Forgive me this one, but almost inconsciously, the first thing to come in my mind while listening to this album is the early Chico Hamilton quintet. Of course it isnt without any reasons. First the instrumentation is the same here : Hans Koch ( Bass Clarinet and saxophones), Michael Moser ( Cello), Martin Siewert (Guitar and lapsteel), Christian Wolfrath (drums), and Christian Weber ( Double-Bass ), plus some electronic extensions. But more over, you can tell Weber is initiating and leading the project towards his own intimate liberation. This always comes from people who ve occupied before roles and functions in various other styles of music. There is a geography, and attached politics, to each instrument. Here the liberating aspects (and not freedom), gives the whole ensemble a strong orientation and seems to generate sense. It s not only about, free improvised music, minimalism or quietness, nor just attention paid to delicate and sensitive noises. It s much more about the process of opening things. In this regard each player uses various pre-determined materials and approaches to achieve some sort of entity. It s maybe important to notice that the recordings dates from september 2002, a time where such directions still evolved a lot, were in movement, searching for new possibilites. And I think Weber’s own interrest at the time, gives the album a very particular sound, that saves it well from being just another usual lower case improv release. – »Osaka Solo« ( Mimi CD available from www.christianweber.org) is an 18’40??? piece recorded in 2006 that possibly gives more clues to the whole research. It s not like Weber has radically changed, his playing still involves a very subtile mix of compositional elements, improvised approaches and extreme registers. He seems slightly more confident of the directions but also more able to play with them as opposed to just »interprate« a given Sound. I particularly enjoy over all the fact that in both cases the actual process always dominates. It s about playing rather than fixing. About letting things happen because one wants to hear them more than labellig and stamping each act in order to make sure we’re there. I’m very curious of his next projects and releases, let s wait.
3 Suits & A Violin
Forgive me this one, but almost inconsciously, the first thing to come in my mind while listening to this album is the early Chico Hamilton quintet. Of course it isnt without any reasons. First the instrumentation is the same here : Hans Koch ( Bass Clarinet and saxophones), Michael Moser ( Cello), Martin Siewert (Guitar and lapsteel), Christian Wolfrath (drums), and Christian Weber ( Double-Bass ), plus some electronic extensions. But more over, you can tell Weber is initiating and leading the project towards his own intimate liberation. This always comes from people who ve occupied before roles and functions in various other styles of music. There is a geography, and attached politics, to each instrument. Here the liberating aspects (and not freedom), gives the whole ensemble a strong orientation and seems to generate sense. It s not only about, free improvised music, minimalism or quietness, nor just attention paid to delicate and sensitive noises. It s much more about the process of opening things. In this regard each player uses various pre-determined materials and approaches to achieve some sort of entity. It s maybe important to notice that the recordings dates from september 2002, a time where such directions still evolved a lot, were in movement, searching for new possibilites. And I think Weber’s own interrest at the time, gives the album a very particular sound, that saves it well from being just another usual lower case improv release. – »Osaka Solo« ( Mimi CD available from www.christianweber.org) is an 18’40??? piece recorded in 2006 that possibly gives more clues to the whole research. It s not like Weber has radically changed, his playing still involves a very subtile mix of compositional elements, improvised approaches and extreme registers. He seems slightly more confident of the directions but also more able to play with them as opposed to just »interprate« a given Sound. I particularly enjoy over all the fact that in both cases the actual process always dominates. It s about playing rather than fixing. About letting things happen because one wants to hear them more than labellig and stamping each act in order to make sure we’re there. I’m very curious of his next projects and releases, let s wait.
Text
Noël Akchoté
Veröffentlichung
04.04.2007
Schlagwörter
70
Christian Weber
english
hatOLOGY/Lotus
Unterstütze uns mit deiner Spende
skug ist ein unabhängiges Non-Profit-Magazin. Unterstütze unsere journalistische Arbeit mit einer Spende an den Empfänger: Verein zur Förderung von Subkultur, Verwendungszweck: skug Spende, IBAN: AT80 1100 0034 8351 7300, BIC: BKAUATWW, Bank Austria. Vielen Dank!
Ähnliche Beiträge
Steirische Metallarbeit
In »Breaking The Law?« untersucht der Grazer Kulturhistoriker Peter Pichler »Recht, Moral und Klang in der steirischen Heavy-Metal-Szene seit 1980«. Ein Powerchord von einer Studie!
Keinerlei Manieren
Neue Neue Deutsche Welle, aber aus Österreich – das macht Sänger Salò seit über fünf Jahren und noch dazu ziemlich gut. Am 18. Dezember 2024 ist er im Rahmen seiner »In Hundejahren sind wir lange tot«-Tour in der Arena zu sehen. Unterstützt wird er an diesem Abend von Beaks.
Good girls gone band
Am 12. Dezember 2024 kuratiert die Wiener Indiepop-Band Dives einen ganz besonderen Konzertabend im Flucc. Unter dem Titel Dives & Friends teilen sie sich die Bühne mit Topsy Turvy, The Crab Apples und weiteren Special Guests.
Unter den Wolken
Porridge Radio sind aus dem Tal der Erschöpfung emporgestiegen und haben ein kraftvolles neues Album vorgelegt. Am 12. Dezember 2024 spielt die Band um Dana Margolin im Wiener Flex.
Wenn niemand in der Welt versteht …
Seit mehr als 20 Jahren sind CocoRosie mit ihrem charakteristischen Sound in Studios und auf Bühnen unterwegs. 2024 kehren sie mit einem musikalischen Fazit zur Lebensmitte und einem neuen Plattenlabel zurück.
DDR-Zonenpunk als Inspiration für neuen Widerstand
Vor dem Spielfilmdreh über die Entstehung der ersten und einzigen illegal aufgenommenen Studioplatte des DDR-Punk präsentiert Regisseur Paul Poet am 7. Dezember 2024 in der Roten Bar des Volkstheaters mit Rosa Beton und Zwitschermaschine zwei ikonische Bands aus dieser Ära.
Salon skug: Ines Wurst, skug Talk & DJ-Line
Am 5. Dezember 2024 findet der letzte Salon skug des Jahres im SchloR in Simmering statt. Auf dem Programm: ein skug Talk über Gemeinschaft, das Debütkonzert von Ines Wurst und unsere DJ-Line zum Ausklang.
»The Knot in Time«: Investigations in the dusk
A group of Finnish artists, led by Lauri Ainala, head of the music project Paavoharju, is processing the discovery of old, disintegrating photo negatives in a joint exhibition. We spoke with Ainala about the accompanying book and his work as a sound artist.
Quiet and sparse
So Sner is the duo of bass clarinettist Susanna Gartmayer and electronic musician Stefan Schneider. »The Well« is their second collaborative album, out on Schneiders TAL label.
Silver metal
Hexenhammer is a self-called Gen X metal band from Columbia, Tennessee. They started out in 1984, took a hiatus and returned in 2023 with »Hyberacula«.
Cuteness and hard kicks
Droomwolkje is a trancecore DJ from Brussels, living in Ghent. She effortlessly incorporates J-core, hard trance melodies, hyperpop, hardtek grooves, ambient and bass into her DJ sets.
Via Clubkultur zu aural-fantastischen Live-Konzerten
Dishes startete als Event-Reihe experimenteller elektronischer Musik und kredenzt am 23. und 24. November 2024 als Mini-Festival acht Live-Gigs, darunter Abdullah Miniawy, Electric Indigo, Joanne Robertson und Space Afrika! Anlass für ein E-Mail-Interview mit dem Dishes Team.