Interzone perceptible

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Interzone perceptible
IP Logo.GIF
General information
origin Essen , Germany
Genre (s) Industrial , noise , electronica , new music , experimental music , avant-garde
founding 2000
Website www.ip-music.com
Founding members
electrified accordion , electronics
 Sven Hermann
Electric bass , electronics
 Matthias Hettmer
Current occupation
electrified accordion , electronics
 Sven Hermann
Electric bass , electronics
 Matthias Hettmer
Sven Hermann
Matthias Hettmer

Interzone perceptible (abbreviated IP) is a German ensemble for experimental music, which the accordionist and composer Sven Hermann and the electric bassist and composer Matthias Hettmer founded in Essen in 2000 .

Music genre

The media mostly classify IP's music style in the field of tension between New Music / Industrial / Noise / Electronica , since the accordion is electrified (microphones and live-electronically manipulated), effects and effect chains expand the two instruments, electric bass and accordion, whereby one over the acoustic Instrument-controlled ectroacoustic basic sound is created, which often has high volumes with a strong noise component. IP describes itself as a flexible electro-instrumental hybrid organ , as a musical chameleon , as a body of sound is moved, which has both the essence of an acoustic instrumental ensemble and all the attributes of concertante electronic music, the accordion and electric bass are usually only audible from the overall sound and IP is perceived as a single sound being. The terms hybrid , flexible and chameleon indicate both the acoustic mutability of the sound body - each work has an individual sound - as well as the juxtaposition of various mutually influencing fields of work.

The novel " Naked Lunch " by William S. Burroughs served as the source to give the platform, which was still completely undefined in 2000, a name, because Interzone is a parallel place in this novel that only exists to a limited extent in reality. The blurring of this place was ideally suited for the definition of a working platform founded by two musicians, which does not necessarily have to have anything to do with music. The perception was, therefore, the only defined as not just listening is addressed, but the senses are meant.

history

IP was founded by the German accordionist and composer Sven Hermann and the German electric bassist and composer Matthias Hettmer . First of all, a working platform was designed, which was defined more by what should not fall into the creative field of IP than what will actually be done. Compositions by contemporary composers for the duo line-up acoustic accordion and electric bass did not exist or hardly existed until 2000. Hermann and Hettmer, both musicians trained at the Folkwang Hochschule Essen, entered new musical territory: They began to create transcriptions of works by old and young masters for the accordion and electric bass ( Henry Purcell , Erik Satie , John Cage ) as well as for to commission this line-up to compose. While working on the transcription, IP began experimenting with manipulating and expanding the accordion electro-acoustically.

International concert activities

IP takes her music to international film festivals such as the science fiction film festival “Utopiales” in Nantes (France), the Jeonju International Film Festival in South Korea or the StummFilmMusikTage in Erlangen (Germany).

Since 2001, IP has been touring the USA and Korea in cooperation with the Goethe-Institut . At the Eulenspiegel Filmtheater in Essen, IP appears every first Wednesday of the month. IP is the initiator and artistic director of this silent film concert series entitled "Live Music + StummFilm". here IP also appear as the organizer. In 2002 IP was the initiator and artistic director of KopfHörer / experimental music electro-visual in Bühl (Germany). Numerous appearances in Germany, the Netherlands, Switzerland and France have led IP to festivals for contemporary music, including the festival “New Music Rümlingen” (Switzerland) and the festival “11.11.- New Music” in Delmenhorst. Regular television and radio appearances in the form of interviews and concert recordings were broadcast by WDR, Deutschlandfunk, SWR, Radio Bremen and Saarländischer Rundfunk.

Fields of work

Silent film music

The main focus is on composing and performing music for silent films . Here Hermann and Hettmer act both as composers and as interpreters. Every compositional thought in IP's silent film music is developed jointly by Hermann / Hettmer, which explains the term "HybridOrgan" again.

Silent films that IP composed music for:

Concert music

Music without silent film, i.e. purely concertante, includes the fields of “composed repertoire”, “conceptual improvisation”, “ performance ”, “ sound installation ” and “ soundscape ”.

Composed repertoire

IP works constantly in close contact with composers of experimental and new music, suggests new works for electrified accordion, electric bass and live electronics. IP themselves describe a large part of the resulting works as hard edged music .

