charlie on Mon, 1 Mar 2004 10:55:21 +0100 (CET) |
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[rohrpost] <raum3> Sonntag, 29. 2. The Rebel, Arnold Dreyblatt,Catani |
kino raum 3 -- ziegelstrasse 20 -- 10117 berlin -- http://bootlab.org/raum3/ ________________________________________________________________________________ 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@pro-qm.de, (030) 2809 5767. ________________________________________________________________________________ raum 3 mailing list http://lists.minordomo.org/raum3
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