[rohrpost] <raum3> Sonntag, 29. 2. The Rebel, Arnold Dreyblatt, Catani

[charlie at pro-qm.de]

  kino raum 3 -- ziegelstrasse 20 -- 10117 berlin -- http://bootlab.org/raum3/
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Espace 3 freut sich anzukündigen:

Sonntag, 29. Februar 2004, 22 Uhr
Raum 3, Ziegelstr. 20, Berlin-Mitte



Live:
The Rebel (Country Teasers, UK)
Arnold Dreyblatt (w/ Konrad Sprenger): Nodal Excitation (1979)


DJ: Patric Catani (aka. Candy Hank, Stora)


Eintritt: 5 EUR
presented by Charlie's Entertainment, Berlin/Gloucester, MA






"The Rebel a.k.a. B.R. Waller, usually to be found up-front with the Country
Teasers, described as 'Evil country from Edinburgh'. Raw-sounding home
recordings: Guitar, bass, drums machine, synth. A more relaxed edition of
mid-80s Liverpool-band Half Man Half Biscuit maybe. Or maybe like an early demo
track by Les Negresses Vertes." (Luna Kafe eZine)


"COUNTRY TEASERS STILL HATE MODERN OLD MUSIC WITH THE PASSION THAT GOT THEM
KICKED OFF CRYPT, FAT POSSUM AND EVEN FOLK-SUBSET OF CAPITOL WEA RECORDS
NAMELY 'HICKORY VINYL'."


Armold Dreyblatt gründete das “Orchestra of Excited Strings”,
veröffentlichte auf John Zorn's Zaddik Label, arbeitete mit Jim O'Rourke in
Chicago und unterrichtete an der Kunstakademie in Berlin-Weißensee und in
Saarbrücken. 


"In 1978 it happened that I broke one of the thick, wound steel strings on a
double bass in my studio and I didn't have the cash for a replacement, so I
attached some of the piano wire which I had recently ordered to restring the
miniature piano. The unwound wire raised the fundamental a number of octaves
and made possible the production of extremely high upper overtones. The
thinner diameter of this relatively long string (42 inches) enabled the wire
to vibrate in the shorter and shorter lengths representing the higher
vibrational modes.  


In the spring of 1979 I was approached to perform at a downtown performance
festival in New York. I had been developing a repertoire of isolated
percussive and bowed attacks, and these evolved into a continuous rhythmic
technique in which I could excite chords of overtones above the fundamental.
This technique is a combination of bowing and striking, in which a short portion
of the bow is brought into contact with the string in a forward and backward
motion. If the striking aspect is emphasized, the inharmonic nature of the
attack overwhelms the sound and little resonance is excited. If a long section 
of bow hair is brought into contact with the string, the resulting sound is 
lacking in resonance." (Arnold Dreyblatt)


Für Informationen und Bildmaterial stehen wir gerne zur Verfügung:
charlie at pro-qm.de, (030) 2809 5767.
 
 
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