As I find my excitement level for Max for Live continues to increase and my bank account continues to let me know that buying the program is not likely to happen for at least a little while, I find myself compensating for my lust by reading about Max for Live online.  This interview with Robert Henke from  Cycling ’74’s own web site  is one of the finest I have read.  He both talks about the exciting possibilities of Max for Live and also warns about having too much expectations from it.  Here is the link: http://cycling74.com/2009/11/21/an-interview-with-robert-henke/#more-3329.

Yesterday, Robert Henke from Monolake performed his Layering Buddha concert. In a gallery called Färgfabriken in Stockholm, Sweden, one of the most indulging musical experiences took place as Robert started to showcase droning and ambient material in a way that was truly unique.

In a large space, the largest gallery space in the entire building, everybody was either lying or sitting on the floor with Robert in the middle. All lights where out, and only Robert’s computer screen and emergency exit signs lit up the room.

As the sound progressed through various scapes and loops, he created an atmosphere that was mesmerising and very pure – a high quality 6 point speaker system pushed the concert further into a state of hypnosis. I was really calm and lied down on the floor, just focusing on the sounds. A moment of a true genius showcasing what he does best – sound.

   Genre: Electronic

   Style: Ambient

   Label: Imabalance Computer music

   Release Date: 15/05/2009

   Size: 72,1 MB

  Tracklist:

01.Indigo Transform 60:00

right before the launch of ableton live 8 robert henke during a press conference was asked if ableton 8 would have a vocoder acording to rumors,, his response….

Il mutek è uno dei festival di musica elettronica più interessanti sulla scena. Meno hyperism del Sònar, meno cerchiobottista di Dissonanze, meno bussone del Movement. Che messa così sembra non abbia nessuna qualità ed invece la sua migliore qualità è proprio la qualità (ma ha il difetto di essere a Montreal, un filino fuori mano). Quest’anno festeggiano i dieci anni di attività con (in ordine casuale):

Pilloski, Jaki Liebzeit + Burnt Friedman, Appleblim, Deadbeat, Moderat, Robert Henke (Monolake) + Christopher Bauder, Fehlmann, Moeller, The Mole, Ikeda, Alva Noto, Atom TM, Beytone, Mathew Jonson, Carl Craig, Villalobos, Akufen.

Distribuiti in quattro giorni, più visioni e incontri sull’era digitale (che fa molto ‘99 dire era digitale), tra cui sbavo nel segnalare: incontro sul mastering assieme a Pole, Ableton Live 8 con Deadbeat, nuovi trend nella diffisuone della musica, il workshop Serato su Scratch Live, realtime sampling & looping con due capoccioni della Cakewalk e Roland, ma soprattutto un incontro capitanato da Sherburne (giornalista di The Wire) assieme a Fehlmann (Orbital), Uwe Schmidt (Atom  TM, Senor Coconut) e Tobias Freund (Pink Elln) in cui si parlerà di musica techno, come si è sviluppato il movimento in Europa dalla fine degli anni ‘80 e sicuramente qualche aneddoto divertente e un po’ triste.

First of the year here but this covers the last three months, mostly!

• 2000 and One — Heritage
• Phantom Band — Checkmate Savage
• Marion Maerz/Ingfried Hoffman — Burt Bacharach Songbook
• The Drones — Havilah
• OvO — Croce Via
• KTL — IV
• Robert Henke — Atom/Document
• Humcrush — Rest at Worlds End
• Piemont — Strange World Beyond
• Elegi — Varde
• Revolting Cocks — Sex-o Olympic-o
• Tim Hecker — An Imaginary Country
• Oh Darling — Nice Nice
• The USA is a Monster — Space Programs
• Wino — Punctuated Equilibrium
• Lorna — Writing Down Things to Say
• False Icons — God Complex
• Hotel Hotel — The Sad Sea
• Northern Valentine — The Distance Brings Us Closer
• Grayceon — This Grand Show
• Viking Moses — The Parts That Showed
• Marykate O’Neil — Underground
• Phosphorescent — To Willie
• J. W. Farquhar — The Formal Female
• Necroblaspheme — Destination: Nulle Part
• Steve Roach/Erik Wollo — Stream of Thought
• Roger Manning — Catnip Dynamite
• April — Anthems for the Rejected
• Gary Farr — Take Something With You
• Gaiser — Blank Fade
• Charlie Louvin — Charlie Louvin Sings Murder Ballads and Disaster Songs

