Alexander Rishaug

To follow an invisible scratch
I walk down the street from where I live, two small boys are playing and tearing apart an old TV, small crackling sounds appear like cx, shk, tp, zch, tc, dt, klx, kh, gtsh (a hidden language).

The people I have asked to participate in this first part of Helium all share the same fascination for clicks, disturbing sounds and everyday noise. Their expressions vary from minimal bleeps and silence to distortion and harsh noise. They work and live in different countries, still their influences and way of working are quite similar.

Fe-mail (NO) is Maja S. Ratkje and Hild Sofie Tafjord. I saw them live once and got fascinated by how fresh and playful noise music they make. It is quite rare with girls in this field, which I think is a bit sad. Their pieces "frippery" and "nincompoop" for Helium #1 are based on live instrumentation with pan flute and harmonium, which is quite difficult to hear, but that makes it even funnier.

Roel Meelkop (NL) is trained as a visual artist and works with installations, live performances, releasing CD¹s and arranging concerts. Roel has worked with sonic arts since 1984 and is a true minimal musician. His music is quiet and developes in a slow way. Even though the structure is simple it has a complex dynamic. He is most known for his work with Goem and Kapotte Muziek. His piece for Helium #1 is a remix of -` , ' " and -| from the record s/t by Rohan Thomas. Both Roels and Rohans original pieces, which are used as source material, are from 1997.

Lasse Marhaug (NO) has released many records and has collaborated with noise artists all over the world and together with John Hegre he forms the duo Jazzkammer. Marhaugs earlier works were quite harsh and provocative, now he is moving into a more silent and varied soundscape, which I find more interesting. A good example of this is "Polar" for Helium #1. I like the random structure of the rythm and the distant melody that creates a nice space below.

The music of Ronnie Sundin (SE) often contains field recordings and small sounds that are amplified. Helium1 and Helium2 are works in progress, here presented in the state they were in July 2001. Sundin runs the label BonBon Records and has made performances and records under different names such as rsundin, ronsun and Bad Kharma.

Rohan Thomas (AUS) makes installations, live performances and releases CD¹s both solo and in collaboration with others. His sound material originates in feedback with a mini disc (the "no input" idea). This means using skipping or other machine defects, which he edits and composes in the computer. In his first piece ".-`" for Helium#1 he is using sounds sourced from Roel Meelkop's "2(KYOKU)", 1997. The second one " -` " contains minidisc feedback and skipping.

One example of that is Jazzkammer (with Marhaug) doing a concert together with Merzbow at Molde Jazz Festival this summer. Merzbow (JAP) alias Masima Akita has worked with noise music for more than twenty years. He is pushing the limits between pleasure and violence, and wishes to create a surrealistic landscape, keeping the loud volume, the brutality and intensity of rock music.

Some other Japanese artists I find interesting, work within the term «no input». «No Input» means no external input source, only the source itself. For instance Sashiko M, who plays with the sampler only using the internal test tones. When Toshimaru Nakamura performs, he plays with a mixing board, connecting the output to the input. This develops a feedback which he manipulates with effects.

Selected links:

Labels

www.staalplaat.com
www.mego.at
www.milles-plateaux.com
www.touch.demon.co.uk
www.warprecords.com/warp
www.a-musik.com
www.sulphurrecords.co.uk
www.thrilljockey.com

Mailorder

www.notam.uio.no/~geirje/biophon.html www.stud.ntnu.no/~evenma/Aparec/Aparec.html www.mdos.at/



e-zines, magasines, reviews and interviews

www.groovesmag.com
www.urbansounds.com www.spiderbytes.com/ambientrance

New directions.

Lately there has been quite a focus on the "Norwegian Scene. Labels such as Rune Grammofon and Smalltown Supersound have released compilations and remix CDs that has been very well received. This again has generated more concerts and record releases. The good thing about the Norwegian network is that people with different skills and backgrounds are working together. There are also strong connections to electronical and "impro" scenes in other countries.