clark in good company. #OnTheWire on the BBC !

BBC Lancashire
On the Wire
26th November 2016
www.bbc.co.uk/programmes/p001d75v

Dub Syndicate – Ravi Shankar No.1 (China mix) – Leghorn
Mark Ernestus meets Obadikah – April – Honest Jons Records
Obadikah – Keke kan – Honest Jons Records
Demdike Stare – Overstaying – Modern Love
Visible Cloaks – Terrazzo (ft. Motion Graphics) – RVNG Intl
Dark0 – Forever – XL Recordings
Jessy Lanza – I talk BB (Morgan Geist rmx) – Hyperdub
Boris Hauf – FANTODS – Shameless Records
AquaDab & MC A – Anatamohayaku, Saa – Bokeh Versions
Paco Sala – Ko yo – Denovali
The xx – Hold on – instrumental – XL Recordings
Nathan Fake – Degreelessness (ft. Prurient) – Ninja Tune
Rashad Becker – dances VII – PAN
Saroos – Weaver’s cave (Sequoyah Tiger remix) – A Number Of Small
Things
Dhaffer Youssef – Fly Shadow Fly – OKeh
Kellar – Scorched Schemes – Foolproof Projects
Nils Petter Molvaer – Kingfish – OKeh
Heaven Star – Smooth in the sun – Optic Nerve Recordings
Dean McPhee – Avian Dream Songs – The blackbird – Folklore Tapes
Julie Byrne – Natural blue – Basin Rock
Debashish Bhattacharya – E ku ‘u morning dew – Riverboat

VERTEILT und UNTERZEICHNET

VERTEILT und UNTERZEICHNET
diesen besonders gut verständlichen Bericht: http://malmoe.org/artikel/tanzen/3218,
diese Petition: www.musikergilde.at/de/petitionen/petition/5.html.

Warum? Der Konzern Amazon weigert sich, die gesetzlich verankerte Vergütung in Österreich zu bezahlen und ließ sich bereits 2007 (!) klagen. 2013 hat der Konzern vor dem Europäischen Gerichtshof endgültig verloren, die Vergütung gebührt den Kunstschaffenden und ist zu bezahlen. Seither dreht Amazon die Einhebungsfrage aber sozusagen um und behauptet, die Verteilung in Österreich sei EU-rechtswidrig. Der Oberste Gerichtshof in Österreich hat nun darüber zu entscheiden.

Inzwischen wird das Entgelt vorenthalten, das bereitet u.a. folgende Probleme:
.. Einkommensentgang für alle Kunstschaffenden: keine direkte Verteilung der Vergütung aliquot zu den anderen Tantiemen
– eventuell Unterschreitung der Untergrenze im K-SVF, Entgang auch dieser Sozialversicherungszuschüsse
– bei ‘Nachzahlung’ z.B. kommendes Jahr: überhöhte Steuer- und Sozialversicherungsbelastung
.. soziale Not und Armut: keine Zuschüsse in Notfällen und zur sozialen Absicherung
.. Einbruch der Kulturförderungen: keine Förderungen für Projekte aller Art
.. Existenzbedrohung für Ensembles, Veranstalter, Kleinlabels etc.: Verluste durch Förderentgang
in Summe:
.. erheblicher Wertschöpfungsrückgang für die gesamte Musikwirtschaft, Filmwirtschaft, Literatur und Bildende Kunst

#efzeg #sweetdeal

for the poor souls who don’t have it yet:
(almost) the entire efzeg catalogue is up for sale for 30e at http://shamelessrecords.rocks/records/efzeg-bundle/

the bundle includes flac and apple lossless files, artwork, some good old-fashioned efzeg videos of

•) 5 official full length releases (grain, boogie, wuerm, pay, krom)

•) the track that wasn’t released on the 2006 hathut album

•) a 45 min long live cut from 2002 in paris

•) 2 tracks that were commissioned for compilations. (MisterO and g9 w/ 4 basses: Dafeldecker, Norman, Zrost, Williamson)

that’s pretty awesome.

