gepresste Hände erzeugen Druck

check out this new piece with:
3 awesome performers, a barisax player turned pseudo performer, 3 double sided panels, a cymbal (played by the barisax player turned pseudo performer), a bell (done by the same dude), a blue light, a bow and an arrow.

sounds great, right? It’s part of this year’s Tanztage at Sophiensäle, curated by the ever brilliant Peter Pleyer.
check it or miss it. (you’ll prolly miss it cuz it’s already sold out. also most of you don’t live in Berlin. Thanks for your patience though.) Either way, hope this finds you well. Happy New Year and hope to see you soon, somewhere down the road. Cheers, Boris

Monday January 7 and Tuesday January 8, 2013 @ 8:30PM
Sophien Säle, Sophienstraße 18, 10178 Berlin-Mitte

gepresste Hände erzeugen Druck

Alles ist erlaubt.
Alles ist getan.

Bring ein Buch und schlag es auf.

Der Spielplatz ist gewaltig.
Die Variationen unendlich.

Teile das Archiv.
Geschichte oder Geschichten?

Spielzeuge sind herausgesucht, Variationen dekliniert.

3 Flächen und 4 Menschen.
Der Rahmen, wo wir überlappen.

TANZ, PERFORMANCE Claudia Tomasi, Cinira Macedo, Boris Hauf, Julian Weber
MUSIK Boris Hauf

Gefördert durch Tanztage Berlin / SOPHIENSÆLE, Dank an alle.

oh yeah… also performing: a spot light, a skeleton, nail polish, newspaper and spray paint.

it’s a party for your eyes, ears, nose and other stuff.

Ultimately it’s a curiosity that sounds like nothing else.

“[…] On Next Delusion by Berlin-based saxophonist Boris Hauf, […] forms […] an even more unconventional lineup. There can be few instrumentations that are completely novel, but three horns matched with three drumsets recalls few precedents. Waxed on one of the German’s regular trips to Chicago, Hauf has assembled a talented crew, though their abilities are almost totally sublimated to the leader’s offbeat conceptions.
For much of the time, the three percussionists (Frank Rosaly, Steven Hess and Michael Hartman) are so restrained as to be subliminal and the horns (Keefe Jackson, alongside Stein and Hauf) aren’t much more demonstrative. It’s largely impossible to tell who does what in the four tracks, which defy categorization in their execution of Hauf’s austere and rigorous charts. Dissonant unisons and subdued drones characterize the horn lines, which often sound on a parallel but unconnected track to the rumbling massed drums. Ultimately it’s a curiosity that sounds like nothing else.”

John Sharpe
The New York City Jazz Record

Boris Hauf Chicago Sextet ‘Next Delusion’ – sound set out in the iris of the eye

original review in croation here.

google translate below…>

Boris Hauf Chicago Sextet ‘Next Delusion’ – sound set out in the iris of the eye

Vienna saxophonist and improviser Boris Hauf, born in 1966. in London, but a decade flirts with the Chicago scene, and its debt to American counterculture recently expressed an homage Levon Helm of The Band.

Boris Hauf Sextet ‘Next Delusion’

Haufov Chicago sextet Next Delusion three wind players and three drummers, in the first series bass clarinetist Jason Stein , and saxophonists Hauf (tenor, baritone) and Keefe Jackson (tenor, bass clarinet), while in the second Frank Rosaly , Michael Hartmann and Steven Hess , respectively drummers.

Connection Chicago and Berlin is not sporadic, because at the time before it was Jeb Bishop left the electric guitar to be devoted entirely to the trombone, Art Institute of Chicago has organized a major event dedicated tuvanskoj singer Sainkho Namtchylak inhabited in Vienna, where the Chicago quartet performing guitarists Werner Daefeldeckera . And judging by the recordings are from 1991. year on YouTube, it seems that it was Boris Taba. Ahead Viennese moving to Berlin at the beginning of the millennium Hauf mapped sound EAI label Durian, Mego, Grave and Extraplatte, along with colleagues from the collectiveKlingt . Electrification of experience gained in the sound texture group Efzeg with Saks, synthesizers and computer harnessed to work with the American trio TV Pow, lap-gunner, in which in addition to a Hartmann opskurnija names.

Sextet moving aesthetic minimalist sound, even before the reductionist, in the introductory “Gregory Grant Machine” frequency point are established from the rainy strikes by cymbals and mikrovizatorskih winds that slowly heat up the intoxicating drone collective timbre spreading aura solar orgasm. In “Eighteen Ghost Roads” suggestive atmosphere is indicated akordnim voicinzima three winds, followed by the massive crowds refined drumming.

In polikromatskoj “Fame and Riches” idea is enshrined in the iris of the eye with a provocative voice, saxophone playing a double role, the soloist and the first one to vote almost chamber orchestra. And although they are invasive in “Wayward Lanes”, the listener is also not required to take care of every detail.Crawl under his skin – that! – Leaving him at a distance to the sound discretion cope.

