November 25 – Workshop 17:00 & Performance 20:00
>>>> the self-made acoustic ‘laptops’
A selection of wood boxes with various tiny objects attached; springs, stones, metal, rubber, string, needles, memorabilia - amplified by old-school contact mikes and pick-ups.
>>>>the .MO# project round two
The break in touring activities means that I'll spend a lot of time listening to the live recordings, selecting out the sounds that work and start shuffling them around into compositions. These extremely detailed listening sessions might change the outcome of concert round two, going from the improvised w.i.p. of round one into live renditions of the
>>>> the self-made acoustic ‘laptops’
A selection of wood boxes with various tiny objects attached; springs,
stones, metal, rubber, string, needles, memorabilia - amplified by
old-school contact mikes and pick-ups.
I have been using found objects and broken devices in my music ever
since I started, but that has always been extremely temporary set ups,
changing from act to act. Now that I have glued these tiny objects into
the boxes, I feel I use proper instrumentation in my solo work (or
Origami Republika work for that matter). I have never used samplers or
midi - but cassettes, minidiscs and cdrs, never an 'electronic' laptop,
and I have usually denied myself playing the drums (which was my teenage
instrument). Now I can plunder more on the specific details, by
listening and relistening to the live recordings, then rehearse for more
The original idea to these 'laptops' came as a lot of my colleagues
started hassling me for not jumping on the 'lo-tech on the high-tech'
train when it became chic, so with a friendly smile I decided to make my
own laptops. The facts that they look quite good in their merz nostalgic
way, and that they are an ironic comment on current formatting should
not interfere too much with the pure sounds they produce.
Believe me, I have nothing against the traditional electronic laptop per
se, a tiny fraction of my favourite listening is made on them and some
of my best friends and colleagues use them with great integrity. And
when I edit the recordings of my self-made ones I do it on my mac g4 -
so sweet when the twine meet...
>>>> the .MO# project 02-04
the .MO# project round one
Barcelona, Leeds, Las Palmas, Clichy, Nantes, Paris, Caen, Évreux,
Arucas, Berlin, Hannover, Antwerpen, Mons, Brussels, Kristiansand, Oslo,
The sounds are made by gently brushing, picking and stroking the
self-made acoustic 'laptops', creating an open sound collage often
interacting with the random sounds given away by audience members or
dubbed by the outside 'noises'.
The project started out by using environmental ‘sound carpets’ in the
background, they in turn were mixed with live recordings of the early
live recordings for some of the ‘tore de france’ performancesIn the end
they were partially faded out as the reality glitches of the visited
rooms proved potent enough.
the .MO# project round two
Now booking: Bruxelles (Nov 03), France (March 04), Argentina (Sep 04)
The break in touring activities means that I'll spend a lot of time
listening to the live recordings, selecting out the sounds that work and
start shuffling them around into compositions. These extremely detailed
listening sessions might change the outcome of concert round two, going
from the improvised w.i.p. of round one into live renditions of the
mastered work. Some concerts next year will only include .MO# as a first
part, then lead into quite different new material.
>>>> Planned documentation
.MO# purified [opus for self-made laptops + listening results +
intimacy] - a concert length (app. 20 min) collage recorded directly to
dat at lala2 studio, Gran Canaria, compositions based on what I have
learned from the concerts. No processing or overdubs, pure editing.
.MO# performed [opus for self-made laptops + room + reality glitches] -
three collages (app 40 min) edited out of the concert recordings, one
direct to mac/md, one audience recording and one also using the
environmental background prerecordings. No processing or overdubs, pure
editing. An early version of the first can be found on the .MO# demo cdr.
.MO# processed [opus for self-made laptops + G4 + transformation] -
another three collages (app 40 min) severly processing the sound matter
using electronic, layering and cut-up techniques.
the .MO# project recordings are definitely not music for headphones -
room and loudspeaker gas needed.
the .MO# project round one was supported by The Norwegian Arts Council,
The Royal Norwegian Embassy London, MIC and ios-altar