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work 000 : baunoten
opening act; special webcast re-composition as 6 support(er) acts for einstürzende neubauten in 2004, 2 more added in 2008

DOCUMENTED > ltd. souvenir cdr, mp3 ep by CON-V, Spain

May 2008: - slight return
05: Aula Magna, Lisboa, Portugal
06: Teatro Cervántes, Málaga, Spain

March/April 2004:
19: Rockefeller, Oslo
21: VoxHall, Århus
25: Musikhalle, Hamburg
26: Schlachthof, Bremen
30: X3000, Düsseldorf
01: Paradiso, Amsterdam

As a long time supporter of Einstürzende Neubauten, their democratic turn of the last few years (sharing rehearsals and recording progress with supporters through webcast subscription) is not only amusing - but also creates a link between artists of such stature and the various other sub-networks of musicians and artists who have been working 'out in the open' for years. So as I started out this game of hunting down supporter act slots, i also started to plan for something special, if i should be so lucky. The strangest thing was that i was supposed to be on tour with colleague Eric Cordier in this time, thinking i might have a slot for EN earlier elsewhere in Europe. The Cordier tour was postponed, and days after this chance was given me.

"The Origami's come from a huge networkframe that has brought them recognition in some Berlin cold war zones. While steel was being bended, and secret hide-outs were searched for with steam engines, (much to the delight of a leatherfetished public with a screaming hairdo), Boe was booed at because he played his acoustic laptop. What to expect from one of the key figures of the ground breaking collaboration world?" - RvA


The Intro Drone (13-19 min)
I have recorded quite a lot of material from the EN webcasts, but not directly to a cd or my harddisc.

Strategies... >>>

i recorded various 'silences' from the webcasts, almost ghost-echoing the band's activities as the amps and whatever was generating tiny sounds and hums in the background. this was transferred to me via space and cables, with the inhibitant limitations of the medium, but with the sensation of reality, as it happened NOW, THERE & HERE, as described by the fabulous new term real-time (or 'sanntid' if you're into marginal languages).

i plugged a chord into my mac, spliced it, plugged one into my bass amp, the other into a line-mixer - creating a direct signal. then i put up two mikes and plugged them into the line-mixer too, in order to be able to mix the direct sound with the room sound (my neighbours are narrating an unwritten EN piece).

to further expand the audio possibilities i connected two tiny pc-speakers to the line-mixer monitor-outs and very gently faded in the cdr playback volume, creating a feedback situation. i worked in a small concrete room - and standing waves made a hum that could easily have exploded - or imploded.

just before feedback there is a hard-to-find and almost impossible-to-keep spot that generates a weird phasing effect, accentuating the treble within the room, making it 'wet' with clear details. this would sound almost electronic in the final recording. then i dumped the blend of recorded and mixed room sound to an external cdr burner.

finally it was a matter of feeding the mac, erasing all band-chatting and music (aufmerzen) and start working on the pretty short useable inbetweens, weaving them together into what i hoped could become a nice intro drone.

i mixed two separate mono tracks of this live, just by splitting left/right entirely on a cdr. i also used one of my self-made 'acoustic laptops', as they can be seen as nano-neubauten setups.

SO: from the EN rehearsal room via mikes, cables and satellite into my intimate listening room only to be manipulated and brought to the live performance - the third room - as 'reahearsal resonance' maybe?. via the PA - the fictious (prerecorded) room fills the 'real' room, a smear of EN and other sounds that become our music, not mine, not theirs. only for your ears...

(E)IN BESTANDTEIL SEIN - a post-tour letter 2004
The tour was a great experience. There's nothing to match the relaxed and natural friendliness and helpfulness and inclusiveness offered by the production management, the tour manager, the sound engineer, the monitor mixer, the two stage technicians, the supporter relations girl, the merchandisers, the documentor, the light engineer, our dear webmaster and local crew, the members of the band, i mean, there was even a very nice bus driver!

Sooo weird doing this with no further musical 'solo career' to think of, no urges for visit-soon-deals or record sales (even though i spread a fair share of my Suave Siesta's and flyers to good people). A real privilege to have nothing to offer except some 13-19 minutes of sound, and a smile and an anecdote on the after-show supporters-meet-band-meetings.

BEing a part of Neubautens new approach towards the supporters who have registered and witnessed via the website (ein bestandteil sein). BEing allowed to meet so many inspired and enthusiastic people of whatever background or position (reminded me of here sometimes). BEing an opening act eating grapes from THAT backstage table. All of that is a bonus, a luxury, a gift to me, as simply getting to see one of my earliest and longest-standing favourites play eight cool shows (AND having the freedom to skip one) was of course enough all by itself.