Continuation of the first and second Mail Art interview with Jürgen:
I know it's difficult but ... Could you explain to us, especially for those of us who have never heard of Copy Art, how was it you started and developed your Copy Art Performances?
Copy art-performances are very different and difficult to describe. That is why I enclose my artist-statement from 1986, which gives you an impression how I think and how I started a concept for a performance with a copy-machine.
Hope this helps you a little bit.
Otherwise turn to the Museo Internacional de Electrografia
For a few years I have been a fervent follower of the releases of Rota Frangitur
https://rotafrangitur.bandcamp.com/ (UK), a net label where we can find artists like Ocadium, Cooper Raines, Qualo Infinity, Abquexa, Hank Barnes ... eh? Stop! I'm not sure about it, but I suspect that behind all these names is the same person, of whom I do not know his name, of course, as it should be, considering the melancholic, surreal, enigmatic, funny, mysterious and intimate halo of the music that this label offers. With a series of questions I will try to solve the riddles that are inside my head about all these projects. If I do not solve anything, this is perfect too, the adventure continues.
With whom I have the pleasure of speaking, Qualo Infinity, Cooper Raines, Hank Barnes, ...?
Qualo is the name I've used now for about 20 years. The last name Infinity I tacked on in about 2007 when a rap band out of Chicago started getting popular using the name Qualo (they have all but disappeared now it seems). The other names are project names. I think it would be clearer if they were all like 'Ocadium' or 'Abquexa' .. Now, having said that, I hope to be publishing three novels in the next two or three years, and for those, I'm thinking about adopting a new pen name, one of my music project names, Nik Thursday. So, alternating between music and writing, I'm either Qualo or Nik... If I do that too many times during a given day, I get the bends... But, anyway, Qualo is the name I've used for myself for quite a while. It's Abquexan for 'he who jumps from building, lands on giant pigeon and gets carried into a parallel universe and dropped onto what looks like an identical building as the first but isn't'...
Then my interlocutor is Mr. Qualo. A greeting. Talking of literature, lately I've been reading some texts by Jesse Thatsright. Do you know this writer? I think he is also related to Rota Frangitur but I do not know what aspect.
Yes, that's me. The top executives at Rota Frangitur (just kidding) had been thinking about making Jesse a new musical artist that combines country & western with musique concrète, and even though that might still happen (or something similar), that's on hold at the moment. I was just using Jesse's name to put forth on social media some quickly written/not thought out too well microstories. Even though my main interest in writing is the novel, I also write short stories and microfiction on occasion. It all tends to be surreal and absurdist. I'd like to think I specialise in the ridiculous. But the microstories are really shooting from the hip and quite abstract, and I doubt many people will be that interested in them unless they have a weird sense of humour. Since I haven't been in print in the literary world lately, I'm taking the opportunity with the new stuff (mainly meaning new novels) to reinvent myself, and like I said, Nik Thursday will probably be the new pen name. It's the name of the narrator/protagonist in the newest novel.. So anyway, you might see Jesse become Nik on social media in the near future, that is if I decide to continue with the microstories.
I think that each project is created to develop a specific style ... well, I am not very sure of it. What is the motivation to create a new project, what is behind each name?