you can also get each item individually for 4e each right here

payable via paypal or direct bank transfer.

efzeg “may be the most important element of the “Austrian” sound in late-’90s experimental music.”
allmusic.com

efzeg: (deutsch unten)

as soon as sounds of reeds and steel or the info cut into lps are available from the start, as soon as they want to sort themselves, and feel the urge to do so: music is structure, form, material and method. none of which are concealed nor await discovery. they are each queried, sorted and essentially re-created while being
performed.

their genesis is not kept secret. we cannot and do not want to be reduced to a common denominator without much ado, without further consequences. surrendering oneself to interrelations that cannot be foreseen is one of the most distinguished tasks of self-determined music-making. the deliberate search for differences, the joint treatment of them and the desired friction that occurs when different musical identities meet generate both a rational and emotional intensity that the individual, isolated, subject has never achieved in this form.

the objectification of our egos – as a musically-fictional, jointly won artificial ego – represents their socialisation and discloses multiplicity, diversity, which is condensed in the course of the musical act to form a “oneness of several egos”. this newly gained oneness is the manifestation of personal identity: style.

efzeg does not guarantee that its music will be a source of “intense pleasure” to listeners. that is not what we are here for – and neither is the audience. intensity can only be experienced by the subject him/herself: nothing can be gained without dedicating oneself to a possible source of irritation.

what has just been said applies both to us as “performers” and the audience as listeners: the system, the system of the music, is not perfect until it has been received.

apart from the context of accoustic and electroaccoustic soundproduction visuals are an essential part of efzeg. audio signals are billy roisz’ source for her visual improvisations. she opens “the invisible world”. the transformation of the audible to visual cosmos shows which visuals are written in sounds, can be written in sounds. roisz-live-visuals: visuals of passing brief sounds in realtime, a shimmering score of the efzeg sound.

efzeg, january 2000, july 2001

wenn klaenge wie holz und metall oder die in langspielplatten eingeritzten, eingeschriebenen informationen von anfang an zur verfuegung stehen, sich eine ordnung schaffen wollen, in eine ordnung drängen: musik als struktur, form, material und methode. sie liegen nicht irgendwo versteckt oder harren ihrer entdeckung, sondern werden im moment des spielens von den ausfuehrenden jedesmal neu befragt, geordnet und neuerschaffen.

die schoepfung im verborgenen gibt es nicht. wir koennen und wollen von vornherein nicht ohne weiteres, ohne weitere folgen, auf einen nenner gebracht werden. sich vorerst ungewissen zusammenhaengen auszuliefern, gehoert mit zu der vornehmsten aufgabe des selbstbestimmten musikmachens. das bewusste aufsuchen von differenzen, ihre gemeinsame bearbeitung und die gewuenschten entstehenden reibungen an der musikalischen identitaet des jeweils anderen, bewirken eine rationale wie emotionale intensitaet, die das einzelne, vereinzelte, subjekt in dieser form nie erreichte.

die objektivierung unserer ichs – als musikalisch-fiktionales, gemeinsam errungenes artifizielles ich – bedeutet ihre vergesellschaftung und legt so multiples, vielfaeltiges frei, welches im verlauf des musikalischen aktes zu einer “einheit von mehreren ichs” sich verdichtet. diese so neu gewonnene einheit repraesentiert die verortung des persoenlichen: den stil.

efzeg garantiert auf der buehne nicht fuer ein “intensives hoervergnuegen”. dafuer sind wir nicht da – das publikum auch nicht. denn intensitaet kann wiederum nur das subjekt selbst erfahren: ohne bereitschaft zu einer moeglichen irritation geht gar nichts.

das soeben gesagte betrifft uns als sagende ebenso wie die zuhoerer als hoerende: das system, das system der musik, ist erst beim rezipieren vollkommen.

neben der kontextualisierung von akustischer und elektronischer soundproduktion zaehlt deren visuelle formung zum intergralen bestandteil jeder efzeg-peformance. efzeg-musik, efzeg-bild: “ein ganzes ausmachend”.

