as part of the EVA Lab Days 4, Chollerhalle Zug

EVA Lab Days 4 - Session 4 (Part 1)

Generative Industrial Modular Patch with MakeNoise, Doepfer and Roland System 100M.

Generative Industrial Modular Patch

EISENTANZ PERFORMS WITH HIS ALBUM «TUNNEL» IN WORLDS FULL OF FEAR AND DESTRUCTION, BUT ALSO PLACES OF HOPE AND SERENITY.

The opener of the album «Dobrosh Inif» starts the thrilling and captivates the attentive listeners. Dark shallow Voices mingle with pastoral, poised choral singing. Although Eisentanz did not have an expensive opera singing ensemble available in the studio, the result still sounds real. With the software «Venus & Mars» by Soundiron and the certainly necessary tinkering talent that Eisentanz brings along, whole phrases or even sentences can be put together in an elaborate way. A stoically pulsating bass line, as well as the dramaturgical expansion through the use of powerful drum sounds and playful-metallic sounds, create a feeling of fascination: definitely not a brand of musical art that you can and want to hear away from. Eisentanz conjures up the antithesis of elevator music, so to speak. Too oppressive, too menacing and too gloomy to ever fall into shallow waters. As if the tension is not already high enough, in the middle of the song, he creates a subtle refined contrast to the crabby machine groove with delicate melodic piano parts. In the same way, Jean-Claude Horlacher, as he is a bourgeois, serves us as a surprise with a four-to-the-floor beat and creates an almost atypical accessibility, which in combination with technoid elements in the Gothic-/Dark-Wave-Mantel appears very appealing. Above that, he lays a far-off, hymnic guitar track that draws an elegant swerve. Together with the super cool female chant, we can call "Cristo & Ziamon" as the veritable hit of this elaborate work. And we are only on track 2, which does not mean that the upcoming songs would be less interesting, on the contrary. "Tunnel" is not the name of the album by any means, because it fits the crux of the matter very well. As he himself explains: "For me, 'Tunnel' means a good mix of Industrial and Gothic. A tunnel is something like an industrially produced crypt." At least with the hypnotic track «Flashing light in the tunnel» we arrived in the middle of the hellishly captivating ride. Not for acoustic claustrophobic musicians, but for profound music lovers, who are always heading for the exit. Moreover, not surprising that Eisentanz has chosen a very suitable artwork for his work: The cover comes from the Dutch painter Hieronymus Bosch. His timeless 'vision of hell' disturbs and fascinates to date. Finally, in moments of persistence, the heavy metallic clock of «Machine» helps to end the album, because we see the hopeful lights glowing at the exit. In permanent memory: The big, dark and engaging-musical tunnel journey with Eisentanz.

El Testament D Amelia

Maschine

Rausch

Blinklicht Im Stollen

Echnaton

Vocals: Bahasa Indonesia by Ka Krya Raxasa

Bukan Rahasia

Cristo & Ziamon

Dobrosh Inif


Dark, apocalyptic, orchestral track with organic samples

La Folia

Somnium

electronic ambient track with some organic samples

Internal

electronic track with some guitar tunes and a historically, already extinct sample. (level-crossing bell)

Meson

ng@ng-productions.ch
Eisentanz does not just choose the usual presets and default settings using synthesizers and other electronic instruments, but instead dedicates himself to the time-consuming and challenging path of sound research. He elicits a fascinating and archaic sound from the most diverse materials, whether it’s metal, wood, or stone, and thus finds his own interpretation of a timeless yet modern industrial sound. He builds his instruments himself as prototypes made from everyday scrap materials. The variety of noises he is able to produce from scrap iron, barrels, and metal springs is truly spectacular.


On the stage, he lets loose with hammers on the pipes, sets metal plates whirring, and is himself part of a flowing electric current. Eisentanz moves to the groove of a robot-accented sound system in which he himself steers his musical spaceship through expanded hearing loops. All live elements are then woven together and, using meticulously placed microphones, are incorporated into a total concept that whisks the listener away on a journey into the exciting, rhythmic heart of electronic music. This “sound of the “underground” will appeal equally to lovers of dark, melancholic, yet also percussive, sound collages, and fans of spherical, conceptual film music, and will delight enthusiasts of art exhibitions and genre-spanning performances anew. 


The visual aspect of his performances is likewise an important component of his fundamental concept. Thus, abstract visuals, animated computer streams, and futuristic processes are displayed on the monitors. Eisentanz has performed his challenging music at important locations around the world between Berlin and India; he is a cosmopolitan who follows his own rules and does not fit in any musical pigeon hole. With somnambulistic openness, Eisentanz falls upon curious ears even after quarter of a century of sound technology.

Eisentanz

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