Robert Henke – [shift_register]

Robert Henke (Monolake) hace unos meses creo el show audiovisual Atom, basado en globos, todos con un LED interior, como puedes imaginar, funcionando al ritmo (si es que hay, en realidad) de la musica, utilizando envolventes ruidos (ambient) logra crear toda un atmosfera, un estupendo concepto…

El pasado diciembre del ya muerto año 2008 saco el ‘’soundtrack” del mencionado show, el resultado, el disco mas serio y elaborado de monolake, juzguenlo ustedes mismos.  Preview del show a continuacion…

A pesar de que la calidad del sonido esta muy chafa, no deja de sorprenderme el nivel de awesomeness con el que esta hecha esta onda, enjoy!

Tracklist:

Morro!

Am Donnerstag 29.01.2009 steht in Berlin ein weiteres Highlight elektronischer Musik auf dem Programm: Im Berghain findet die ATOM Live-Performance statt – eine Multimedia-Veranstaltung des Musikers Robert Henke und des Medienkünstlers Christopher Bauder, sozusagen als Record Release Party des Atom-Albums auf Robert’s Label imbalance computer music (icm 07).

Robert Henke hat sich mit seinem Projekt Monolake einen internationalen Ruf als vielseitiger Elektronikkünstler, Soundtüftler und Meister der kristallklaren Maschinenklänge erarbeitet. Seine Veröffentlichungen auf dem Berliner Label Chain Reaction sowie seinen eigenen Labels ml/i und Imbalance haben bereits Kultstatus.

In der ATOM-Performance am Donnerstag werden Musik, von innen leuchtende Gasballons und Licht ein musikalisch-visuelles Zusammenspiel finden. In der rohen Industriebau-Atmosphäre des Berghain sicherlich ein ganz besonderes Erlebnis! Hier vorab schonmal ein erster Eindruck per Video .

Anschließend wird DJ Sascha vom Plattenladen Hardwax Musik auflegen. Und was sagt Robert Henke auf seiner Website: “In case it becomes so crowded that not everyone can experience the full show, we consider doing a second one later at night.” Na dann!

Wann und wo:  Donnerstag 29.01.2009 ab 21:00 Uhr im Berghain (Berlin-Friedrichshain).

So I’ve been mulling over the nuances and differences between Ableton Live, Reason, Logic, etc and I’ve reached some conclusions…Logic is great, but I already use protools so I don’t need a full recording program. Reason is awesome too, but doesn’t support AU or VST plugins. Live…well, its the reason some of Europe’s currencies are higher than ours. The new suite features gigs upon gigs of incredible drum samples. Its arsenal of fully tweakable instruments include operator, sampler, electric, and analog. Let’s take a look. Operator- An FM synth generator featuring 4 oscillators which can be routed in several patterns. In addition, operator offers a couple LFO’s and envelope controls for unlimited customization. Sampler- This instruments supports sampling and mulitiple sampling…allowing you to create your own multisampled instrument (guitar, keyboard, vocal phrase, etc) or single sample. Those samples can then be assigned to midi notes for triggering and act just as any other midi patch. Sample editing is incredibly easy, offering many customizable controls and traditional time-stretching capabilities. Loop lengths and sections can be automated and moved through a phrase to create crazy sounds. A must! Take a look:

I wish Robert Henke came with the package…
Electric- This instrument simulates an array of electric pianos. Wurlitzers to Suitcases. Very vintage and very awesome.

Analog- This instrument is great for creating synth leads…My favorite is anything sawtooth. I didn’t spend too much time on this one or the Electric instrument but I loved the sounds I was able to create.

Tension- Acoustic String Generator. Absolutely no time spent. Sorry. Still exploring.

Ableton effects- Awesome. Too many to count and tweak. I specifically loved the stereo delays and saturator patches (great analog feel) especially on drums. The delay filled out beats very nicely and created a great panning/modulating feel.

