Nicholas Bussmann, Werner Dafeldecker // Monte Carlo Fallacy 12"

Nicholas Bussmann, a cellist from Berlin, Germany, and Werner Dafeldecker, a contrabass player from Vienna, Austria, collaborated on a limited edition record of 2023 copies released in March 3 from Luxembourg's experimental/contemporary label NI VU NI CONNU.

Includes 2 hardcore minimal sound drone songs with no melodies.Comes with insert and DL code. 

Below are the New Zealand multi-instrumentalistsCommentary by Dean M. Roberts.

"The lockdown in early 2020 brought silence to Berlin. "It was like the early '90s in East Berlin," recalls Nicholas Bussmann, as he grew up and embraced social change and uncertainty. A place of experience, perhaps with many empty and quiet spaces pervasive.

In a duo with long-time partner Werner Dafeldecker, the two instrumentalists explore the nature of their respective instruments, receiving timely and thoughtful instruction, to express their sound without intervention or overt display of virtuosity. can hearPablo Casals famously instructed his students to ``Put air around the instrument.''

The instrument is stripped bare of its obligation to produce 'music'.The creaky sound recalls the atmosphere of tragedy that prevails in Fellini's Orchestral Rehearsal (1978).As the boundaries between sound and society blur, and the medium of music becomes a metaphor for the conundrum of composition and performance, psychodrama unfolds through scenarios of despair and questioning purpose.

When the dust of music piles up, all that remains are surface sounds, scratches, creaks, scratches. Freed from the obligation to support established narratives and politics, the two performers engage in a tactile relearning of sound while teaching each other new airs.For centuries, imagine violoncellos and double basses enduring physical strain and mental stress, being taken to remote locations to perform historic grand symphonies or frantic jazz performances. please.And in 2, after a global pandemic put them on indefinite hiatus, they will be taken out of their cases like sleeping giants, dusted and groomed by their keepers.

In recent years, Dafeldecker and Bussmann have made a name for themselves with work that critically and inquisitively examines the medium of music and, to some extent, concerns about the meaning and purpose of the sound-making process - research as a practice, a language in itself. It is practice as research that becomes.This project is a consortium that aims to scratch the fringes of formal music by questioning the limits of classical instrumentation and ensembles and experimenting with extended techniques. In recent years, Bussmann has embarked on participatory vocal ensemble performance works, such as The News Trilogy/Songs of Revolution in an AI Environment.The reason for this is that improvisational music is biased towards what he calls "a kind of sonic dress code", and he began to question it. As Bussmann says, algorithms can provide a framework for musicians from very different backgrounds to make music together.

Other algorithm-based works include performances and installations for robot pianos, and ongoing work on the project Kapital Band 1, a duo formed with Martin Brundlemeyer. The third album Internationale Solidarität (released on Ni-Vu-Ni-Connu) explores the possibility of improvisation with machines, the parallel existence and imitation affirmation of machine structures and human patterns, between impulse and logic. , an exploration of embracing mistakes as an integral part of the process.

Behind the music of Monte Carlo Fallacy is a canvas of subtle noises: room sounds, changing city weather, performers breathing, footsteps echoing on the floor of Bussmann's Grand Prix studio.They imbue recordings with the real-time, high-fidelity integrity of live music, unencumbered by technology and post-production.This is a poetic demonstration of what a resonant stringed instrument can do, nothing more, nothing less.In the idyllic recording environment of his winter log house, Harley Gaver's string quartet is so quiet that the instruments are barely audible, surrounded by a near-silence of room wood and atmospheric silence. "

Labels and other works Click here for more information. ///Click here to see more Ni Vu Ni Connu releases available at Tobira.

--------------------------

Includes DL code. Edition of 300.

Text essay Dean M. Roberts:

" In the lockdown of early 2020, Berlin fell silent. As reflects Nicholas Bussmann, “it felt like the early 90s in East Berlin”, the place where he grew up and experienced social change and uncertainty, and presumably a lot of empty, silent space .

Here, on this duo with his long-term accomplice Werner Dafeldecker, we hear the sound of two instrumental practitioners as they explore the nature of their respective instruments with a paced and thoughtful guidance, with little intervention or overt demonstration of virtuosity. is more a kind of study into sonority, allowing the instrument to be, listening with caution to every scrape and tap, much in the spirit of Pablo Casals, who notoriously instructed his students to “put air around their instrument”.

The instruments are stripped and relieved of their duty to produce “music”. (1978), where the musicians are hostages in a theater, indefinitely trapped in isolation, with no audience to play to. social lines are blurred and the medium of music becomes a metaphor for the conundrum of compositional performance.

When the dust of music settles, what remains are the sounds of the surfaces, the scrapes, squeaks and abrasions. The two performers engage in a tactile re-learning of sound, teaching each other new airs, free of any kind of obligation to espouse established narratives or politics. Imagine that, for centuries, the violoncello and contrabass have been enduring the physical strain and mental stress of being hauled to places near and far to perform the great histrionic symphonies, the frantic jazz routines. Now, in 2020, on an indefinite sabbatical by courtesy of the worldwide pandemic, they are raised from their cases like sleeping giants, dusted off and groomed by their keepers who look to re-socialize and rehabilitate them back into their functioning roles as audible tools in a musical/sonic language by exploring the peripherals of their sonic potential.

In recent years, Dafeldecker and Bussmann have made a name for themselves with work that critically and inquisitively reflects on the medium of music and, to some extent, the anxiety of meaning and purpose of sound-making processes – research as practice, practice as research Here, there are hints of Dafeldecker's long-standing involvement in the Viennese Polwechsel project, a consortium dedicated to scratching at the very edges of formal music, questioning the extent and limitations of classical instrumentation and ensemble formations by experimenting with As for Bussmann, he has of late ventured into instruction-based vocal ensemble performance artworks for public participation, as in his radical The News Trilogy / Revolution Songs in an AI Environment. The reason for expanding his approach was that he had come to question improvised music, which he felt was biased towards what he calls "a certain acoustic dress code": "It becomes very much like a scene with its fashions. Instructions or as Nicholas Bussmann prefers to say: Algorithms, on the other hand, can provide a framework for musicians from very different backgrounds to make music together.”

Other algorithm-based works include performances and installations for robot piano and his ongoing work with the project Kapital Band 1, a duo he forms with Martin Brandlmayr. In their third album, Internationale Solidarität (also released on Ni-Vu-Ni-Connu) , they explore the possibilities of improvising music with machines, the parallel existences and mimetic affirmations of machine structures and human patterns, a search between impulse and logic that embraces mistakes as an integral part of the process.

The backdrop to the music on Monte Carlo Fallacy is a canvas of subtle noises – of the room, the muted city's weather patterns, the performers' breathing, the shuffling of their feet on the floor of Bussmann's Grand Prix d'Amour studio. the recording with the real-time, high-fidelity integrity of live music unencumbered by the tropes of technology and post-production. This is a poetic demonstration of what the resonating string instrument can do – nothing more, nothing less. the string quartets of Harley Gaber, which are so quiet that in the bucolic recording environment of his winter log cabin the instruments are scarcely audible, embedded in the woody resonance and atmospheric hush of the near-silent room."

Artist : Nicholas Bussmann, Werner Dafeldecker

Label : Ni Vu Ni Connu