log_2024_02_29 //ย I Am All Ears #2
February 28, 2024

๐™„ A๐™ข ๐˜ผ๐™ก๐™ก ๐™€๐™–๐™ง๐™จ Episode Nr. 2 this time with three good reasons to dust off your tape deck, a poem, one little story about the capabilities of sound, a book recommendation and some more music.

๐™๐™–๐™ง๐™ž๐™™๐™– ๐˜ผ๐™ข๐™–๐™™๐™ค๐™ช & ๐™‹๐™–๐™ซ๐™š๐™ก ๐™๐™˜๐™๐™ž๐™ ๐™ค๐™ซ – ๐™ˆ๐˜ผ๐™‡ ๐˜ฟ๐™€ ๐™๐™€๐™๐™๐™€ (๐™๐™ง๐™ค๐™ช๐™—๐™ก๐™š ๐™„๐™ฃ ๐™ˆ๐™ž๐™ฃ๐™™)
Farida Amadou performed with Aquiles Navarro at the closing of this year’s Transmediale. I got a ticket for this performance without knowing what to expect. It was one of the most honest performances I have seen in a long time. There is no recording available, but you can get an idea of how Amadou plays the bass by listening to the MAL DE TERRE tape, which is also available for streaming.

๐™Ž๐™ช๐™๐™š๐™ž๐™ง ๐™ƒ๐™–๐™ข๐™ข๐™–๐™™ – ๐™’๐™๐™–๐™ฉ ๐™„ ๐™’๐™ž๐™ก๐™ก (๐˜ฟ๐™š๐™› ๐™‹๐™ค๐™š๐™ฉ๐™ง๐™ฎ ๐™…๐™–๐™ข)
Suheir Hammad is an American poet, author and political activist, and the daughter of Palestinian refugees. I heard this poem 14 years ago and it was an anchor in a confusion about the perspectives of the left-wing Anti-Deutsche movement, which was an integral part of Bremen’s subcultural community. I still don’t know how to deal with this confusion, growing up as a German citizen but with the knowledge passed on by a father who immigrated from Lebanon. These days I am glad to be able to listen to this poem again. And perhaps it could be an anchor or even a starting point for someone else.

๐˜ฟ๐™ค๐™ฃ๐™–๐™ฉ๐™ค ๐˜ฟ๐™ค๐™ฏ๐™ฏ๐™ฎ – ๐™ˆ๐™–๐™œ๐™™๐™– (๐™Ž๐™ฅ๐™–๐™ฏ๐™ž๐™ค ๐˜ฟ๐™ž๐™จ๐™ฅ๐™ค๐™ฃ๐™ž๐™—๐™ž๐™ก๐™š)
It took me quite a while to grasp the LP, and it helped a lot to give the album space. Rather than listening to it with earplugs, it helped to listen to it through speakers that fill the room with hazy arpeggios, linear arrangements and a hidden layer of rhythmic structures. It’s strange, somehow we don’t hear anything we haven’t heard before, but maybe that’s the point. And Dozzy asks us to listen to what is there already instead of constantly searching for something new? The album is dedicated to his Aunt Magda.

๐™ˆ๐™–๐™ฉ๐™ฉ๐™๐™ž๐™–๐™จ ๐™๐™ช๐™ฉ๐™๐™š๐™ฃ๐™—๐™š๐™ง๐™œ – ๐™‹๐™„๐™€๐˜พ๐™€๐™Ž ๐˜พ – ๐™˜”’ / ๐˜ฟ – ๐™™”’ (๐™๐™€๐™‘๐™€๐™๐˜ฝ & ๐™๐™€๐™๐™€)
For this release, Matthias Ruthenberg began working with single note elements that he received from friends. Between 2020 and 2023 he asked them to record takes of different voices and instruments using telephones, tape- and field recorders.
The way in which the pieces are composed and edited refers to structural elements on urn-tombs (columbaria) in cemeteries as well as sound systems at raves.
A beautiful, textural collage of multiple timbres and, above all, a manifestation of friendship.

๐™†๐™–๐™ก๐™ž ๐™ˆ๐™–๐™ก๐™ค๐™ฃ๐™š – ๐˜ผ๐™ก๐™ก ๐™‡๐™ž๐™›๐™š ๐™‡๐™ค๐™ฃ๐™œ (๐™„๐™™๐™š๐™ค๐™ก๐™ค๐™œ๐™ž๐™˜ ๐™Š๐™ง๐™œ๐™–๐™ฃ)
I played one of her NTS shows a dozen times for our newborn child. Choral compositions and resonating bells were sometimes the only thing that made them fall asleep. Witnessing the capabilities of sound and frequency have been one of the most mesmerizing experiences as a parent. A fussy child soothed by the first choral tones, which at a certain moment turned into a profound cry every time. Followed by deep slumber as soon as the bell plates came in.
Kali Malone’s latest release reminds of this time when physical touch, whether bodily or auditory, is the simplest but most immanent form of communication.