Yes, you're on the right track. Abquexa was my original solo project, and that project stylistically/genre-wise was all over the map. In 2011, I decided I'd put fiction writing aside for a while and focus primarily on music, and it was at this point that I decided it might be a good idea to develop other projects, each beginning with a particular idea or set of ideas in mind. For instance Ocadium was going to be mainly an ambient project, inspired by my ideas on the Abquexa album 'Last Night in Saozzo' which is a truly ambient album. Blow Dart was begun as a project that would only utilise bass guitar, pedal effects, and vocals. Of course by the third Blow Dart album I'd changed the rules and added electronic percussion and beats, and then I changed it back again to the original parameters on the fourth album. Jumbo Pimp was originally going to be art pop and prog rock with a little ambient thrown in...Over the years it morphed and went all over the place. In fact so many of my projects have crossed into each others' territories at this point. I just don't worry about it. Maybe one day, all 21 projects will sound exactly the same.. some unclassifiable genre that I'll just call Abquexan, but who cares? If that happens, so be it. As far as the project names
go, they all have a different story. The name Abquexa came to me in a dream ages ago. In that dream, the name came through on a mobile phone Caller ID read-out, and I laughed and said hey that'd be a great project name, and in the dream, I started rifling through drawers and cupboards looking for pen and paper to jot the name down. At some point I knew I was dreaming and that made it all the funnier (apparently I was providing colourful entertainment to a few other folks in the dream, so essentially I was egged on). When I woke up though, I immediately did grab pen and paper and jot it down so that I wouldn't forget. Some of the project name origins aren't as colourful as that one. Jumbo Pimp is simply a take off on jumbo shrimp, the American name for large prawns. Ocadium is a made up word that was twisted around from the word Ocadia which is a genus of turtles. Huso Fin is (to me) a surrealist name for a surrealist project. Huso being a fish and fin being part of a fish. I'm not sure how that is really surrealistic, but to me it is. Cooper Raines is based on John Cooper and Douglas Raines, two fictional explorers from a surrealistic literary work. Aki Tchen is a redivision of the words 'a kitchen' .. Anyway, I won't go on from there haha, but that is some of them. I should mention that my label name, Rota Frangitur, is Latin for 'broken wheel' .. My original label name was 'There's a Shark in Your Hair'. That was another name based on a dream.
In what year did you create Rota Frangitur and what was your motivation for it? Where did you release your work before?
I created Rota Frangitur in early 2016. Really, you could say that I transformed what I very casually called There's a Shark in Your Hair to a more formal label situation at that time. The main impetus for creating the new and more formal label was the idea that I needed to create something that would very easily tie all of my projects together. This was basically prompted by friends, family, and even some supporters who felt they were having a hard time keeping up with everything that I was doing. And actually I really liked this idea a lot. My Rota Frangitur label page on Bandcamp sort of became my home base. I had started feeling a little scattered going in so many directions. So, at the time, I had about 15 Bandcamp pages for 15 projects, and Rota Frangitur became the 16th page and central hub, so to speak. It became the home for sample tracks from each project, promo EPs which were often short compilations from any given project, remixes, and occasionally something exclusive for this and that project... All of this hopefully steering any interested listener to the bulk of material from any given project.
Maybe the next question is too tedious and predictable, but this one is usually very interesting ... could you tell us about your influences, musical, visual or literary?
Influences. Tough question because there are so many I suppose. I'm a big fan of the air purifier for white noise while sleeping, and I swear sometimes in the undertones one can hear voices, not just talking occasionally, but chanting and singing too. It's all quite mysterious and very inspiring. I have quite a few albums, more in the dark ambient related genre, in which one can pick out voices in the background, however no voice whatsoever was used in their creation (in the particular pieces that I'm thinking of). Dreams are a huge inspiration for my music and my writing too. I started reading works by Haruki Murakami in 2014, and I have to say his works have been very instrumental in my returning to writing. I'd also say he's an influence musically too. Reading his works seems to unleash all sorts of great ideas. I'm very influenced by film. My favourite directors are David Lynch, Guy Maddin, and Hal Hartley, though there are so many more. It's really hard for me to pin down what musical artists have influenced me the most, as there are just so many. Of course there's Eno, The Residents, and Tuxedomoon, but also, so many more. To name a few of the others: Thinking Fellers Union Local 282, Hector Zazou, Holger Czukay, Cluster and Moebius/Roedelius solo & collab albums, Wire and all of the solo & collab spin-offs especially Graham Lewis related projects, Momus, John Cage, Nurse With Wound, and Steve Roden. But the list just goes on and on. I run across great artists every day browsing Bandcamp. It's amazing how much great music is out there. And so much of it is relatively unknown.
You make many references to places (the sea, oceans, islands, hotels, countries ...) in your work. Are the adventures, although these develop inside the mind, very important for you? Perhaps the artistic creation is already an adventure in itself, but perhaps the adventures, in a more classic sense, are a great motive for you?
