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About
Hans Tammen creates music that has been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He produces rapid-fire juxtapositions of radically contrastive and fascinating sounds, with micropolyphonic timbres and textures, aggressive sonic eruptions, but also quiet pulses and barely audible noises - through means of his ENDANGERED GUITAR and interactive software programming, by working with the room itself, and, as a critic observed, with his "...fingers stuck in a high voltage outlet". Signal To Noise called his works "...a killer tour de force of post-everything guitar damage", All Music Guide recommended him: "...clearly one of the best experimental guitarists to come forward during the 1990s."
His numerous projects include site-specific performances and collaborative efforts with dance, light, video, and theatre, utilizing technology from planetarium projectors to guitar robots and disklavier pianos. He received a Fellowship from the New York Foundation of the Arts (NYFA) in the category Digital/Electronic Arts in 2009 for the ENDANGERED GUITAR - a hybrid guitar/software instrument used to control interactive live sound processing. His THIRD EYE ORCHESTRA open form compositions for large ensembles and live sound processing are inspired by Earle Brown's Available Forms, and based on numerous scored "building blocks" that are constantly rearranged when performed.
Teenagers: we don't like nazis... skinheads go home... pigs...
M: ...well, generally you should avoid noise....
M: I don't understand those noises, and can't see how these artists want to achieve anything... marching music would be appropriate.
F: what's going on here, is this a Nazi rally? Listen to that "heimat" song.... [...]
Juxtaposition of two historic sound samples, a "Heimat" song plus marching troops. Tempo of both samples is different, but so close to each other that no "marching" feeling appears, and you rather feel like stumbling.
F: We like nice marching music... yesterday we saw the British Bands, that was colourful... it's just a game today, not real anymore, and it's nice music. Look at the American bands with the sousaphone... powerful music, I like... but everything that is distorted noise, I don't like. [...]
M: I heard some trombone from afar, that sounded terrible... [...]
F: The problem is the military industry. They create all those things, and they'll use it up. I don't understand people who work there, I wouldn't do that myself. People should get used to peace, but nobody wants it. Everybody wants to make money, that is not right... I want way more conscientious objectors against the draft in Germany.
M: Why can't they stop talking about the Third Reich? I grew up in that time and have also been member of the Hitler Youth, and I had a good time. You could buy the butter for the same price everywhere, and everyone had a job.... do you want to put me in jail for that?
Various: at first you wonder what it is, but then you start thinking... yes, it's done well, sounds pretty dark....
M: it is horrifying, it's just noise, it interrupts the business, and people are not drawn into the stores... maybe it is art, but please not during business hours.... This is not music, music is a rhythmic order of notes! For the majority of the people this is not music. My point is that for the majority the stores and businesses should be more interesting.
M: this is great, I like if something is happening here. Nothing going on in this area anymore!
Various: Oh, that's nice.... they're crazy... I really have to say that the people get more and more stupid, and obviously music, too... I expected beautiful sounds, but that's only cacophonic... that's just noise... is this supposed to be art? You probably have to get used to it... I thought there were some construction workers in there....
F: I thought a "musical street" would be a bunch of bands playing, but what am I supposed to do here?
M: do they want me to meditate now or what??? [... siren]
Q: Do you think it works to remind you that way of the history of the street?
M: No, that doesn't work, it's just grotesque....
INTRO: Q: This is an art project. Any idea what they're doing? -- F: I have no clue.
Q: It has something to do with the war. -- F: Maybe the sirens, like an alarm? [...]
Q: Do you like the way these artists address those issues? -- F: No.... it drives me crazy... horrible....
My father's wristwatch
Metal wool instead of magnet
Pressing magnet hard against pickups
Blowing on strings over ringmodulated magnet sounds
Ringmodulation added to wiggling magnet
Routing clicks to resonant filter
Variable Bufferlengths
Clicks as a result from cutting long waves
Soft banging of Magnet over Pickups
Filter Overload
nice!
Solo Sarah Bernstein (vio)
Andrew Drury (dr) & Dafna Naphtali (live sound processing on drums) burn the place to the ground
Nick Didkovsky (g) & Andrew Drury (dr)
Solo Nick Didkovsky (g)
Solo Chris McIntyre (tb)
Solo Denman Maroney (p)
Solo Briggan Krauss (as)
Add Dafna Naphtali (live sound processing on alto)
Solo Briggan Krauss (as)
Solo Andrew Drury (dr)
Solo Nick Didkovsky (g)
Solo Ferdinand Rexforth (ts)
Solo String Quartet
Solo Jason Hwang (vio)
Solo Dafna Naphtali (voice/electronics)
Solo Denman Maroney (piano)
David Simons (gong)
Solo Dafna Naphtali (electronics/voice)