@ NK Projekt
Elsenstr. 52 2.HH 2.Etage 12059 Berlin
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This is an early night please come on TIME!
Rashad Becker 20:30
Russell Haswell + Pain Jerk 21:15
Russell Haswell is a restlessly forward-thinking, multi-disciplinary artist, performer and curator born in Coventry and currently based in Suffolk, England. With a background steeped in computer music, black metal, noise, techno, free-stye and solo improvisation, his practice is renowned for broaching the extremities of visual and sonic arts. He’s performed in noted live and HDJ [hard disc jockey] actions with Aphex Twin, Gescom, Pan Sonic and Masami Akita (Merzbow), among others, and worked with Florian Hecker on Iannis Xenakis’ UPIC system in their Haswell & Hecker duo, whose ‘Blackest Ever Black’ (Warner Classics) LP is widely considered a milestone of modern electronic music composition. Russell’s recorded work has also been published by a wide number of esteemed imprints, most notably the 8 track CD catalogue ‘Live Salvage 1997 – 2000? (Honorable Mention, Digital Music’s, Prix Ars Electronica) for Editions Mego, but also for Warp, Downwards, and his OR label, home to world’s first MiniDisc release. Most recently Russell collaborated with Regis as Concrete Fence on the combustible ‘New Release’ EP for PAN Records, and is currently prepping a forthcoming release for Powell’s Diagonal Records and a forthcoming “hyper edit” collaboration with PAIN JERK.
PAINJERK is one-man sonic project runs by Kohei Gomi (b.1963).
Gomi began home-recordings of the experiment of the sound in the mid-80s when Tascam (Teac) just released 4 multi-tracks cassette recorder called “Porta One Studio” for the beginers of home-recording. He mixed influence of the punk art (and primitives) and influence of method of psychosomatic surrealist. The recorded / performed work does not have each with the independent meanings and is the pieces of assemblage. And it is also the pieces produced by obsession.
PAINJERK is one of the more prolific and influential sound artists of the 90s, and is one of the leading figures in the sound of dynamics / brutality as electro-acoustic outsider. He covers a lot of gaps like, various noise-sounds, the experimental /electro-acoustic music, music concrete, techno, rave, electronica, sampling culture, post-punk methods and mixing them all through his filter.
This is not the improvisation. This is not the composition. This is kind of the automatic-act by the encoded sound. It becomes the machinery and is beauty beyond extreme music.
He has collaborated with artists like, Zbigniew Karkowski, Russell Haswell, Jackie Oblivia (aka Smegma), John Wiese & etc and has contributed to various festivals like, No Fun Festival (the US), Avanto Film & Music Festival (Finland), Avant Fesival (Poland), All Ears (Norway), LUFF (Swizerland), London Contemporary Music Festival (the UK), Multipletap London edition (Japanese extreme avant-garde show-case event) and toured in Poland, Spain, Italy, Sweden, Norway, Denmark, the UK, Germany, Swizerland, France and Belguim in the past.
Also he has shared same stage with lots artists like, Brutal Truth, Mika Vainio, Mark Fell, Kim Gordon, Jim O’rourke, Norbert Moslang, NHK’Koyxen (aka Kouhei Matsunaga) etc etc.
It has been well known some of are mentioned PAINJERK name in their interviews like Aphex Twin, Russell Haswell, Pan Sonic, etc in the past.
rashad becker was born in 1970 owing to unprotected coition.
he was admitted to the fortress europe at age 12.
he grew up to be a certified emergency medical technician and ornamental blacksmith but went on dedicating his professional life to less useful things.
since about 2000 he eats miso for it’s delicious taste and proclaimed health benefits.
since about 2002 he started losing his hair.
currently his live sets evolve around the angle of `traditional music of notional species`, a semiabstract synthetic narrative that seems appealing to a surprisingly wide audience.
“Becker’s name will be known to a lot of people – indeed it appears on many, many records – but his music won’t be. His day job is as the mastering and cutting engineer in Berlin’s world-famous Dubplates and Mastering, where his role involves entering into a creative dialogue with the music of others, helping them to achieve what they set out to with their compositions in the final product. Before he got the D&M gig, he was originally a musician in his own right, and he continues with this as an irregular sideline, making and manipulating loops and electronic sounds.
What wasn’t a surprise about his performance was how precise it all looked and sounded as he carefully twisted dials to produce a sequence of very crisp and discrete tones, sparse and improvisational (if you had to pick something from Becker’s other work to compare this to, it sounded like an early, experimental, Mego, a less harsh Pita or Hecker). What was more unexpected was just how conversational it all sounded. Most of the
frequencies used were within the range of the human voice – it sounded like a long stream-of-consciousness sentence made up short syllables, electronic oohs and wahs, sections of muttering, and occasionally bickering. Whatever he does, it seems Becker has the knack of giving sound its voice.” The Liminal