Although this Suite comes with a price tag around a grand, you get what you pay for and this package won’t dissapoint. Great for live tracks and triggering, backup pads and ambience for recordings, and of course beat doctoring and shoegazing! Also, Ableton allows 3rd party sample import and supports VST and AU plugins so you are not limited in your instruments.

You can download a full 14 day trial of ableton live now at http://www.ableton.com/

La reiterazione ti permette di focalizzarti sui dettagli, di percepire la musica maggiormente come una scultura anzichè come un processo. La reiterazione è un fenomeno molto complesso, un singolo loop ha una una qualità di ripetizione molto differente da una frase di pianoforte suonato da un musicista. La ripetizione è un mondo vasto, e creare qualcosa che sia ripetitivo ma anche eccittante è una grande sfida. La ripetizione obbliga il compositore a focalizzarsi sull’essenza, poichè ogni dettaglio viene messo in evidenza loop dopo loop. (Robert Henke, About Repetition)

monolake e uno schermo crt

Monolake è principalmente Robert Henke, probabilmente tra i più grandi teorici e musicisti nel campo della techno ed elettronica da ascolto. Il contributo offerto dall’ometto in questione è fondamentale per lo sviluppo e la razionalizzazione di tutto ciò che è mini-legna. Legato profondamente con il dub già dal semplice concetto di ripetizione ed elaborazione del sample l’accento è sempre posto sulla struttura della canzone e mai sulla sua efficacia istantea, ovvero: niente anthems e moltissima sostanza. La fortuna per chi si avvicina ad Henke come Monolake è quella di imbattersi in una creatura che di quel suffisso “lake” ne fa bandiera, il suono gigantesco e profondo creato nelle composizioni ha qualcosa di unico, la densità liquida delle canzoni anche nei momenti più aggressivi trascina direttamente su mondi lontani.

Chi ha la sfortuna di imbattersi nei progetti\installazioni dell’Henke solista è giunto nel posto giusto:

Robert Henke – Delta

Massì dai anche una più pop: Monolake – Alaska

Une version complète de cet article, en son, en image et en vidéo, est à lire sur le site Culture Mobile :

http://www.culturemobile.net/innovations/artek/henke-techno-ingenieur-01.html

Portrait et interview express de Robert Henke, membre fondateur de Monolake, et participant actif à la création du logiciel Ableton Live.

Short interview with Robert Henke from Monolake, electronic musician and developper of the infamous Ableton live software. English version of the interview below.

Robert Henke n’est pas un simple musicien techno. Si la musique de ce berlinois, mieux connu sous le pseudo de Monolake, doit beaucoup aux rythmes syncopés et aux sonorités planantes du genre électronique, l’artiste a depuis quelque années orienté son activité vers une forme plus visuelle de spectacles et d’installations multimédias, exerçant autant ses talents dans l’univers festif des clubs que celui plus institutionnel des centres d’art. Mieux, renouant avec l’héritage des pionniers d’une musique électronique visionnaire, il nourrit son travail d’une recherche sur les outils et la technologie, créant ses propres instruments et participant activement au développement de l’un des logiciels actuels les plus appréciés des musiciens, Ableton Live.

Après des études au sein du studio de la Technischen Universitat de Berlin et et une participation active à Chain Reaction, l’un des labels les plus influents et les plus légendaires de la scène électro, la carrière de Monolake débute en 1997. A mi chemin entre « la puissance rythmique de la scène des raves et la sophistication de la musique électronique savante », Monolake impose dès son premier album, Hongkong, une esthétique à la fois dynamique et rêveuse, propice à l’imaginaire et au voyage intérieur. Une musique qui, selon lui, explore alors « le rapport au temps, à l’espace, au rythme et au son. Une musique qui requiert de l’attention et de la concentration, à l’intérieur de laquelle se construisent progressivement des structures complexes et fragiles, composées d’une multitude de particules sonores en mouvement, semblable à des cathédrales… ». Une musique qui, basée sur une architecture rythmique élaborée, se mèle harmonieusement à des bribes de mélodies et d’atmosphère, créant chez le spectateur une sensation d’hypnose et d’apesanteur.