The following composers of the contemporary avant-garde wrote for IP (selection):

The "5-second pieces", short, loud compositions with a total duration of a maximum of five seconds, play a central role in the concertante work of IP. IP themselves call this music "as cruel as possible, trash, hardcore, punk", for electrified accordion, electric bass and live electronics, with / without voice, composition, conceptual improvisation, performance, CD playback.

Previously created 5-second pieces (as of May 2004):

  • Hans Joachim Hespos: stitch (2002)
  • Volker Heyn: outerzone (2002)
  • Jeff Kowalkowski: Proooosla! (Performance, 2002)
  • Michael Rook: burst (2002)
  • Gerhard Stäbler: Kopffüssler (2002)
  • Daniel N. Seel: Requiem (2002)
  • Kunsu Shim: short circuit (2003)
  • Martin Schüttler: porn (2003)
  • Eric Flesher: Apparatus of Lies (2003)
  • Juliane Klein: For Afterwards (2003)
  • Man Bang Yi: Dassot Hannah (2003)
  • Sven Hermann: FILE (Performance, 2003)
  • Matthias Hettmer: Timmy (2004)
  • Amnon Wolman: 55 mph (2004)

Conceptual improvisation and performance

The basis of the conceptual improvisation is a composed concept, quasi a skeleton of a composition, along which Hermann and Hettmer improvise on their instruments accordion and electric bass on stage, what IP calls live composing.

  • inner loops] body time [(IP, 2000)
  • I felt ... (IP, 2000)
  • glued layers (IP, 2000)

A performance by IP is to be equated with conceptual improvisation , except that the piece is not played on the instruments, but rather non-musical forms of expression serve as carriers of the composition, for example physical actions and gestures in space.

  • Pyrethrum (IP, 2000)
  • Splinter break → (IP, 2000)
  • Proooosla! (Jeff Kowalkowski, 2002)
  • FILE ( Sven Hermann , 2003)

Sound installation

IP projects a multi-channel sound installation into the room via loudspeakers, whereby sounds are given an object-like character through the targeted inclusion of the room-specific acoustic conditions and thus the room is acoustically accessible. IP uses sound installations to expand the live atmosphere of a concert beyond its borders, for example before the concert, during the break or after the concert.

  • Splinter break ← SUPPORT (IP 2000)
  • Holstenwall (IP 2002)
  • prelude (IP 2002)

Soundscape

The Soundscape work area divides IP into two categories:

Soundscape] Musique en tapisserie [

Musique en tapisserie ( French: "wallpaper music") is a term used by Erik Satie . A wallpaper music is so composed that it will unobtrusively consumed without formal process, without beginning or end, as one looks at a wallpaper on the wall or furniture in a room. In this context, Satie also coined the term musique d'ameublement ( French: “furniture-music”).

  • Jeffrey and the sirens (IP 2001)
  • sync mode (IP 2003)
  • prèsogtaliyc (IP 2004)
Formal soundscape (FS)

IP sees the FS as a hybrid. Formal compositional processes that are actually alien to the soundscape are included again. Nevertheless, the FS cannot be understood as absolute electro-acoustic music or as a sound installation. Rather, what IP describes as not absolute is used artistically by IP to take on mediating functions, such as between the concert-goer and the upcoming performance.

  • voyage (IP 2001)

Discography

  • Interzone perceptible plays hespos, 2004 artists own / AOL 3003 / NRW Vertrieb

Television production

  • Die Silentfilmvertoner , WDR October 11, 2005

Web links

literature

  • Peter Erik Hillenbach: About IP in Marabo In: Magazin fürs Ruhrgebiet No. 5 / May 2005
  • Eva-Maria Houben : Hearing (3): between spaces and times, between realities… head-listener / experimental music electro-visual 5./6. July 2002 in Bühl / Baden In: Daily newspaper Acher and Bühler Bote, June 25, 2002
  • Eva-Maria Houben: stitch - short and painful. In: Music & Aesthetics, 8th year - issue 30, Klett-Cotta-Verlag, Stuttgart, April 2004
  • Torsten Möller (eds.) / Kunsu Shim / Gerhard Stäbler: SoundVisions Pfau-Verlag, 2005
  • Michael Stenger on IP in the Westdeutsche Allgemeine Zeitung, January 22, 2005
  • Portrait IP In: Bassprofessor 1/2002