Mi, 28.03.2018, 22:00 Uhr
TECH RIDERS (NORWAY / NETHERLANDS)
TECH RIDERS (NORWAY / NETHERLANDS)
When early 2016 Sindre Bjerga (Norway) and Frans de Waard (The Netherlands) decided to join forces on a tour through Germany and The Netherlands, they decided that a duo act would be in order as well; as both have a wide experience in improvised electronics it was decided not to add another duo of improvised music to the scene, but rather be a group with structured songs that needed planning and rehearsing. Eight song structures were prepared by Frans de Waard, entirely based upon drone material delivered by Sindre Bjerga, plus a bit of synthesizer and rhythm. On tour Frans mixed all of these materials live, while Bjerga added his synth noise, radio/Walkman cut-ups and microphone abuse. All of this resulting in a wild ride of rhythm ' n noise and drones. From the highly subdued to the overtly loud, one could think of early Cabaret Voltaire, Merzbow, computer glitch, cosmic synthesizers, minimal techno and massive drone and you may have something that is close to the Tech Riders sound. The eight pieces on 'In The Sky' are a selection of recordings made on the road in 2016 and have very little to do (anymore) with the CDR that was sold as tour merchandise, also called 'In The Sky'. Confusing? Yes, it sure is, that's Tech Riders for you. Their April 2017 tour will take them to Finland and the Baltic States.
SINDRE BJERGA (NOR)
Experimental / psychedelic drone / collage music from Norway. I have been touring all over Europe, also Russia, Ukraine, Argentina and Japan for many years and have released close to 200 records on labels all over the world. I also run the Gold Soundz label
"Majestic balance burns through damaged synapse. Entrancing electro-acoustic scratch, long form isolationism and cavernous tape-drone meditation from Sindre Bjerga, who should need no introduction after his prolific string of releases on various labels across the underground spectrum"
"What remains consistent from one release to the next is a sense of personality. Whatever sub-sub-sub genre he happens to be working in – space-drone, gurglecore, dictaphonics, others of his own devising – he imbues it with an engaging, informing intelligence. Playful, unafraid to meander, yet always attentive, thought through and sharp when it needs to be." - Rob Hayler, Radio Free Midwich
"A very fine piece of electro-acoustic music, not highly refined – in fact: far from it – but a rather personal touch from this great Norwegian guy. Very nice indeed. Catch this guy playing when it he is in your area." - Frans de Waard, Vital Weekly
Modelbau is not the latest in a series of names used to create music, but it is indeed the latest one for a solo vehicle. Each of the names, and that includes my own name, stands for something particular, an idea, and something not found in the other monikers I am using. Modelbau is, like Freiband, not a proper German word (it should be Modellbau, but I thought that looked ugly) and as such is probably already a lo-fi name, and as such also very personal. As a musician I have noy a particular instrument, nor do I favour any technqiue, and I think one should use what is needed for a particular project or a piece of music. When I started Modelbau, I wanted to use various lo-fi sound sources, such as Dictaphones, walkman, shortwave radio, small synthesizers and such like. This would not be a project for improvisation, but more or less planned pieces of music. All of which to be released in the digital domain only. That was in 2012. Now, in 2017, almost nothing is left of this outline, and yet the msuic is very much what I envisaged as Modelbau. These days Modelbau uses pre-recorded cassettes, iPad apps, sound effects, laptop, shortwave radio, small synthesizers, ancient 2bit sampling device; everything is recorded on the spot, as is, and without multi-tracking and very minimal editing (save for fades and mastering) released as downloads, but also on cassette, CDs and CDrs. Vinyl is only a matter of time. Whenever Modelbau plays a concert (all of which are recorded) preparations are made, and these are also recorded; sometimes they have these preparations can have the length of a concert, but they can also be single pieces of a few minutes. All of these recordings are archived and whenever a release is prepared, the latest sessions are listened to again. 'Does it stand the test of time', is it still interesting.