Vous êtes l’un des rares musiciens de la scène électro actuelle à développer vos propres outils et instruments…
L’ordinateur nous aide à créer et à composer de la musique. Mais il devient rapidement inutile lorsqu’il s’agit de la jouer. Nous ne sommes qu’au début d’une révolution qui, en matière de technologie informatique, concerne la notion d’interface. Cela va bien sûr au-delà de la musique, mais cela passionne les musiciens car nous avons besoin de meilleures interfaces afin de jouer, sur scène, la musique, avec la même liberté que les instrumentistes classiques.
Pour mes concerts plus techno, j’ai développé une interface, un hardware plutôt complexe nommé le Monodeck. Cela me permet de jouer sans regarder un quelconque écran et sans utiliser de souris. Chaque fonction possède sa propre représentation physique sous la forme d’une touche ou d’un bouton, et chaque fonction reste identique. Cette dernière est très importante car elle me permet de me faire à l’instrument, au fil de l’apprentissage de sa pratique. Je peux jouer avec ces touches et ces boutons de pas mal de manières différentes, offrant de nombreuses variations sonores. Si les fonctions de chaque touche étaient sans cesse changeantes, je ne pourrais pas me faire à l’instrument. On peut maîtriser le piano, car l’on sait qu’un mouvement spécifique est à l’origine d’un son spécifique. Dans cette optique, le Monodeck n’est pas un contrôleur, un outil de contrôle d’un ordinateur comme il en existe beaucoup, mais un véritable instrument. Cela ne fait qu’un an que je travaille avec, je suis encore loin de le maîtriser totalement, mais je m’améliore chaque jour. L’ordinateur auquel est lié cet instrument, et à l’intérieur duquel sont stockés les sons, n’a aucune importance particulière. Bon, bien sûr, le Monodeck ne peut fonctionner que s’il contrôle un puissant logiciel, Ableton Live, dont je participe au développement.
Live a été le premier produit commercial, dont la fonction première était dédiée au fait de jouer la musique électronique, et non de la composer, la monter ou la construire. Avec Live, nous avons battu en brèche l’idée selon laquelle la musique électronique devrait obéir à une règle stricte et rigide selon laquelle des événément sonores sont placés le long d’une ligne temporelle. Nous avons au contraire inventé une méthode permettant de déclencher en temps réel de nombreux événéments sonores, permettant une relation plus humaine et directe entre le musicien et l’ordinateur, mais toujours à l’aide d’une souris et d’un écran.
Le Monodeck a donc changé ma manière de jouer. Mais c’est un outil qui est avant tout taillé pour mon propre travail, c’est un instrument spécifique dédié à une vision très personnelle de la dance-music. D’autres artistes auraient beaucoup de mal à s’en servir.

L’idée du nomadisme est-elle importante pour vous ? Vous utilisez par exemple souvent l’ordinateur portable. Pourrait-on dire que vous faites partie de cette génération laptop, de cette génération du portable ?
Je suis bien trop vieux pour faire partie de cette génération ! Je fais plutôt partie de la mouvance hardware. Celle qui a tiré toute son inspiration de la puissance de calcul des logiciels. Cela m’a pris pas mal de temps pour accepter le fait que tout ce dont j’avais besoin pour composer, c’était un laptop, un ordi portable.
Le Monodeck est quant à lui plutôt lourd et imposant. Mais la dance-music étant quelque chose de plutôt physique, j’ai ressenti le besoin de travailler à l’aide d’une interface à la fois massive et imposante. Il faut que l’instrument s’adapte, reflète en quelque sorte la musique que l’on souhaite jouer. Par exemple, un violon est beaucoup trop petit pour pouvoir émettre des basses fréquences.
Ce qui est formidable avec cette idée du studio entièrement intégré à l’intérieur d’un ordinateur, c’est qu’il devient effectivement portable, mobile, nomade. Mais je ne suis pas toujours capable de créer dans n’importe quel environnement. Je ne peux pas composer partout comme certains. Cependant, il est vrai que l’usage du laptop me donne l’occasion de travailler sur certains détails et de pouvoir les incorporer par la suite à d’autres travaux. Pendant mes voyages, je tente quelques expériences, j’élabore quelques idées. Le genre de choses que l’on peut faire lorsque l’on dispose d’une heure ou deux à tuer, dans une chambre d’hôtel. Je peux aussi utiliser ce temps pour rédifinir, ou affiner un prochain concert. Autant de choses qui seraient bien sûr impossibles si je devais m’en remettre à un grand studio, rempli de hardware.