I'm really quite fascinated by mysteries, mysterious places, and the unknown in general. I'm also fascinated by myths and folklore. In 2011 I created the Abquexa albums 'Descent, Core, and Integration', the trilogy that made up 'Journey to the Centre of the Earth' (now just known as one album that goes by the trilogy's title), and what I had in mind while I was recording these tracks was the book 'Etidorhpa' by John Uri Lloyd, the story of a man who travels to the Earth's core starting from a cave in Kentucky. I read this book ages ago and it definitely left an impression on me. Now the lyrics and the titles don't really follow the details of Etidorhpa per se, but I did create my own story based on that book. To me the sea, the ocean, and unexplored islands are all mysterious places. Lakes like Lake Baikal are a great source of inspiration. I'm inspired by outer space and by the idea of parallel universes. The story that accompanies Abquexa's 'Dhow' is strange, possibly supernatural, and essentially unexplained. That's just one other example. Also in regard to the sea, other countries, hotels, and travel, there is not only a sense of mystery and the unknown and the unexpected as well, but also a sense of yearning. I'm fascinated by all of these things. I'm also fascinated by everything from aliens to inner freedom and the quest for enlightenment. And yes, creating music is indeed an adventure in itself. It's a mysterious journey into the unknown without even attaching any concepts to it at all.
I especially like the name Rota Frangitur. Could you tell us about the origin of this name, its meaning, if it has one?
Honestly, I wish there was more of a story there. I really just needed a name to replace There's a Shark in Your Hair. That name has more of a story actually, and really, I could have just continued to use that, but for some reason, at the time, in early 2016, I was determined to change it. I think for me it signified a change of attitude toward the whole label thing. Anyway, Rota Frangitur is Latin for Broken Wheel. For whatever reasons, I liked the image, and I liked the way the name looked and sounded in Latin as well. And the idea of a broken wheel without any other information is, to me, poetic and uncertain.
Another tedious question, maybe. What is your instrumentation, your favorite team to create your music? Conventional instruments (synthesizers, guitar, drum machines ...) or do you not reject the use of software?
I'm a big fan of using actual instruments and voice and try to use a computer as little as possible. I know a lot of people probably consider their laptop a musical instrument, and that's fine for them. I just can't imagine having much fun making music with a computer. My favourite instruments to work with are keyboards, bass guitar, and voice, though I do like electric guitar too, and I love percussion. At one time I considered myself a drummer, but I haven't had an actual acoustic kit in ages. Who knows.. Maybe I'll get one again one of these days. Most of my 'band' experience though has consisted of keyboards and vocals. I did play bass guitar for about a year in one band that was almost 'pop'. I didn't sing in that band and didn't write any of the songs (except for one), and so the whole experience seemed a bit odd. But I haven't done the band thing or even collaborated for that matter in quite a while. All 21 of my current projects are only me. I am open to collaboration but would prefer to do that 'in person', as collaborating over the internet is not something that I'm really interested in.
What language do you usually use in the songs?
Some of my lyrics are in English, and some of them are actually no real language at all. A sort of improvised phonetics which, lately, I've been calling Abquexan. I got the idea ages ago when I found myself listening to more and more European and Japanese works whose lyrics were in their respective native languages and used words that I didn't understand at all. I found that just listening to the sounds of the words and not knowing what the words were or what the lyrics were about didn't hamper me from liking the music. In fact, I often thought it better to not know these things. In those cases, I was just listening to the vocals as an instrument, as a part of the music, and appreciated it quite a lot just in this way. Whenever there are lyrics, you are being told some story or some concept. In instrumental music or music with non-words, there is not a concept involved. Just music. It could be argued that since these tracks have titles that are actually words, that the idea is somewhat shot down, but I don't worry about that. A title is just a title. Vocals, whether containing word lyrics or non-word lyrics, are a part of the music. Vocals as an instrument is nothing new, but I'd say it's not really something that is embraced all that much. I've even had friends from my past, from the days in which I used to do this in bands and in the early solo recordings, tell me that these non-word vocalisations are in fact not really singing at all. Well, that is fine if that is their opinion.. I just happen to not agree with it. Now, having said all this, I do occasionally enjoy creating and sometimes listening to songs that do have 'real-word' lyrics. Just not all the time. But, as a listener, I'm really picky about what lyrics I really like. I love the lyrics of Brian Eno from the '70s.. and I like Talking Heads' lyrics. Sparklehorse, Momus, Wire, Graham Lewis, and Thinking Fellers Union Local 282 are great. David Byrne's 'Music from the Knee Plays' has some great lyrics.
