changes in camera perspective but the audio keeps rolling. thanks a lot to regis at noiseberg for the chance to play & for documenting the show. at first i thought this performance was unfocused but it turns out that it was just mental 😉
in all seriousness, it feels very good to be in a place as an improvisor where the music can go where it wants or needs to go & where things can be expressed that may be more important than my occasionally timid notion of how things have to be. that’s what it’s all about. hope you enjoy it too.
i have been playing a lot again with my friend hellmut neidhardt as tape measure kid over the past eight months or so. we’ve been recording for a new record or two and i have finally also gotten some good live video from concerts, which i will start to put up over the coming months. here is one from this winter that i am very happy with. i love focused improvisation, love idiomatic improvisation just as much as supposed non-idiomatic improvisation, love free improvisation within a band context, with a sort of band sound born of experience & exploration but where you have to start from scratch every time you play. it is challenging & very satisfying. stick with this one till the end, it’s worth it!
& if you haven’t already heard our previous records, go on over to denovali & have a listen:
here’s a beautiful poem by george korein of philadelphia (who is also responsible for my favorite post on a music forum i frequent, a story about confusing a cockatoo training tape with a newly purchased ministry tape, a hilarious mistaken framing double cassette deck mindfuck tale that i will have to quote another time. hope you enjoy the poem as much as i do.
Great music is falling out of our pockets, rolling amidst branded
napkins and fast-food containers.
When the arcade claw crane drops down the uncovered drain, it never
comes up with that great music which is never heard again.
Great music becomes a currency of curios for deaf vermin in the sewers.
Great music is whistled by the tone deaf man who heard a tone deaf man
whistle the tune he heard from the tone deaf man who heard a tone deaf
man whistle the tune he heard from the tone deaf man who heard a tone
deaf man whistle the tune he heard from a tone deaf woman humming “Ode to Joy”.
Great music is played by a man drumming two bladed spatulas into the
makings of a cheese steak on the grill.
Great music is at least 4 hours long and requires exhaustive
explorations of melismatic iterations and invocations upon epithets
until the singer falls asleep.
Good music is at least 20 years old, great music is at least 20 years
into the future.
– George Korein
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here is a nice little live video of a short solo set recorded in late winter 2015 at handstand & moral in leipzig, germany. big thanks to andi from hidden structures & his crew for having me & being such great hosts.
Posted inlive, shows, solo|Comments Off on the preterite: live in leipzig at handstand und moral