Comment considérez-vous, dans votre travail et vos nombreux spectacles et performances, la relation entre son et image ? S’agit-il d’un dialogue, d’une simple illustration ? L’image, ou la lumière, doit-elle illustrer ou transcrire la musique ?
La musique est toujours tributaire d’un contexte visuel, que cela soit l’espace d’un club ou d’une salle de concert. La perception que l’on a de la musique doit ainsi beaucoup à des éléments et des indices visuels. Les gens achètent parfois un CD si la pochette leur promet un certain contenu. Lors d’un concert, il est important de créer une atmosphère propice à l’écoute. Par exemple, mes performances multicanal, « Layering Buddha », ont la plupart du temps lieu dans le noir total, car j’ai envie que le public puisse en quelque sorte dériver vers un état semi-onirique.
Les concerts de Monolake sont plutôt présentées avec un grand écran vidéo placé derrière moi qui permet au public de regarder l’image d’une machinerie complexe, dont les élements visuels sont générés en temps réel. La vidéo est contrôlée via le Monodeck, mais la synchronisation n’est pas totale. Ce que je tente de montrer avec ce type de performance audiovisuelle, c’est que la dance-music, c’est une forme de machine, entièrement contrôlée par le musicien, le performeur. Car c’est bien de cela dont il s’agit. Mais plutôt que de montrer la manière dont j’use de l’instrument, l’image projetée est de nature abstraite. Cela permet au public d’imaginer ses propres interprétations, cela permet en quelque sorte d’ouvrir visuellement l’espace. C’est très important pour moi que les images ne constituent pas des indices visuels concrets et précis. Les visuels ne traduisent pas la musique, ils lui répondent plutôt, mais d’une manière lâche, libre et décalée. De toute façon, l’esprit humain, et notamment celui du spectateur, fait lui-même la connexion entre ce qu’il voit et ce qu’il entend. C’est autrement excitant qu’un lien direct et explicite.

ENGLISH VERSION :

You are one of the very few artists that really tries, with your various partners, to develop and invent your own tools and instruments. How is it important for you ? Since when ? Why ? Can you tell me a little bit about this idea ?
The computer helps us to create music. It is not so much of use, when it comes to actually playing it. We are at the beginning of a new revolution in computer technology and it is about interfaces. It goes way beyond music, but it is of special interest for musicians since we need better interfaces in order to perform with the same degree of freedom as a classical instrumentalist.For my more beat driven live performances I developed a quite complex hardware interface, the Monodeck. It allows me to perform without looking at a computer screen, and without the need for a mouse. Every function has its own physical representation as a knob or button, and the function is always the same. This is very important, because it allows to actually master the instrument via practice. I can turn a number of knobs in many ways, resulting in many different musical gestures. If the function of the knobs are constantly changing I will never develop a feeling for what they actually do. One can master a piano, because one can be sure that a specific movement of fingers creates a specific result. The Monodeck is not a hardware controller, it is an instrument. I play with it now since over a year and I feel far away from being a master, but I get better playing with it every time. The computer in the background, that actually creates the sounds is not important anymore. Of course, the Monodeck only can work since it controls a powerful software in the background, Ableton Live, which I am helping to develop. Live was the first commercial product that focused on actually playing and performing music rather then constructing it.Live broke with the previous idea of a timeline where sonic events are arranged step by step, but invented a method to trigger complex musical events in realtime, thus allowing for a much more direct interaction between the musician and the computer. But the main interface for this is still a mouse and a screen. The Monodeck changed this for me. However, it is only a very specific instrument, tailored to work best for my very personal idea of dance music. It would not be so much of use for anyone else.