die von den vier musikern live generierten audio-signale dienen billy roisz als ausgangsmaterial fuer ihre visuelle improvisationen, sie macht “the invisible world” sichtbar. die transformation von klanglichem ins sichtbare zeigt, welche bilder den klaengen eingeschrieben sind, sein koennen. roisz-live-visuals: bilder von fluechtigen klaengen in echtzeit, eine flimmernd-flirrende partitur des efzeg-sounds.

efzeg, jänner 2000, juli 2001

BORIS HAUF SOLO @SPEKTRUMBERLIN

photo credit Dieter Hartwig
photo credit Dieter Hartwig

In this solo act I’ll investigate how concepts of processual repetition, patterns and loops can engage the imaginary and calculated potential of iteration and disintegration, delay and modulation. Observing the deformation of repetitions after they have been established, microscopic loops interact with elongated nested phrases and expose the gradual decay of the logic of sound.

SPEKTRUM | art science community
Bürknerstraße 12 12047 Berlin

Doors: 19:30 / Start time: 20:00
Entrance on donation: 5-10 euro (up to your offer)

link

THE PEELED EYE (review BILL MEYER, @dustedinc )

The four men who make up The Peeled Eye have been around a while now, long enough to forget first impressions. Certainly nothing about their self-titled debut is going to make you remember the restrained and/or minimal sounds of efzeg, Kahn-Korber-Weber, Trapist or SSSD. While a snapshot of Boris Hauf (baritone saxophone), Martin Siewert (guitar), Christian Weber (bass), and Steve Heather (drums) might cue you to think you’re going to hear jazz, what comes out of the speakers when you put the stylus down is more of a Godzilla tap-dance. Heather drums like a machine-gunner clearing out a field, Hauf’s horn flails like the tail of a toppled brontosaurus, and the guitar and drums careen like they’re crashing an audition for The Ex. The opening tune may be named “Kind Of,” but there’s nothing tentative about its determined heaviosity.

There is, however, a strategic side to The Peeled Eye’s music that refutes parts of the description proffered above. They might sound like they’re flailing, but each blow lands exactly where it’s intended. The combo’s dynamics move too fluidly from pummel to scrabble to be accidental, and when they want to ease up, the complementarity of their contrasts is far too effective to be the product of chance. “Heavy Quarters,” which occupies the second half of side one, proceeds through a sequence of bleak mood inducers — triggered film samples, slow stomp, Sonic Youth-like guitar screams — like an effective film soundtrack.

[…] The meaty satisfaction dealt by The Peeled Eye suggests that free improv apprenticeship is a worthy pre-rock tutelage.

Bill Meyer
dustedmagazine

THE PEELED EYE (review JOHN EYLES, @allaboutjazz)

The Peeled Eye is the debut release from Boris Hauf’s revived Shameless label, which has switched from being a subscription-only limited edition label to releasing experimental rock, noise and pop recordings. This release is an edition limited to three hundred copies pressed on yellow vinyl. Collectable, eh?

In The Peeled Eye, Hauf’s own baritone saxophone is joined by Martin Siewert on guitar, Christian Weber on bass and Steve Heather on drums. Between them, the four members have impressive improv credentials behind them in groups such as Efzeg, Mersault and Trapist, so it was surprising to see this grouping described as “a noisecore / doomjazz quartet” with no mention of improv. Although definitions of such sub-genres tend to overlap after a while, this designation does successfully convey the bottom-heavy, density of the quartet’s soundscape as well as their music’s predominantly dark mood, a combination which makes for compelling, addictive listening.

On the seven tracks, ranging in length from just over two minutes to just over twelve, the four members meld together into an awe-inspiring unit whose adrenalin-fuelled bravado at times sparks memories of Last Exit. All four contribute equally to the ensemble sound with no pecking order at work, and no hint of a distinction between solo instruments and “rhythm section.” They all take on both roles, the four strands weaving together into a rich tapestry in which the instruments remain clearly distinguishable, never degenerating into noise.

