[spectre] RUSSELL HASWELL + PAINJERK / RASHAD BECKER / Jan 7 2015
info at nkprojekt.de
Wed Dec 31 18:00:07 CET 2014
*Sorry for X-postings!
*Wednesday Jan 7th 2015 Doors 19:30 Concert 20:30*
*RUSSELL HASWELL + PAINJERK / RASHAD BECKER *
*Elsenstr. 52 2.HH 2.Etage*
*More info: http://nkprojekt.de*
*Russell Haswell* is a restlessly forward-thinking, multi-disciplinary
artist, performer and curator born in Coventry and currently based in
Suffolk, England. With a background steeped in computer music, black
metal, noise, techno, free-stye and solo improvisation, his practice is
renowned for broaching the extremities of visual and sonic arts. He’s
performed in noted live and HDJ [hard disc jockey] actions with Aphex
Twin, Gescom, Pan Sonic and Masami Akita (Merzbow), among others, and
worked with Florian Hecker on Iannis Xenakis’ UPIC system in their
Haswell & Hecker duo, whose ‘Blackest Ever Black’ (Warner Classics) LP
is widely considered a milestone of modern electronic music composition.
Russell’s recorded work has also been published by a wide number of
esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage
1997 – 2000′ (Honorable Mention, Digital Music’s, Prix Ars Electronica)
for Editions Mego, but also for Warp, Downwards, and his OR label, home
to world’s first MiniDisc release. Most recently Russell collaborated
with Regis as Concrete Fence on the combustible ‘New Release’ EP for PAN
Records, and is currently prepping a forthcoming release for Powell’s
Diagonal Records and a forthcoming “hyper edit” collaboration with PAIN
*PAINJERK* is one-man sonic project runs by Kohei Gomi (b.1963).
Gomi began home-recordings of the experiment of the sound in the mid-80s
when Tascam (Teac) just released 4 multi-tracks cassette recorder called
“Porta One Studio” for the beginers of home-recording. He mixed
influence of the punk art (and primitives) and influence of method of
psychosomatic surrealist. The recorded / performed work does not have
each with the independent meanings and is the pieces of assemblage. And
it is also the pieces produced by obsession.
PAINJERK is one of the more prolific and influential sound artists of
the 90s, and is one of the leading figures in the sound of dynamics /
brutality as electro-acoustic outsider. He covers a lot of gaps like,
various noise-sounds, the experimental /electro-acoustic music, music
concrete, techno, rave, electronica, sampling culture, post-punk methods
and mixing them all through his filter.
This is not the improvisation. This is not the composition. This is kind
of the automatic-act by the encoded sound. It becomes the machinery and
is beauty beyond extreme music.
He has collaborated with artists like, Zbigniew Karkowski, Russell
Haswell, Jackie Oblivia (aka Smegma), John Wiese & etc and has
contributed to various festivals like, No Fun Festival (the US), Avanto
Film & Music Festival (Finland), Avant Fesival (Poland), All Ears
(Norway), LUFF (Swizerland), London Contemporary Music Festival (the
UK), Multipletap London edition (Japanese extreme avant-garde show-case
event) and toured in Poland, Spain, Italy, Sweden, Norway, Denmark, the
UK, Germany, Swizerland, France and Belguim in the past.
Also he has shared same stage with lots artists like, Brutal Truth, Mika
Vainio, Mark Fell, Kim Gordon, Jim O’rourke, Norbert Moslang, NHK’Koyxen
(aka Kouhei Matsunaga) etc etc.
It has been well known some of are mentioned PAINJERK name in their
interviews like Aphex Twin, Russell Haswell, Pan Sonic, etc in the past.
*rashad becker* was born in 1970 owing to unprotected coition.
he was admitted to the fortress europe at age 12.
he grew up to be a certified emergency medical technician and ornamental
blacksmith but went on dedicating his professional life to less useful
since about 2000 he eats miso for it’s delicious taste and proclaimed
since about 2002 he started losing his hair.
currently his live sets evolve around the angle of `traditional music of
notional species`, a semiabstract synthetic narrative that seems
appealing to a surprisingly wide audience.
“Becker’s name will be known to a lot of people – indeed it appears on
many, many records – but his music won’t be. His day job is as the
mastering and cutting engineer in Berlin’s world-famous Dubplates and
Mastering, where his role involves entering into a creative dialogue
with the music of others, helping them to achieve what they set out to
with their compositions in the final product. Before he got the D&M gig,
he was originally a musician in his own right, and he continues with
this as an irregular sideline, making and manipulating loops and
What wasn’t a surprise about his performance was how precise it all
looked and sounded as he carefully twisted dials to produce a sequence
of very crisp and discrete tones, sparse and improvisational (if you had
to pick something from Becker’s other work to compare this to, it
sounded like an early, experimental, Mego, a less harsh Pita or Hecker).
What was more unexpected was just how conversational it all sounded.
Most of the
frequencies used were within the range of the human voice – it sounded
like a long stream-of-consciousness sentence made up short syllables,
electronic oohs and wahs, sections of muttering, and occasionally
bickering. Whatever he does, it seems Becker has the knack of giving
sound its voice.” The Liminal
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