November 2021

super delayed CLARK2 record release and film premiere tour – Berlin, Salzburg, Wien.

details to follow.

“an immersion in a space suspended from the celestial arches of a universe bigger than our imagination”

wow, thank you muchas muchas, #radio3 – Radio Nacional de España @rtve

REDRICK updated

Last December I released a collection of lockdown tunes named after the main character in the Strugatsky brothers’ Roadside Picnic: Redrick.

borishauf.bandcamp.com/album/redrick

The album will be updated as we go along. Check back when you have a mo and download the tracks you dont have yet. I think that’s how it’ll work.

thanks all, stay safe and healthy and sane.
Boris


Roland Torres from SilenceAndSound wrote some wonderful words about the release. Thanks Roland.

“It is almost in discretion that Boris Hauf continues to develop and divulge his music, full of poetry and tenderness, empathy and discreet beauty.

Redrick, released a few months ago as an EP, has been embellished with new tracks to turn into an album and should continue to see his tracklisting expand over time.

The unpredictable is a notion that the composer seems to particularly appreciate, offering with each new project a new angle of his personality forming a complex and rich whole that continually explores the depths of our world.

Crafted like a sculpture, each title is an opportunity for Boris Hauf to express galaxy skeletons, dreams escaped from black holes, erased images of the present … slaying hostile areas to create strangely attractive arpents of land.

There is a lot of finesse and delicacy in the work of the German, craftsman of rushed feelings and sensitive deviations, offering with Redrick, an initiatory journey to the heart of our creative humanity and our submerged emotions. It brilliantly blends, soothing trance and porous intensity, inviting jazz, electronics, classical and abstraction to merge together, to drift until the end of time. Vital.”

Thank Yous and Smooth Slides

Thank you for your support this year. With two charity releases and a benefit rooftop concert Shameless Records could raise 4000Euro for foodbanks in Chicago and Berlin and for the Greek NGO Infomobile, providing refugees with information concerning their rights in Greece and Europe.
A big thank you also to all musicians involved and Julian Lars Gosper for the artwork .
Due to 2020 we are behind with the physical releases we promised you for this autumn and winter. Thanks for your patience. We have 3 amazing new releases cooking, hopefully out before Easter 2021.
Wishing you a solid and smooth slide over to a friendly 2021,
Boris

REDRICK

more lockdown tunes for you:

November 2020, second Corona lockdown.
Pay as you wish, thanks.
Be well,
Boris

Music: Boris Hauf
Artwork: Julian Gosper

DO LESS MORE OFTEN

Bed is Boris Hauf and Michael Hartman – Do Less More Often is the music they made. This music is about finding a path through the mundaneness of the day-to-day to create purpose and meaning. It is about finding a meaningful way to pass the time, making music with your friends. There are mostly synthesizers, there are subtle pulses and pounding beats, there are gentle drones and harsh noises, there is light and dark, and there is a way to stay connected across distance, time, and clutter. There is the optimism of family and friendship pushing against the cynicism of the oligarchy.

Original release was accompanied by a T-shirt release here.
T-shirt design by Julian Lars Gosper, printed on Next Level Apparel shirts which are produced environmentally friendly, and sweat-shop and child labor free.

Go to shamelessrecords.rocks for the 8 remaining Ts…

Thanks and enjoy.

VIDEO BY Andrew Jarvis

COME HERE DUST AND HAIR

“The imaginative space between a piece of language and an intersection of commonly overlooked details in the environment is treated like a strange object that opens a distinct process of observation. Acting as both host and instigator, Litó Walkey continues to deal with the generative space among memory, presence and collective thinking. The audience is made complicit in a site of attention qualified by more than a
single identifiable subject. Multiple intervals of return in alternating presentational modes foreground the co- inhabitation of temporal, acoustic, spacial, physical and associative debris.”
– Litó Walkey

credits

Created and Performed by Litó Walkey
Sound by Boris Hauf
Lighting by Dinis Machado

A Palace Not Infinite

Friends,

I hope you’re well.

My recent solo CLARK2 was released on April 24, smack in the middle of the (first?) lockdown. I’m very proud of this release and think it would fit really well on your shelf and turntable.  It’s been getting good reviews and airplay but concerts and tour were cancelled.

