Holzhaus Sound Performance: Emerge, B°Tong, Re-Drum
Another great Sound Performance at HolzHaus!
Three artists, three countries and a big tour. We were proud to have had these great Drone/Noise/Electronic music artists in our house!
Chris Sigdell aka b°tong is an experimental electronic musician. He developed a soft spot for early industrial textures and pioneering ambient soundscapes while cutting his teeth in cult industrial band NID (1995-2005). A mysterious and shadowy figure he has ended up assembling sounds of such chilling creepiness that it makes Aphex Twin’s Selected Ambient Works Vol. 2 sound like a collection of sugar-coated lullabies. The sound of b°tong feels a lot like an agonizingly slow crawl through a dark tunnel where the dim light at the other end never gets closer.
He builds an interesting body of work that moves in various directions at the same time. From dealings with ambient and isolationism on one hand and experimental music, ranging from the soft microsound end to the more engaging noise end, in a clever combination of ideas…
Re-Drum is a project of Pavel Aleshin, experimental musician from Russia. He uses field recordings and found sounds, his own voice, acoustic instruments and non musical objects to create a living environment, oscilating from warm calmness to ritualistic depths.
During past years Re-Drum played numerous amount of gigs all over Europe, sharing stage with Tzolk’in, Ratbag, Zbignew Karkowski, Roman Nose, Rovar 17 and others.
EMERGE is inspired by the minimalist traditions of experimentalism and non-academic noise music, focusing on generating sound structures intended to make atmospheres emerge that are open to each listener’s own interpretation. The choice of sound sources used is usually very limited. In most cases only rudiments of the original sounds are recognizable due to various treatments. EMERGE also uses and recycles raw material from a variety of artists/musicians. For this event, EMERGE will play his piece ‘canvas’ for which only processed recordings of painting tools are used. Therefore ‘canvas’ doesn’t describe a final piece of work, but enlightens the process of creating itself. This live-improvisation enables the listener to experience the evolution of an imaginary (sound-)painting.