How do you see the future of Rota Frangitur and all your projects? Are you going to continue with these, are you going to create new ones to develop other ideas or styles?
That's a very good question. Honestly, I'm not really sure. I was thinking about starting a project that's sort of a big band meets punk meets gospel sort of thing, but really, it's been done over and over, so I don't know what the point would be. Um.. No, but I'm really uncertain as to what I want to do next. I've been working really hard in music for the past ten years, maybe it's time for a break. 2019 is, so far, to me, more of a year for writing fiction. However, having said that, I wrote quite a lot in 2015 and 2016 and still put out quite a lot of music as well. But I never slept. In fact, I haven't slept much since the mid 90's. I dream of getting caught up on sleep. Literally. Anyway, here is my guess: I see 2019 as more of a writing year with the creation of a little music here and there. I don't want to look too far into the future, but I'd like to do at least one more album for each project in the next few years, and yes, I might start yet another project if I think something new doesn't quite fit in with the existing catalogues of current projects.. or maybe just for no reason at all.
continuation of the first Mail Art Interview with Olbrich
I think that, at the same time that you started doing Mail Art, you also started your activities within the field of Copy Art and Performance. Do you think there is a link between these three artistic "disciplines" or did you want to explore several artistic fields?
I have noticed that several of the Mail Artists that started their activities in the 70's were also involved in Performance Art. Do you think there is an explanation for this?
Yes, when I shared Copy Art, Performance, etc. around 1974 there were common ideas behind it all: Direct contacts, immediate expression, new media + expansion of artistic limits + social interaction.
Some critic called it “Expanded Performance” what I did.
In 2010, after a long period of sound inactivity, I was surfing the internet looking for information on what was being done in the field of experimental music, electronic music, sound art, etc., and I found a net label called Thrmnphone (Madrid, Spain). I was struck by the aesthetics they showed and after taking a few listens to what they offered, I became completely enthusiastic about the sound concept they offered, very different from what I was used to listening to.
Live performance, 2008
One of the projects that captivated me the most was its Línea Beta/Betaphone, where there was a series of works called Prueba Thrmnphone (Thrmnphone test), It's about six tests containing what I think it's about, sound test, of which I have made a mix for Electronic Cottage in homage to these works that once again encouraged me to experiment again with the sounds. Well, although it really is not a conventional mix, I believe. I have exclusively used the sounds of the Thrmnphone editions without adding any other sound or effect, but I have taken certain liberties.
I got in contact with the people who were behind Thrmnphone, and they offered me the possibility to release some of my works (IQCM para Thrmnphone - Días Sonoros) on their label, collaborating later in other projects.
But who are these people? Antonio B. Sánchez and Hertz Volta, who apart from their personal projects, form the duo Equipo Elevador, an active project since the 90's of electroacoustic music, concrete music, radio art, installations and performance.
Live performance, 1999
A few months ago they sent me the CD edition made by Alina Records (Madrid, Spain) of their work "Maximum Electroacustic", which can also be downloaded and listened for free online.
The Maximum Electroacoustic CD received
How they themselves say of their work: "Maximum electroacoustic" is a work of the Equipo Elevador composed during the summer of 2014 and premiered live in Madrid in a first version with electronic devices and instrumentation on September 20 of the same year for the opening of the season 2014 of the Alina Cycle. Subsequently, in the recording, different studio shots were used following the classical pattern -principle, node and outcome-. The composition, completed in its definitive electroacoustic form, was re-released on June 11, 2016 in Zaragoza during the Radical Festival dB. This work is not created with a specific intention, but rather, with a free intention, in which the listener should interpret what he sees fit, this does not mean that the work contains a message, which, we allow ourselves not to disclose.
visual intervention of the Equipo Elevador
visual intervention of the Equipo Elevador
Continuing with my usual praxis of doing interviews on Mail Art to my regular contacts, today I present the last epistolary exchanges with Jürgen O. Olbrich.
