Solingen Viertelklang

On the last day of September 2017, shortly after my trusty old Mercedes had died an unexpected death while on a music meeting in Czechia, I loaded a rental car with my gear and headed for Solingen, a town 50km north of here that is world famous for its cutlery industry.

The Solingen culture office had invited me to perform at this year’s “Viertelklang” (quarter sound) festival. Two dozen very different musical acts performed during one evening in five places in the beautiful old “Wald” quarter of town – a school, a church, a bookshop, an old factory, all in walking distance of each other. Visitors could come and go and experience many kinds of music during that evening.




I was the only act who had a location for myself for the whole evening: an abandoned radio/television shop (Radio Schippers), empty except for the electrical installation, the wall panels, and some old tables. This was possibly the strangest location I’ve ever performed in.


My partner in crime was Florian Zeitler, a musician and prolific video artist who I had not met before. He created beautiful improvised abstract computer video projections, midi-synced to my improvised music. Before we started, he even programmed sequences that highlighted the white vertical rack mounts on the wall that he projected his images on – we couldn’t take them off that wall, so he turned them into a feature.

There was no real stage – I sat in one corner, Florian sat in another corner, and visitors could walk around the room while we performed. It was dark, the room was lit up by the video projection. It did not really feel like a concert – more like a light and sound installation involving live music. I think we managed to turn the abandoned and somewhat sad location into a magical place for an evening.

The music that I played mostly consisted of experimental sound collages, involving some of my field recordings, ambient, psychedelic, and minimalist livelooping music, guitar, synthesizers, granular synthesis, artificial voices, speech fragments (some of my dear friend Rick Walker, I used them without asking him, oops). I had set up four speakers for a quadrophonic setup and could make all sounds move around the room in various ways. This was a new experience for me and one that I quite enjoyed.

We played three 30 minute sets with 30 minute intermissions. Not a lot of people showed up unfortunately – the shop was a little further away from the other locations, and maybe the experimental/avantgarde description in the flyer did not attract as many people as the jazz, blues, folk, and classical music that was performed in the other locations (which seemed to be much more popular). But Florian and I quite enjoyed ourselves, and as usual, several more adventurous people showed up and told us afterwards how much they had liked this.

I wish I could do things like this more often!

Here is a 36 minute mix of the evening. My cheap camcorder does not do Florian’s videos justice but maybe you get an idea what it was like. Lean back and listen loud.

Cardboard Winter

Binaryminds is a software company that I sometimes work for. For the 2016 winter holiday season, they sent greeting cards to their customers – but not ordinary cards! The packages contained Google Cardboard sets – virtual reality headset kits made out of cardboard. You need to put your smartphone into them to watch 3D scenes.

The 3D scene that the binaryminds customers were pointed to contained season’s greetings – “keep calm and holiday on” – set in a computer generated winter landscape. And there is sound, done by me, a six minute ambient winter soundscape. I am totally in love with the sights and sounds of this.

If you watch this in a browser on your desktop computer, you can move around using your mouse. If you use a tablet or mobile phone (it needs a gyroscope/compass to work), just move around. Of course, the best version is a virtual reality headset. (If you only see two parallel static images, your device doesn’t support the 3D view)

click on the image to launch the VR landscape

Of course the soundtrack was done with a nod to mastermind Brian Eno, inventor of this kind of musical aesthetic. Eno was the one who came up with the term “ambient music” in the 70s, and some of his ambient soundscapes evoked a sense of place, an inner landscape. He often used this music as an acoustic backdrop to his visual art exhibitions. The result was always pure magic.