Details:
It’s a double LP on white vinyl in an eye popping reverse printed gatefold designed by Julian Lars Gosper. Produced it at an ECO friendly factory with green, sustainable bio-mass driven technology and green power I do carbon-neutral shipping only or (if you’re in Berlin) delivered in person by bike.

Shipping to the US is bonkers right now. USPS charges $36 for a single LP, but I have a stash in Chicago. If you’re interested please get in touch.

You can listen to or buy the whole thing here.
http://clark2.shamelessrecords.rocks/

Here’s what some listeners say about CLARK2.

“an extra-terrestrial minimalist synth excursion.” 
– xlr8r.com

“a celestial, addictive journey concluded with the elegiac […] urban, monotonous noises.” 
– Eyal Hareuveni, Salt Peanuts 

“an album of celestial electronics, alternately minimalist and maximalist and thoroughly engrossing for its entire 80 minutes” 
– Philip Montoro, Music editor Chicago Reader  

“Admirable excursion that contemplates half a century of electronics of terrestrial and sidereal environments in eighty minutes” 
– BlowUpMagazine 

“If time looked like music, it could be close to Boris Hauf’s new album, CLARK2. The 12 titles are an immersion in a space suspended from the celestial arches of a universe larger than our imagination. 
– Roland Torres 

“All this scratchin’ is making me glitch.” 
-Kevin Press 

“Brace yourself for a beautiful musical deep space science fiction adventure on this one.” 
– Stuart Bruce 

“I don’t know, it makes my eyes hurt.” 
– Naima 

Thanks for your support.
Stay safe,
Boris

Newsletter
You can subscribe to my personal newsletter here. This is where I announce Boris related stuff.http://eepurl.com/dx8hKX

I also run a label Shameless that has a bunch of super exciting releases coming up. You can subscribe to that newsletter here.http://newsletter.shamelessrecords.rocks

Also been filling up borishauf.bandcamp.com with new and old stuff. 

SOLO ORGAN LOST COLLIE

2 days before the garage that housed my studio from 2010-13 was blown up I recorded 5 solo organ tracks in the driveway/stairwell.

CONTROL SIGNAL

Music for a performance duet by Karen Christopher & Sophie Grodin, 2013

Control Signal explores invisible influences and inexplicable connections. It explores our irresistible urge to impose our will upon our immediate surroundings; upon nature. Through sound textures, spoken text, and actions that build visual statements, two people amble, dance, and tremble through a series of ideas and introduce an uncontrollable vibration.

Sound: Boris Hauf
performance by: Karen Christopher & Sophie Grodin
Light: Marty Langthorne
Dramaturgy: Litó Walkey

WHAT MOVES MOVES

trailer soundtrack for WHAT MOVES MOVES

what moves moves is the second collaboration of musician/composer boris hauf and dancer/choreographer christina ciupke. the piece was premiered at the heizhaus of uferstudios berlin in december 2013.
“our dialogue for this piece started as a conversation about differences and similarities in the perception of aesthetics in dance and in music. using a space within a space we examine dynamics of sound and movement and attempt to balance the two media and their reception.“
a concrete physical object – a wooden hut (2m x 1,20m x 2m) with no windows – is located on a slight diagonal axis in the middle of the space. the audience enters into a relatively dark space. to perceive the hut from different perspectives, distances and on various sensual levels spectators are welcome to move freely in the space outside the hut. after they have settled the hut gradually develops a life of its own. visually impenetrable, the hut’s limited permeability allows only minimal perception of what is originating from inside it. barely perceptible noise, cracks and vibrations reveal the hut’s inner life.

after a while the outside space darkens increasingly and light penetrates the cracks of the wooden structure. nearing the hut eludes the overview of what is going on inside it, the gaze is drawn to the detail. observing from a distance complements the visual cutouts and allows insights as a whole. sound fragments and light movements inside the hut are perceived as physical dynamics and melody fragments can be heard in interstices of building and construction noise.

as performers, christina ciupke and boris hauf are alternately inside the hut and outside of the enclosed structure, in midst of the audience. the perception of interior and exterior space oscillates with the movement of sound, light and the dynamics between audience and performers. encounters, when they occur, are indirect and delicate. by repeatedly becoming permeable for the senses the apparently distinct demarcation of the hut conveys proximity and connectedness.