The idea of being a nomadic artist, using light tools (I mean : non-heavy) and nomad tools, seem also important for you. Am I right ? And could we say that you are one of the children of this laptop generation ?
I am way to old to be a child of the laptop generation. I am more a hardware generation guy who learned that software is much more powerful… It took me a while to accept that all I need to make music is a laptop. The Monodeck is actually quite big and heavy. But since dance music is physical, I felt the need to have a huge and massive interface in order to create it. The instrument needs to match a bit the desired result. A violin is too small for low frequencies… The great thing about the studio in a laptop is the fact that it is indeed portable. Not every environment gives me the right pace to create a piece of music, in fact, most environments do not work for me, but at least there is a chance to work on some detail and incorporate it into something bigger later. During my travels I often try out small sketches. The kind of things one can do in a hotel room with two hours to waste. Or I refine my performances. This all would be impossible if I would still rely on a big studio with lots of hardware.

How, in your works, do you consider the relationships between, sound and image ? Do they respond each other ? Does image, or light, must translate music ? Is a dialogue, an illustration ?
Music always exists in a visual context. Even if it is just the interior of a club or concert hall. The perception of music is massively influenced by visual clues. People buy CDs if the cover seems to promise a certain content. In a concert situation it is important to provide an atmosphere that fits the music. My Layering Buddha multichannel performances are mostly happen in complete darkness, because I want people to drift away into a semi dream state. My Monolake shows are presented best with a big video projection behind me, showing a giant moving abstract machinery, created in real time. The video is controlled via the Monodeck, and it has a loose connection to the music. What I want to convey is the idea of dance music as a machine, controlled by the performer, because this is exactly what is going on. But instead of displaying for example a computer screen running the software or filming the Monodeck, the video is rather abstract. This allows the audience to find their own interpretations, opens up the space visually. It is important for me that the images are not known visual cues, like architecture, etc… The visuals do not translate music, they just loosely respond to it. However, the human brain wants to make a connection and this is far more exciting to me than any explicit link.

Photos :

-le “Monodeck” de Monolake.

-Image du spectacle Atom : © Justine Lera, Tesla de Berlin, le 15/09/2007.

Robert Henke, born 1969 in Munich, living 1990 to Berlin, studied sound engineering and computer science

Download

So it looks like a saturday in tonight with the cancellation of a grassroots happening. Not enirely unexpected given the weather, but a bit of a disappointment.

Still, it’s been a while since we’ve brought you up to speed with some cool happenings, so now’s as good a time as any.

Unless you’ve been living under a rock, you’ll have heard some post-event buzz from a mysterious new get-together called clambaked. It was kept pretty quiet, and few details have emerged in the last fortnight, but sounds like it was a solid do – and we’re keen to get a taste.

The spirit of soul festival wraps up tomorrow with some bowls action and a finale at the factory in enmore. The forums are lighting up after seminal sydney hiphop group, meta bass ‘n’ breath, reformed for the same venue early on saturday morning. They also play again tonight at melt if you’re around and looking for something to do.

Finally we’re very pleased to see the rumours of a monolake tour are at least partially true. The art gallery of nsw will host Robert Henke’s sound installation, layering buddha, on thursday february 14th. Tix are $55 if you’re not a member of the gallery.

[Robert Henke, born 1969 in Munich, living 1990 to Berlin, studied sound engineering and computer science:] My work is a about the exploration of time, space, rhythm and sound. Where does structure begin, what does it need to turn some noises into music, how much change over time is desireable for a given musical idea, how does a sound redefine a physical and mental space?

Performance for a matrix of 64 gas balloons, lights, and sound by Christopher Bauder & Robert Henke (aka Monolake)

El despre el: “Most of my works aim for a timeless state, once the technical process is set up all I need to do is controlling that process, manipulate the appearance of something which could exist for ever. I could interact with my work by myself or I could define an interface allowing other people to interact. I create interactive sound installations, encourage random visitors to explore parts of my world by themselfes, or I set up network performances, allowing me to interact with other musicians via the internet, while projecting the interface and make it transparent to the audience.”

by J.Q.

Looking at the stars isn’t just for geeks, is it?  How many of you, when you think of Melbourne’s Planetarium, have wished you could see a concert in there? OK maybe not too many, but it has always been my first thought, or at least the second thought after WOW! Planets! WOW!