When Hauf plays his baritone’s lower reaches, the combination with Weber’s bone-crunching bass guitar is thrilling stuff, the quartet’s trademark sound. However, this is a group of equals, with Siewert and Heather just as important to the totality. The Peeled Eye creates music that is greater than any one of the four. More soon, please, Shameless.

4 1/2 stars out of 5
By JOHN EYLES, Published: November 3, 2015

THE PEELED EYE (review on VITAL WEEKLY #1005)

A new release on Shameless, a label of Boris Hauf. Around 2001-2002 he released several
of his projects on this label. And that was it. Not that Hauf turned away from music.
Far from it. But Shameless no longer seemed a useful outlet. But now it is again, with
an excellent first release by The Peeled Eye. The quartet consisting of Martin Siewert
(guitar), Christian Weber (bass), Steve Heather (drums) and Boris Hauf (baritone sax,
piano), make a powerful and convincing statement. They are a “noisecore doomjazzquartet”
in the words of Hauf himself. They construct thick and noisy musical pieces. Seven in
total. Sometimes all seem to follow their own individual path, resulting in a wonderful
cacophonic whole, as in the opening track ‘Kind of”. Evidently free jazz is an ingredient
in their music. Also the prominent sax playing by Hauf clearly comes from a jazz attitude.
Like in ‘Heavy Quarters’ where his playing is embedded in a slow but brutal sounding
rock environment. The intro and the outro of same piece illustrate their interest for
pure sound textures. ‘Diiisko’ has Hauf and Siewert in a fine battle. In all pieces they
sound very tight and together. Complexity and rock primitivism are in a perfect blend
here. This is not just a hell of noise, but free rock at his best. (DM)
vital weekly #1005

BUY HERE

“In three seconds from zero to twelve tones.” The Peeled Eye REVIEW

THE PEELED EYE

english:
Together four notorious engineers design a vehicle of a different kind. No frills. Sleek design. Schematic without hierarchy: rhizome electronics. FreeJazzSax gearbox. In three seconds from zero to twelve tones. With screeching tires and drumming heartbeat the vehicle whizzes through stringed thunderstorms. On dark streets of bass-lines into a serious nothing. Unlimited Doom. A poly-logical Inferno, a decrepit ghost, a swarm, a lamenting Ghul, yet another inferno pass outside. Occasional longer stays in abandoned parking garages. Volume and degree of tonal density drop, but not the tension. The ceiling lighting flickers, raindrops whisper, windows steam up. An electronic pulse starts up the engine. In driving a motive makes its way inside the sound body, gets developed and in its best moment thrown out the window. And then again, the same. Greetings to the noise of that night, it’s tinkering, it’s punch. Hinted phrasing, amorphous force, Patterns without stencils, a fine net of questions becomes the answer. To what? Exactly. The tank is full of relations. No more space for vanities. In this dark miracle musical ride. (steroid) [translation Boris Hauf]

———————————————————————————

german (original):
Vier berüchtigte Ingenieure entwerfen gemeinsam ein Gefährt der anderen Art. Kein Schnickschnack. Schlankes Design. Schaltplan ohne Hierarchie: Rhizomelektronik. FreeJazzSax-Getriebe. In drei Sekunden von null auf zwölf Töne. Mit quietschenden Reifen und trommelndem Herzschlag saust das Vehikel durch ein Saitengewitter. Auf finsteren Bassstraßen in ein schwerwiegendes Nichts. Unlimited Doom. Draußen ziehen vorbei: ein polylogisches Inferno, ein klappriger Geisterzug, ein Schwarm, ein lamentierender Ghul, noch so ein Inferno. Gelegentlich kann es zu längeren Aufenthalten in verlassenen Parkhäusern kommen. Lautstärke und Grad der Tondichte fallen ab, die Spannung nicht. Die Deckenbeleuchtung flackert, Regentropfen flüstern, die Scheiben laufen an. Ein elektronischer Impuls wirft die Maschine wieder an. Während der Fahrt gerät ein Motiv ins Innere der Klangkarosserie, es wird weiterentwickelt und in seinem besten Moment aus dem Fenster geworfen. Und dann gleich nochmals. Grüß uns den Noise dieser Nacht, ihr Gefrickel, ihren Punch. Angedeute Phrasierungen, amorphe Wucht, Patterns ohne Schablonen, ein feines Netz aus Fragen wird zur Antwort. Worauf? Exakt. Der Tank ist voll mit Relationen. Für Eitelkeiten ist kein Platz mehr. In dieser dunklen Wunderkarre aus Musik. (steroid)