How did you start in Mail Art? What was your first contact with this movement?
I started Mail Art in 1972. My first contacts were: Arno Arts (some postcards-collaborations in this post), Vittore Baroni, Chuck Stake and Anna Banana.
I’m still in contact with them, only Arno died this year.
Do you think it still makes sense?
Always: Mail Art makes sense, because it opens heart + mind!
I don’t have words
I don’t have words
For a few years I have maintained regular postal contact with Catherine Mehrl Bennett. Receiving mail from Cathy always makes me very happy because her art is full of creativity and a great sense of humor. For her art and attitude is one of my favorite artists and for this reason I wanted to know more about it, especially in relation to Mail Art, and here I had all the answers to my questions.
A enigmatic message on the back (a John M. Bennett poem)
She has been able to make four postcards:
I have received Mail Art from Pedro Bericat,
specifically it is the CD
"1 minute autohypnosis sex war noise faith white truth light europe death seed red net Jung dollar neo time love-in city twenty new Cage zen self LSD dose Tesla sea place breaking-up father x-ray future loud blood sweat tears hope hero endless Pilar".
The release is framed within the series
"1 minute autohypnosis ..."
a sound project of the aforementioned artist, which can be accessed here:
Pedro Bericat (www.mutesound.org) is a Spanish artist (sound art, performance, mail art, ...) who has been developing his activities since the 80's, at least that I have knowledge. My first contact with his work was in the middle of that time through the magazine Particular Motors, published by the S.T.I. (Zaragoza, Spain) and since then I have been a great admirer of his work, having the luck and pleasure of collaborating with Pedro on several occasions, as is the case on this CD.
On the website where it is possible to listen to and download this CD, Pedro Bericat has kindly uploaded the cassette that I sent him and from which the extract included in the CD was obtained. I remember that for the cassette I used, apart from my own material (especially anti-records and cassette manipulation), sound material sent by Pedro Bericat and EC member Nicolas Malevitsis.
It is possible that in the future I can show you more sound works from Pedro Bericat and my own works for Mute Sound that I have in my archives... it's just a matter of finding the necessary wires and the required expertise to digitize it. A whole world inhospitable to me, but I'm brave, I think.
I had the privilege of listening, before its official release, to the album "Slide To Glide" by Wolfgang Dorninger, which left me deeply impressed by the immensity of its sound and its strong power of evocation of images, with beautiful moments of introspection.
On Saturday, December 22, I listened to it three times in a row; on Sunday the 23rd three times again; and today, Wednesday, December 26th, while I went to the post office, once again.
In all these listens I got a great aesthetic pleasure and many ideas have come to me about the album, but surely these are totally subjective, which is also important, but I would like to have knowledge of what was inside the mind of Wolfgang Dorninger while creating his work. For this reason I have done the small interview that follows, hoping that the questions are useful to provide some information about "Slide To Glide".
After listening to "Slide To Glide", I had the feeling that it is a very consistent and coherent album, that everything is very well-integrated and that everything is related, although the dates of the compositions are different, from the themes to the graphic material. Is it a conceptual album, or at least is there a connection between the tracks that make up the album?
There is a connection between all five tracks. But less by the conceptual than by the kind of production. I never used a rhythm or beat, nor a song structure, nor a flow like in techno on this album. These are pieces that are supposed to tell a complex story together, with few instruments but powerful sound architecture through drones and layers. I took from ten pieces those five that sounded best with and to each other.
I understand that it is often difficult or annoying to talk about our influences, but I am sure that many of us (for me I assure you) would like to know which are the ones that can currently exert a strong inspiration, especially at the time of create this album I mean all kinds of influences, not just musical. Anton Bruckner?
I have a lot of influences, I easily start to burn when listening to music by György Ligeti, Jimi Hendrix, Underground Resistance, Maybe Mental, Scott Walker or Anton Bruckner. I have no difficulty to talk about my influences, because I do not believe in the artist as a genius myth, but only in artists who have had the best possible preconditions and have made them even better in order to create groundbreaking art. Every time and society has the cultural output it deserves. Some artistic movements or trends are also dependent on luck, because a few artists at the right time in the right place crossed each other's path. But basically I'm interested in music and art, where I can find the artist behind his work, also between the notes, words and brushstrokes. Where I can discover multiple layers that only emerge when listening carefully and repeatedly. Radio music has always bored me, even music that is only formal and also music that is a copy of the copy.