Rating: 9/10

(Clean Feed, 2012).

Type Jeraj Sundays from 22:00 to 24:00 hours editing and hosting the show ‘Hearing deception’ on Radio 808th

2 more shows. I knew it!!!

Hi all, Due to it’s general AWESOMENESS we decided to add on another show of JeeAe’s new piece on the 17th. Check it.

Saturday, December 15 2012, 8:30PM
Monday, December 17 2012, 7:00PM
Work in Progress (40min) – 작업이 진행 중
Concept and Performance: Jee-Ae Lim – 깜짝 – 애 임
Sound: Boris Hauf – 보리스 Hauf

The images exist in the retrospective landscape of a (the) body.
이미지 () 몸의 회고전 풍경에 존재합니다.
Image (of the body)/ Retrospective exist/ on/ the landscape.
이미지 (몸의) ) / 회고가 존재/에/ 풍경.
이미지는 풍경을 기존과 같은 신체의 역이다.
The body is used as a piece of scenery in the space,
몸은 공간에서 풍경의 한 부분으로 사용됩니다,
복고풍의 몸은 우주에서 풍경으로 진행 중입니다,
retro-/ the body/ in the universe/ is in progress,
복고풍 / 우주에서 몸 / /이 진행 중입니다,
Retro / body / / in the universe is in progress,

Thursday, December 20 2012, 9:00PM
This year’s Psychedelic Xmas Spectacular
w Tony Buck, Magda Mayas, Tom Meadowcroft, Boris Hauf, Brendan Dougherty, James Welburn, Axel Dörner

Join us for an evening of spellbinding electric organs, hypnotic percussion, crazy ass bari sax drones.
It’s gonna be far out and epic:

Wabe, Danziger Str. 101, P-Berg, Berlin

Do it! We know you want to!!

Solo Organ Drone Noise in Berlin’s Awesome-n-est Reverb Chamber

The 3 level parking garage in the center of Berlin, in which my beloved studio is located, will be blown up and torn to pieces come January 1, 2013. No kidding… I’ve been saying good bye to the place these last weeks, recording on the ramps and levels of the actual parking garage. Awesome Sauce Songs and Sounds with Loves It! from Austin, Texas and my ancient buddy Kurt Johnson on bass and most recently some Solo Organ Noise Drones…. a tube mic on the ramp, the organ amp pointing into the parking level. here’s the noise. check and if you really really like it, drop me a line. Looks like I’m gonna start a remix project with this recordings with my long time buddies and collaborators Michael Hartman and Adam Sonderberg.

PICS: Lost Collie Reverb Galore 

Captain Beefheart’s Ten Commandments For Guitarists

1. LISTEN TO THE BIRDS That’s where all the music comes from. Birds know everything about how it should sound and where that sound should come from. And watch hummingbirds. They fly really fast, but a lot of times they aren’t going anywhere.

2. YOUR GUITAR IS NOT REALLY A GUITAR Your guitar is a divining rod. Use it to find spirits in the other world and bring them over. A guitar is also a fishing rod. If you’re good, you’ll land a big one.

3. PRACTICE IN FRONT OF A BUSH Wait until the moon is out, then go outside, eat a multi-grained bread and play your guitar to a bush. If the bush doesn’t shake, eat another piece of bread.

4. WALK WITH THE DEVIL Old delta blues players referred to amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re bringing over from the other side. Electricity attracts demons and devils. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.

5. IF YOU’RE GUILTY OF THINKING, YOU’RE OUT If your brain is part of the process, you’re missing it. You should play like a drowning man, struggling to reach shore. If you can trap that feeling, then you have something that is fur bearing.

6. NEVER POINT YOUR GUITAR AT ANYONE Your instrument has more power than lightning. Just hit a big chord, then run outside to hear it. But make sure you are not standing in an open field.

7. ALWAYS CARRY YOUR CHURCH KEY You must carry your key and use it when called upon. That’s your part of the bargain. Like One String Sam. He was a Detroit street musician in the fifties who played a homemade instrument. His song “I Need A Hundred Dollars” is warm pie. Another church key holder is Hubert Sumlin, Howlin’ Wolf’s guitar player. He just stands there like the Statue of Liberty making you want to look up her dress to see how he’s doing it.

8. DON’T WIPE THE SWEAT OFF YOUR INSTRUMENT You need that stink on there. Then you have to get that stink onto your music.

9. KEEP YOUR GUITAR IN A DARK PLACE When you’re not playing your guitar, cover it and keep it in a dark place. If you don’t play your guitar for more than a day, be sure to put a saucer of water in with it.

10. YOU GOTTA HAVE A HOOD FOR YOUR ENGINE Wear a hat when you play and keep that hat on. A hat is a pressure cooker. If you have a roof on your house the hot air can’t escape. Even a lima bean has to have a wet paper towel around it to make it grow.