Lauren Redhead, organ

So, 14/11/2021, 18:00 Uhr
Taborkirche
Taborstraße 17, Berlin

OSC (2021) - for organ and four coupled oscillators

This tune was added to Free Download Album "BONSAI beats".

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Free Download

Surface Tension

BUY IT: https://dvaid.bandcamp.com/track/mattress-madness

OR DOWNLOAD VIA HYPEDDIT: https://hypeddit.com/dvaid/mattressmadness

THX 4 EVERY SUPPORT <33

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DVAID - MATTRESS MADNESS

Kernel Panic

Le Motel - Piga Makofi (feat. Nah Eeto)

Selves for bass clarinet, string orchestra, live electronics by Yannis Kyriakides. Premiere performance at the Warsaw Autumn Festival 2023 performed by Gareth Davis (bass clarinet) and AUKSO Orkiestra conducted by Marek Mos.

Selves (for bass clarinet, string orchestra, live electronics)

Commission: Südwestrundfunk for the Donaueschingen Musiktage 2022

Live recording of the world première, Musica Nova Helsinki, 3 March 2023.

Performers:
Mattie Barbier, trombone
Weston Olencki, trombone
Helsinki Philharmonic Orchestra
Janne Nisonen, conductor

Photo: Helsinki Philharmonic Orchestra

where the dark earth bends (2022, rev. 2023), for RAGE Thormbones, orchestra, and electronics

OK ONO

Marc Melià & Lieven Dousselaere - OK ONO

Hannah gaat samen aan tafel zitten met David Helbich, Youssri Mejdoubi en Pleuntje Jellema. Ze praten over hun favoriete luisterplekken in de stad. Als je kan, luister deze aflevering op hoofdtelefoon! We gebruikten namelijk een speciale binaurale microfoon: de Neumann KU100, voor de liefhebbers. 

Aflevering 3 - Over skateboards, klokken en een bankje op een rond punt

MOOD SHIFTERS w/ JuliEn live from the Microwave studio at JAM Hotel, Brussels.

Microwave is a community-based, audiovisual webradio. We aim to provide a platform for a wide variety of upcoming artists through digital and real-life media.
Tune in at microwave.live

12.10.2025 MOOD SHIFTERS w/ JuliEn | Microwave Studio

OUTCUTS by David Helbich
released July 19, 2013 on surfacenoise recordings

Most of the recordings and compositions were made in the frame of the performance-concept Keine-Spiele (with Shila Anaraki) between 2001-2005.

The recordings were almost all made with binaural microphones (OKM) and a mini-disc player.

REVIEW 
by Chris Whitehead on http://thefieldreporter.wordpress.com/2013/09/17/305/

(...) David Helbich presents us with Outcuts, in which no track is longer than two and a half minutes, most are less than a minute and a half in length, and one lasts only fourteen seconds. Each track is a binaural recording of an event, seemingly unprocessed and pretty focused. These aren’t ambiences, they are either situation based (supermarket checkouts), action based (a game of table tennis) or performed (a stick dragged across metal railings). They are short, clear and to the point.
Helbich studied composition and philosophy in Amsterdam and Freiburg and the two disciplines are applied to these field recordings in a surprising way. Rather than compose using effects or layers, rather than using juxtaposed sounds or corrosive jarring to disrupt, Helbich primarily uses time.
At first sounding like a CD playback problem, a disc fault or something you’ve simply misheard, little creases in the smooth surface of time become apparent. Ripples and folds in its skin occur as the sounds slip a little back on themselves or repeat a bit and catch you unawares. Then for a very short time the whole thing drops into digital silence and starts up again. It is like dropping off to sleep and suddenly jerking awake as your head falls forward. A lapse in continuity, a corruption of linear momentum, or as Helbich describes it in the liner notes, “Everyday sounds twisted and turned inside out, bumping into each other, brutally interrupted by digital silence”. I found none of the changes brutal though, instead they seemed subtle, sudden and unheralded. They just happened without warning or fuss, as if they had always been part of the structure of the real world but we just hadn’t noticed them.
Playing through all 18 tracks consecutively causes certain rhythms and inherent underlying structures to emerge. These appear to be there across everything independently of whichever sound source is being listened to. All this may sound a little dry and academic for the listener wanting to be taken someplace else when they embark on listening to a field recording or two, but the whole thing is brief (18.32) and addresses an important issue about reality and recorded reality.
Outcuts is presented by Surfacenoise Recordings in a 7″ single sized sleeve with several bits of information, both written and illustrated. There’s a picture of a high rise balcony where three of the tracks were recorded and some depictions of stereo waveforms complete with the points at which the disruptions occur. Those experienced in decoding these graphic interpretations of sound might like to follow the peaks and dips as the disc plays: A kind of geek lyric sheet with waves for words.
Also included is the raw material to recreate track 15, papierstücke. It is a piece of paper with instructions for two performers about how to tear along the printed dotted lines. Much of Helbich’s work has been concerned with actively including audiences in his interventions.
I would recommend Outcuts to anyone wanting to bury deeper into the layers that cover the core of this thing we do. To anyone asking the questions ‘why do we record the world, and what do we end up with?’ this may or may not provide some food for thought. If it does, all well and good, if it doesn’t you will at least have had some parameters reset and possibly a stimulating eighteen and a half minutes of very punk ear-fun. If nothing else, it should make Edu Comelles a very happy man.

on bandcamp

aldistöhn

Loco and Jam - medusa (original mix)(2009)

David Helbich (1973 Berlin) Works since 2002 in Brussels as conceptual artist in the fields of composition, acoustics, performance, events, art books, public space interventions and installations.

aldistöhn

David Helbich

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