infinite bang – lp


THE PROCESS REFLECTS AN UNBALANCED RELATIONSHIP BETWEEN THE ACOUSTIC SOUND PRODUCTION AND ITS ELECTRONIC PROCESSING. THE TWO PARTS INVOLVED ARE CLEARLY HIERARCHICALLY POSITIONED: THE FIRST STEP AND INITIAL BANG IS ALWAYS PRODUCED BY THE ACOUSTIC CONTRABASS. THE ELECTRONIC SET DOESN‘T INCORPORATE THE POSSIBILITY OF TONE PRODUCTION AND EXCLUSIVELY REACTS WITH ITS MEANS. THE RESEARCH FOCUSES ON THE DIFFERENT QUALITIES THE TWO UNITS OFFER IN FUNCTION TO THE PERCEPTION OF ‘NOW’. THE CONTRABASS REPRESENTS THE MANUAL AND SENSIBLE LABOR INTENSIVE PRODUCTION OF SOUND. CONTRARY TO THIS, THE ELECTRONIC SET BLURS BY DECEIVING THE EFFORT OF PROCESSING AND GIVES A SENSATION OF INFINITE SOUND – LIKE A PERPETUUM MOBILE. TIME HAS NO REPRESENTATION OF ITSELF, IT ONLY BECOMES PERCEIVABLE BY ACTIONS HAPPENING IN IT. THEREFORE A TONE INTERVAL SHOWS THE PROGRESSION OF TIME, A DRONE MUCH LESS, BECAUSE OF ITS LACK OF TIME ORIENTATION FOR THE LISTENER. ANOTHER TOPIC OF RESEARCH IN THIS WORK LIES IN THE FORMS OF EXCHANGE OF MUSIC INFORMATION: COMMUNICATION, NARRATION, COLOURING AMBIENT AND FULFILLING FUNCTION.
A SOURCE OF INSPIRATION AND TRIGGER WAS THE NOVEL SOLARIS BY PHILOSOPHER AND AUTHOR STANISLAW LEM AND THE SOCIAL OBSERVATIONS IN PROSPECT PARK, NYC, NEXT TO WHERE I WAS LIVING DURING THE MAIN RESEARCH PERIOD FOR THIS WORK.

SIDE A
INFINITE BANG PART I ……………………………………………………… 24:08

SIDE B
INFINITE BANG PART II …………………………………………………….. 22:42

KLAUS JANEK CONTRABASS AND ELECTRONICS. THE COMPOSITION WAS PLAYED LIVE AND RECORDED DURING A RESIDENCY AT KLANGALERIE, BERLIN IN NOVEMBER 2018. MY GRATITUDE GOES TO ANDREAS PAOLO PERGER. ARTWORK BY STEPHANIE RODERER, WWW.STUDIO-PINGPONG.DE, THE ALBUM IS FUNDED PARTIALLY BY PROVINCIA DI BOLZANO/SÜDTIROL

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