In a general way (I know it would be impossible to do otherwise) could you tell us what kind of synthesizers or other electronic and acoustic media you used to make the album? Did these technical means chosen by you condition the result or did you already have the ideas in mind and the ideas instead conditioned the choice of the gear array?
The tools always determine the result. Also the modifications of these tools and work processes change the artistic output. The Bruckner remix was created by a kind of reverse engineering process. I took three excerpts or scenes out of the Fourth Symphony ("The Romantic") of Anton Bruckner, transformed the notes into MIDI files, then re-composed them with sampled instruments or soundscapes. Parts of them were extremely filtered. I changed the tempo of these segments and changed the sound surface with heavy granular synthesis to get the desired color of sound. I developed the piece for the exhibition "Mein Bruckner" (My Bruckner). The group exhibition was about works of all art fields related to Anton Bruckner, as personal as possible. Each piece on "Slide To Glide" has a similarly complicated history. For me the studio is the instrument, no longer individual instruments.
Personally I love the cover and I think it is also a very important element of your work, which harmonizes perfectly with the sound material of the album. Am I right that you consider graphic art as an important part in the creation of an album?
Yes, the photo is very important for "Slide To Glide". I made it during a rehearsal at the theatre (Kammerspiele, Landestheater Linz). Music and visuals are very close. Both media reach us through waves. Some people even hear colors, so close are this quite different types of perception. With Monochrome Bleu, we have already performed with videos on stage in the 1980s. Leo Schatzl, the video artist, was part of the band. The painting "Monochrome Bleu" by Yves Klein was not only an eponym for the band, but also outlined quite clearly the intention of the band's sound in the early days. The visual aspect is still very important for me when it comes to music. I came to music at a very young age singing in a choir from sheet music. Later I wanted to become a painter, but ended up at music again. Some of my paintings from these days are in my studio and in the stairwell.
Several pieces included in "Slide To Glide" were made for other artistic and visual projects (perhaps this is the internal connection of the album) Do you regularly collaborate with other visual artists? To what extent do the images influence your sound work?
I composed music (including sound design) for more than 40 theatre plays by William Shakespeare, Henrik Ibsen or Joël Pommerat in the last 25 years. Working in a big team with different art forms has changed my music a lot. "The sound should come out of the pores of the walls" is a statement of mine to describe my way of composing music for the theater. I want to get the silence out of the theater to create through sound different layers of environments for a play. And I love the work process a lot. Everything is worked out during the rehearsals and grows through the interaction of the whole team working on a play. I also like the workflow of dancers and performers. Working for film is rather lonely, because a lot of work processes are broken up into small sections and there is hardly any interaction between the participants. The track "Unused Film Score" is a remix of unused soundscapes and music pieces for a movie. The communication was so bad that no useful result came about. After two years of distance, I made the remix for "Slide To Glide", because I liked some scapes and tunes too much.
The first track of the album is "Cause & Effect" Is it a tribute to the past or the beginning of something? The last track is titled "Utopia Around The Corner" ...
I made this piece for an "Electronic Cottage Add-And-Pass Cassette". Hal McGee opened the tape with his piece "Transmission # 237". The tape got lost after the fourth music contribution by the Austrian post company on the way from Linz to Vienna. I called the piece "Cause & Effect" later on, because that was the only way to calm my anger. I appreciate what Hal is doing with his tape, network and media projects and was really angry that such a nice project was destroyed by a carrier company.
"Utopia Around The Corner" should give us courage for small solutions. I believe in the power of change by the individual and in the small. And Utopia is not so far away, does not need a super solution, no magicians or ego shooters like Donald!
1000 thanks Hal for Electronic Cottage and muchas gracias Rafael for your questions.
If you, dear Electronic Cottage member, are interested in "Slide To Glide", just send me your email address and I will send you a download link with uncompressed files.
And hopefully my English is not as shitty as I think it is!