performance: christina ciupke and boris hauf
light: mehdi toutain-lopez
stage construction: bodo herrmann
costumes: nina kramer
production manager: barbara greiner
assistant: anne schuh
a production by christina ciupke supported by the berlin senate cultural affairs department

LIFE AND DEATH OF A MELODY

excerpts of the sound for LIFE AND DEATH OF A MELODY

In their third collaboration Christina Ciupke and Boris Hauf continue researching the link between sound and movement. Supported with lighting design by Emma Juliard the piece unfolds from microscopic sound and movement language to complex sculptures. The performance space is a vibrating three-dimensional body of sound, allowing the audience the experience proximity and distance on different levels of perception. In her movement research Christina Ciupke’s interest is drawn to details – such as a small shift of a joint resulting in an involuntary chain reaction and adjustment of other parts of the body. As it is taken by gravity, the swing of an arm is trapped and decelerates. Two-dimensional images, movement sketches and repetition develop into more spacious and dynamic structures. Boris Hauf sets the sound complementary to the movement interacting microscopic loops with elongated, nested phrases. Together they investigate the deconstruction of repetitions and loops after they have been visually and aurally established.

performance und musik: christina ciupke und boris hauf
licht und bühne: emma julliard
produktionsdramaturgie: barbara greiner
künstlerische mitarbeit: frank müller
produktionsdramaturgie: barbara greiner
produktion: christina ciupke, gefördert durch den regierenden bürgermeister von berlin, senatskanzlei – kulturelle angelegenheiten, mit freundlicher unterstützung der uferstudios

CLARK2 review on SALT PEANUTS by Eyal Hareuveni

CLARK is the electronica alter ego of Berlin-based experimental sound artist and multi-instrumentalist Boris Hauf since 2005 when he released his debut Clark album (originally on Sijis, re-released by Hauf’s label Shameless Rocks in 2016). «CLARK2» is more ambitious in its concept, scope, and instrumentation, lasting about 80 minutes. This album is released on Hauf’s label as a deluxe double LP on white vinyl (with download option). It is produced at an ECO-friendly factory with green, sustainable biomass driven technology and green power. Hauf promises only carbon-neutral shipping or delivering personally the LPs by bike or tram.

«CLARK2» began as a single LP with Hauf’s «notions of the terrestrial present an extraterrestrial future. It’s about digital natives born into climate collapse and automation, the degree to which we relinquish control to avoid work, and the future that lies ahead of us and our children». Hauf wanted that «CLARK2» pieces would radiate metaphysical, transitional, and phenomenological interactive dimensions. During Hauf correspondence with his graphic designer, Vancouver-based Julian Lars Gosper, this single LP kept growing, referred to the Covid-19 pandemic reality, and shaped in an epic and symphonic form and structure.

The opening piece «Island Destiny» emphasizes the epic, symphonic atmosphere of this album, referencing the extended, layered works of seminal seventies space-rock and early electronics artists like Tangerine Dream, Vangelis, and Peter Michael Hamel, but with an updated, minimalist touch and newer effects that color this piece with sparse, distant mechanical noises. The following pieces are shorter and employ the vintage, analog synthesizer qualities for creating the familiar repetitive, cyclical patterns, then mutating and shaping these basic celestial patterns, enhancing them by extensive usage of effects, often disturbed by subtle scratching, glitches that alter their moods (check the melancholic and pandemic-related «Can’t Get Jobs» and «Murmur», for example). The brief «Humans» (check the accompanying video-clips below created by Thomas Binder-Reisinger) and «Kastri» sound as informed by minimalist techno patterns while the song-like «A Place Not Infinite» corresponds with the eighties kind of heavy and grandiose synth school of Jean Michel Jarre (and Hauf already performed it before with different drummers). This celestial, addictive journey is concluded with the elegiac «Chaos Children», disturbed by urban, monotonous noises.

Eyal Hareuveni

NAKED LUNCH

Yesterday afternoon on the Alte Donau: Naked Lunch songs on a boat, fothermuckers!

#OliverWelter @BorisHauf #nakedlunch

Shine on shine on shine on…