Coming up in early February 08, we’ve that very chance, courtesy of the Liquid Architecture (electronic music yearly fest) people, as they bring Germany’s Robert Henke aka Monolake together with locals Nat and Steve Law and more in a night called Klang und Raum. It is a night of experimental/electronic music, especially written with a venue like the Planetarium in mind or written for the planetarium.  It will be accompanied by visual artists Sonia Leber and David Chestworth.

If you appreciate experimental electronica and love the concepts around exploring deep space, and the performing space of the Planetarium – you shouldn’t miss this! Tickets on sale now.

Details:

PRESENTED BY LIQUID ARCHITECTURE

KLANG UND RAUM –
AN EVENING OF ELECTRONIC MUSIC AND PROJECTIONS AT THE MELBOURNE  PLANETARIUM SCIENCEWORKS

 FEATURING ROBERT HENKE AND GUEST ARTISTS:

SONIA LEBER AND DAVID CHESWORTH
THE MUTAGEN SERVER
NAT

 SATURDAY FEBRUARY 2nd 2008

PLANETARIUM SCIENCEWORKS
2 BOOKER ST SPOTSWOOD MELBOURNE
 $27 full / $18 concession.

 All tickets from Green Tix -
 http://www.greentix.com.au/event.php?eventid=21282

 On February 2nd 2008 there will be an evening of electronic music and projections presented at the Melbourne Planetarium. This will be a surround sound multi channel performance by local artists and an overseas guest, Robert Henke.  Full dome projections will be presented by Robert as well as Sonia Leber  and David Chesworth.  The concert will commence 8 pm sharp and conclude at about 10.30pm with a 20 minute interval. Robert Henke will play for about 60 minutes in the second part of the program.
 

More info about the performance:

Robert Henke – performing Layering Buddha with full dome projections.

About the work:
You can read about Robert Henke here: http://www.monolake.de and you can read about Layering Buddha here:  http://www.monolake.de/downloads/layering_buddha_live.html

Sonia Leber and David Chesworth

 presenting Almost Always Everywhere Apparent (fragments) ~ a special live performance of their recent installation work  http://www.waxsm.com.au

 About the work:  Almost Always Everywhere Apparent is a sound and structure project for  the vast exhibition spaces at Australian Centre for Contemporary Art.  Sonia and David were the recipients of the 2007 Helen Macpherson Smith Commission and their project referenced both Jeremy Bentham’s Panopticon  model prison design and the Cathedral as two architectural apparatuses with a surprising aspect in common: both rely on an unseen, all-seeing observer and both use voices in interesting ways. Here at the Planetarium, this project is transposed into another architectural  space: the boundless canopy of the domed ceiling of Planetarium.

The Mutagen Server: The Mutagen Server are Ollie Olsen and Steve Law.

 Ollie and Steve have been collaborating in Melbourne since 1993  performing live at endless parties and experimental music events. Ollie and Steve are well known to those interested in experimental music in Melbourne.  http://www.solitary-sound.com
 http://www.myspace.com/zenparadox
 http://web.mac.com/ollie.olsen/iWeb/
 http://www.myspace.com/iamtheserver

 About the work:  This will be a rare opportunity for Ollie and Steve to present their  music in a high quality surround environment (as well as being one of the few opportunities they have had to perform together). Both have been exploring gradually evolving textural works in recent times and look forward to generating a hybrid of their different approaches to creating multi-faceted soundworlds. The work to be performed on the night is still in progress, so the audience can expect a performance rich in dynamics and timbral variation, as well as the unexpected of course.

 Nat.  Nat Bates is a sound artist, festival director and a teacher in the field of media arts.
 http://www.natstuff.com

About the work:  Drawing inspiration from Bernard Parmegiani’s musique concrète
masterpiece La Création du Monde nat’s performance at the Planetarium  will also be an expression of the cosmic beginnings of planet earth through gradual introductions and transformations of fragments of sound which mutate and coalesce into warm, buzzing timbres and aqueous percolations. However, instead of applying the musique concrète echnique of creating hallucinatory sound without revealing the cause, at’s “ROCKreation of the World” is composed entirely of samples from iconic classic rock songs.