http://freistil.klingt.org/ issue #63

BUY HERE : shameless web store

list of stolen instruments , please share

Orgel/Synthesizer:
KORG cx3 (sn# 320433) red case
Roland sh 101 (sn# 256495) green case
Roland sh2000
Korg MS 10 (sn# 137148) green case
Pianet Hohner black case

Saxophon:
Selmer SA, 80 serie ii (sn# 419736)

Microphones:
Shure Sm 57
Shure beta 58
ALTEC 683A + Amperite R 8 (H) no case
RCA MI 6202 (1945-1951) no case
Sennheiser MD 441 (2x) old version
Sennheiser MD 421 (2x) old version
Oktava MK 012 Matched Pair Black

Mir wurden letzten Mittwoch (2.Sept) fast all Instrumente und Micros aus meinem Lager in Berlin gestohlen.
Ich weiss es ist ziemlich hoffnungslos, aber falls ihr die irgendwo steht, oder angeboten bekommt, eventuell kurz bei mir melden.
Keyboards waren alle in cases, micros in den original pakcungen
Wäre super, wenn ihr dieses mail weiterschickt, oder über eure Netzwerke postet.
Danke,
Boris

Hi all, hope this finds you well.
almost all my instruments were stolen out of my Berlin storage. if you see one for sale or trade please let me know.
Please forward this email or post it on your preferred networks.
thanks so much!
Boris

The Peeled Eye – review Ron Walkey

So I sat down in that big leather-covered armchair and put on a pair of large and efficient earphones. I wanted to give Peeled Eye some ear-time, without surrounding interference. Hear where they are ‘at.’ Out the night window of the 5th floor apartment crashes of lightening fractured their way down onto the tip of the Berlin tower. Perfect background for this music!
Let me begin with three simple things. First this is serious music. It’s not just a gig. Something fine is being played, something unified, something shared. Second, each of the musicians is an expert. Care and proficiency are felt throughout the entire work. Third, this group really cooks together — each of the four an absolute necessary part of the whole.
With that said then there’s the delight in the complexity of what sounds are being made. My ear followed one of the players, heard his path beside the others, then followed another. The musical patterns they’re working with are far from familiar to me. I paid attention. At many points cohesion is not at first obvious, each seems to be blowing to his own wind, but not so. Sitting there and listening they opened my mind to many questions, just as all good art should. Is this in some way a fractured mirror to our society, where an individual cry in the complex night might, or might not, be heard by someone else? Gone the days of total agreement to what’s groovy? Maybe. Maybe not. All sorts of tasty questions.
A lick starts, gives a hint, then peters out. The sax heads into a painful wail, or was it ecstatic? Or a complaint? Or a shout of loneliness? Rhythms build, dissolve away into somewhere else. Electronic sounds come forward to blossom, add spice, sometimes dive in, but never steal the show. A piece ends, leaving a heart-filling drone to bring momentary ear comfort. Then some tinkles off to the side before a thump. It’s a landscape, and a beautiful one.
As another flash from Zeus raced down to touch the Berlin tower. Very fitting.
At the end of the second side of that yellow vinyl disc I lifted the earphones off into the silence of the room. Moments passed before I realized there’s a clear emotional stance of urgency in this music, and it’s one I’m not particularly comfortable with. I’d probably be more soothed with a bit more space between these sound conjunctions, but that’s just me. It gets a bit desperate at times, but don’t we all. Just like life.
So, do get yourself some good earphones, slice off a bit of time and sink into what these guys are doing. They’re pros.

Ron Walkey (Vancouver & Athens)

buy here