๐™Š๐™ข๐™š๐™ฃ – ๐™’๐™ž๐™ก๐™™ ๐™Ž๐™ก๐™š๐™š๐™ฅ (๐™†๐™–๐™จ๐™๐™ช๐™–๐™ก ๐™‹๐™ก๐™–๐™จ๐™ฉ๐™ž๐™ )
Sparse sound collages of minimal synth layers, field recordings of the urban Berlin soundscape, voice memos and whispered songs. Wild Sleep feels like an intimate play on a small stage and is the third reason to fix your tape recorder this month.

๐™Ž๐™ฅ๐™š๐™˜๐™ฉ๐™ง๐™š๐™จ ๐™„๐™„๐™„ – ๐™‚๐™๐™ค๐™จ๐™ฉ๐™จ ๐™„๐™ฃ ๐™๐™๐™š ๐™ˆ๐™–๐™˜๐™๐™ž๐™ฃ๐™š (๐™Ž๐™๐™š๐™ก๐™ฉ๐™š๐™ง ๐™‹๐™ง๐™š๐™จ๐™จ)
This issue of Spectres is a collection of different approaches to computational and algorithmic composition, cybernetics and neural networks. Coming from a background in landscaping, I was really intrigued by ร‰milie Gillet’s (founder of Mutable Instruments) process of sound search and its depiction through garden paths.

SPECTRES III at Shelter Press

๐™„๐™ก๐™ก๐™ช๐™ฃ – ๐™๐™๐™š ๐˜ผ๐™ฃ๐™˜๐™š๐™จ๐™ฉ๐™ง๐™–๐™ก (๐™๐™–๐™จ๐™ฉ ๐˜ฟ๐™ง๐™ž๐™ซ๐™š)
The label describes the release โ€œas a personal confrontation with intergenerational trauma. Decades of ignorance and damaging patterns can only be repaired through active intervention, eventually leading to self-acceptance and renewal through confrontation with pain and suffering.โ€ A journey worth a listen! Comes with a mixed bag of remixes. Though The Sugar N CreaMix by Victoria Messor is definitely something I would drop if I were DJing again.
Can’t wait to hear what comes next!

๐™๐™๐™š ๐™๐™ช๐™ฉ๐™ช๐™ง๐™š ๐™Ž๐™ค๐™ช๐™ฃ๐™™ ๐™ค๐™› ๐™‡๐™ค๐™ฃ๐™™๐™ค๐™ฃ – ๐™‹๐™ง๐™š๐™จ๐™š๐™ฃ๐™ฉ๐™จ ๐™‹๐™ช๐™ก๐™จ๐™š ๐™๐™ž๐™ซ๐™š (๐˜ฟ๐™š:๐™๐™ช๐™ฃ๐™š๐™™)
These are recordings by the infamous Papua New Guinea producers The Future Sound Of London. Revisited DAT material from the 90s, so nostalgic, yet timeless. And this is a reminder for you to make backups of your music recordings! Or share with your friends! Or Me.

๐™ˆ๐™„๐™‰๐™Œ – ๐™ˆ๐™–๐™ง๐™™๐™ž ๐™‚๐™ง๐™–๐™จ ๐™Ž๐™ฅ๐™š๐™˜๐™ž๐™–๐™ก (๐™๐™š๐™›๐™ช๐™œ๐™š ๐™’๐™ค๐™ง๐™ก๐™™๐™ฌ๐™ž๐™™๐™š ๐™๐™–๐™™๐™ž๐™ค)
I heard this as I was returning from an amazing CTM weekend in Stockholm.
Mardi Gras is over now, but I let me land softly.

log_2024_02_12 // ZUCKER CLUBโ€  (2012 | DJ SET)
February 12, 2024

This is a recording of my very last time spinning records at ZUCKER Club in June 10, 2012. The first DJ gig I had there was in November 2009, followed by an intense and nurturing time as member of the collective.

ZUCKER had to close its doors a few weeks later in summer 2012 and since then an amazing community of people are still working on reopening this place at another location – a former bunker in Bremen. Being this dedicated and taking the ongoing support of the cities community in consideration reveals this place still means a lot for people in Bremen. Currently they are located at p.ara.

