Bovine Life glitches out to Komet
I was in a record shop in my home town of Edinburgh Avalanche
when I first heard Frank Bretschneider's music. I loved it. I
was struck by it's exacting tonal frequencies, mainly because
they reminded me of a hearing test I underwent when I was fifteen.
The shop's P.A. broadcasted this electronically fragile groove
with some frequencies just on the border of my audible range and
I found myself nodding gently to the pristine sound automatically...
At first, I didn't think the track was progressing much over the
five minutes it lasted, but it soon occurred to me I had been
engaged in a subtle form of electronic meditation for the duration
of the track. I think the best way I can describe this music is
that the track doesn't appear to go far in the traditional (compositional)
sense, but the listener does .
That's not to say Frank's music isn't ever loose. I think one
of the reasons I like this music is because it marries precise
syncopation with the freedom of a penny rattling around in a jar.
There are boundaries, but it's as if the creator of the music
has set up the track like a science project - tamed the chaos,
and then put the lid on the sound.
All this (warm) military precision is the antithesis of my own
forays into electronic music - they basically resemble scruffy,
mutant and promiscuous audio-one-night-stands. I am not pure.
I am messy and untidy - I think I may be diseased from my working
practices. You can hear this evidence in my stuff - it can be
impatient, rude, painful or playful. Even shambolic, so I reckoned
it would be an interesting experiment to fuse our stuff together.
It would either discipline myself or disease Frank !
Because our styles are different, we had to be speaking some kind
of similar tongue, albeit an electronic one. It wasn't an oil
and water collaboration - I think that could have been disastrous,
but I was nicely surprised by the opening track "Riss"
- Frank's remix of my material from my web site "kit"
of samples. It's got a sense of humour - and how much glitch/click/cut
music has that ?
I was very keen that this was going to be a collaboration forged
strictly over the net, so we both sent each other economical mp3
files to fashion into new material. While this method of working
wasn't ground breaking, it was still exciting that I could sit
in my studio and collaborate with someone in Berlin. I am the
kind of person that still gets completely blown away by the fact
that the telephone network exists and works.
I really enjoyed collaborating. Friends would wander into my studio
(a cupboard in my flat) and ask me what I was doing. I would say
"well right now... right this minute, I am making a track
with a German guy. There's this guy in Berlin, right..."
It felt very empowering. I have never met Frank Bretschneider,
yet we've made an album !
Chris Dooks AKA Bovine Life, Edinburgh, June 2001
BOVINE LIFE discography :
2001 - Bovine Life "social electrics" [bleep 06]______September
digital artist, broadcast tv director and musician has been jamming
through the modem, speaking in electronic tongues, and collaborating
with Kohn, Third Eye Foundation, Future Pilot Aka, and artists
from labels such as Mego (Alku), Leaf (Ylyptyk), Diskono... Enhanced
CD features a short movie by Chris Dooks.
2001 4 songs on compilation BiP-HOp Generation v. 3 [bleep
1999 - Collaboration with Future Pilot AKA on The Future Pilot
AKA album : "A Galaxy of Sound" (Sulphur Records)
KOMET / Frank Bretschneider selected
1986 AG.GEIGE/Yachtclub&Buchteln (klangFarBe/Tape,1998 raster-noton/CD)
1989 AG.GEIGE/Trickbeat (Amiga/CD/LP)
1991 AG.GEIGE/Raabe! (Zensor/CD/LP)
1996 Komet/Saat (Rastermusic/CD)
1996 PRODUKT/Float (Rastermusic/CD)
1997 Komet/Flex (Rastermusic/CD)
1997 PRODUKT/Stretch (Rastermusic/CD)
1998 SIGNAL/Waves+Lines (raster-noton/CD)
1999 Komet/20' To 2000/January (raster-noton/CD)
1999 Frank Bretschneider/Rand (Mille Plateaux/CD/2x12")
2000 SIGNAL/Centrum (raster-noton/CD)
2000 Komet/Rausch (12k/CD)
2001 Frank Bretschneider/Curve (Mille Plateaux/CD/2x12")