[resource-net] RUSSELL HASWELL + PAINJERK / RASHAD BECKER / Jan 7 2015

NK info at nkprojekt.de
Wed Dec 31 18:17:13 CET 2014

*Dear Resource community Happy 2015! Wishing you all the best for the 
New Year.

Would like to invite you for a very exciting event at NK on wednesday 
Jan 7th 2015-- Doors 19:30 Concert 20:30*


      *@ NK*

*Elsenstr. 52 2.HH 2.Etage*

*12059 Berlin*

*More info: http://nkprojekt.de*

*Russell Haswell* is a restlessly forward-thinking, multi-disciplinary 
artist, performer and curator born in Coventry and currently based in 
Suffolk, England. With a background steeped in computer music, black 
metal, noise, techno, free-stye and solo improvisation, his practice is 
renowned for broaching the extremities of visual and sonic arts. He’s 
performed in noted live and HDJ [hard disc jockey] actions with Aphex 
Twin, Gescom, Pan Sonic and Masami Akita (Merzbow), among others, and 
worked with Florian Hecker on Iannis Xenakis’ UPIC system in their 
Haswell & Hecker duo, whose ‘Blackest Ever Black’ (Warner Classics) LP 
is widely considered a milestone of modern electronic music composition. 
Russell’s recorded work has also been published by a wide number of 
esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 
1997 – 2000′ (Honorable Mention, Digital Music’s, Prix Ars Electronica) 
for Editions Mego, but also for Warp, Downwards, and his OR label, home 
to world’s first MiniDisc release. Most recently Russell collaborated 
with Regis as Concrete Fence on the combustible ‘New Release’ EP for PAN 
Records, and is currently prepping a forthcoming release for Powell’s 
Diagonal Records and a forthcoming “hyper edit” collaboration with PAIN 


*PAINJERK* is one-man sonic project runs by Kohei Gomi (b.1963).

Gomi began home-recordings of the experiment of the sound in the mid-80s 
when Tascam (Teac) just released 4 multi-tracks cassette recorder called 
“Porta One Studio” for the beginers of home-recording. He mixed 
influence of the punk art (and primitives) and influence of method of 
psychosomatic surrealist. The recorded / performed work does not have 
each with the independent meanings and is the pieces of assemblage. And 
it is also the pieces produced by obsession.

PAINJERK is one of the more prolific and influential sound artists of 
the 90s, and is one of the leading figures in the sound of dynamics / 
brutality as electro-acoustic outsider. He covers a lot of gaps like, 
various noise-sounds, the experimental /electro-acoustic music, music 
concrete, techno, rave, electronica, sampling culture, post-punk methods 
and mixing them all through his filter.

This is not the improvisation. This is not the composition. This is kind 
of the automatic-act by the encoded sound. It becomes the machinery and 
is beauty beyond extreme music.

He has collaborated with artists like, Zbigniew Karkowski, Russell 
Haswell, Jackie Oblivia (aka Smegma), John Wiese & etc and has 
contributed to various festivals like, No Fun Festival (the US), Avanto 
Film & Music Festival (Finland), Avant Fesival (Poland), All Ears 
(Norway), LUFF (Swizerland), London Contemporary Music Festival (the 
UK), Multipletap London edition (Japanese extreme avant-garde show-case 
event) and toured in Poland, Spain, Italy, Sweden, Norway, Denmark, the 
UK, Germany, Swizerland, France and Belguim in the past.

Also he has shared same stage with lots artists like, Brutal Truth, Mika 
Vainio, Mark Fell, Kim Gordon, Jim O’rourke, Norbert Moslang, NHK’Koyxen 
(aka Kouhei Matsunaga) etc etc.
It has been well known some of are mentioned PAINJERK name in their 
interviews like Aphex Twin, Russell Haswell, Pan Sonic, etc in the past.

*rashad becker* was born in 1970 owing to unprotected coition.

he was admitted to the fortress europe at age 12.

he grew up to be a certified emergency medical technician and ornamental 
blacksmith but went on dedicating his professional life to less useful 

since about 2000 he eats miso for it’s delicious taste and proclaimed 
health benefits.

since about 2002 he started losing his hair.

currently his live sets evolve around the angle of `traditional music of 
notional species`, a semiabstract synthetic narrative that seems 
appealing to a surprisingly wide audience.

“Becker’s name will be known to a lot of people – indeed it appears on 
many, many records – but his music won’t be. His day job is as the 
mastering and cutting engineer in Berlin’s world-famous Dubplates and 
Mastering, where his role involves entering into a creative dialogue 
with the music of others, helping them to achieve what they set out to 
with their compositions in the final product. Before he got the D&M gig, 
he was originally a musician in his own right, and he continues with 
this as an irregular sideline, making and manipulating loops and 
electronic sounds.

What wasn’t a surprise about his performance was how precise it all 
looked and sounded as he carefully twisted dials to produce a sequence 
of very crisp and discrete tones, sparse and improvisational (if you had 
to pick something from Becker’s other work to compare this to, it 
sounded like an early, experimental, Mego, a less harsh Pita or Hecker). 
What was more unexpected was just how conversational it all sounded. 
Most of the
frequencies used were within the range of the human voice – it sounded 
like a long stream-of-consciousness sentence made up short syllables, 
electronic oohs and wahs, sections of muttering, and occasionally 
bickering. Whatever he does, it seems Becker has the knack of giving 
sound its voice.” The Liminal

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