The mix is a personal compilation of my favourite productions from that time and a tribute to the moments that made this place special. A place where you would find yourself on the dance floor, excited about the next record to be mixed in. Knowing that the night would last at least one track longer, while the sunlight was already streaming through small cracks in the wall and slipping through the doors and covered windows. Moments like this, when the night manager sends the security staff home, closes the door and joins the crowd themself, have led to many magical communal gatherings of wholehearted individuals.

I can get quite nostalgic as I spent almost all my weekends and weekdays in this place. Either behind the bar, at the entrance, behind the booth, on the dance floor or in the office. It was the first place where I finally felt safe, surrounded by like-minded people, dancing the way I wanted to, far away from heteronormative norms and aggressive behaviour caused by masculine insecurities and toxicity. It was the place where I learned that people choose their own pronouns. Thank you Kriz for everything you have made possible for all of us.
The house rules were written on the wall at the entrance. Simple and now part of almost every event invitation: NO room for homophobia, racism, sexism, ableism and anti-Semitism!

Reflecting back, while I have many wonderful memories, the danger of nostalgia is to forget the time and energy we had to invest in discussions to address various issues. Despite the common ground we shared, there was a lot of work to be done on issues such as gender representation, door policies and, unfortunately, drug abuse and alcoholism. The latter was an occasional source of conflict. The line-ups were mostly male, although trans/female DJ workshops were facilitated and rules for curating a line-up were established.
These were not the reasons for closing the venue. Problems with the landlord, a lack of alternative locations and funding put an end to ZUCKER.

Tracklist:

Mokira – Time Track (Silent Servant Remix) – KM018.1
Magic Mountain High – Untitled – WORKSHOP XX
Dominik Eulberg – Daten-รœbertragungs-Kรผsschen (Minilogue’s Belledub Mix) – TRAUM V121
Sterac Electronics – Keep On Running – MM106
O/V/R – Post-Traumatic Son (Wave Mix) – BP030.1
Untold – Motion The Dance – HEK016i
Nick Dunton – Between Worlds (Sandwell District’s For Rich Mix) – SF BSF 002
Adel Akram – Untitled (A2) – ZCKR05
L.B. Dub Corp – Itโ€™s What You Feel – o-ton39
Emeralds – Does It Look Like I’m Here? (Daphni Mixes) (JIAOLONG002)
Ripperton – At Peace (I:Cube Tape Mix) – GREEN 09.2
Juho Kahilainen โ€“ Prophet Without A Vision EP – PRG002
Blackbelt Andersen โ€“ Tyrkisk Pepper – FP028
Martyn – We Are You In The Future (Redshape Remix) – BF028
The Field – The Deal – KOMPAKT 154
Agoria โ€“ Magnolia – IF2021
Nathan Fake – Coheed – TRAUM V056
1866 – Sisyphus – WT-08
Peter Van Hoesen – Axis Mundi – o-ton51
Luke Abbott – Holkham Drones – 30BCLP
Donnacha Costello – Waltz For Chet – LNG1
Sandwell District – Falling The Same Way (Reality Or Nothing Extended) – SDSMP3.1
Oni Aihun – Untitled – OAR003
Tin Man – Nonneo – ASD015
Shed – Hello Bleep! – OSTGUTLP06
Link – The Augur – EVOSYM 001
Shed – Leave Things – OSTGUTLP06

log_2024_02_07 // Latent Possibilities, Latent Responsibilities, Latent Spaces
February 7, 2024

I have been writing an essay about the metaphorical connection between queerness and the output of altered generative adversarial networks by exploring the capabilities of technology to visualise speculative horizons and imaginations. For this I draw from Josรฉ Esteban Muรฑozโ€™s definition of โ€˜queerโ€™ and Sara Ahmedโ€™s queer phenomenology. With these possibilities in mind, I introduce text-to-image generators which are based on diffusion-networks and highlight their potential pitfalls when applied to the creation of photo-realistic images of members of the disabled and queer community. The poster campaign for the 2023 KRAKE Festival serves as a case study to analyse the ethical considerations and challenges associated with this technology. I relate the practice of prompt engineering to Judith Butlerโ€™s concept of performativity and argue how this technology can appropriate the visual identity of drag culture.

I added it to the Methods area. I appreciate if you want share your thoughts, ideas and feedback with me.
It is pretty quiet sometimes while writing.

log_2024_02_06 // ZCKR CDR0111 (2011 | Mix)
February 6, 2024

A mixtape I hid inside of Zucker Club as little souvenir for the keen eyes and ears. In the beginning I had some fun playing 45RPM recorords at 33RPM. Pretty slow for todays standards, but nice to listen back to that time. Listen on Soundcloud