noise canteen

[photo (detail): Pedro Tudela]

Born in Darmstadt, Germany, in 1970.
Marc Behrens works internationally on several cerebral and physical levels, his work consists mainly of electronic and concrete music, installations and also photographs and video. Since 1989 he has released more than 30 music albums.
His activities since 2008 include sound recording in remote Western China, in Australia, Namibia and the Amazon, founding an incorporated company as a social art work, and staging a rite of passage for an investment banker. After producing radio works for WDR 3 and hr2-kultur, Behrens wrote the radio drama «Progress» in German language for Deutschlandradio Kultur in 2013, in which rituals serve to connect the artist’s family history since 1869 with technical and political history.

2006–2010 Marc Behrens was a lecturer at the Academy of Fine Arts, Saarbrücken, Germany (HBKSaar), and 2007–2009 at the University of Applied Arts Darmstadt-Dieburg, Germany. 2003–2007 he was co-director of the music label Sirr, 2006–2009 co-director of the Frankfurt Association of Contemporary Music (FGNM), 2010–2013 member of Granular (Lisbon). Behrens is a member of the German Association for Electroacoustic Music (DEGEM), and a citizen of The Kingdoms of Elgaland~Vargaland. 1989–1993 he ran the music label «Animal Art», since 2014 his own music label «Availabel».

Collaborations with Atom™, Miguel Carvalhais, Maile Colbert, Bernhard Günter, Nikolaus Heyduck (Behrens Heyduck), Yôko Higashi, Francisco López, Paulo Raposo, Pedro Tudela, Ho. Turner and Achim Wollscheid, among others.
Concerts in many European countries, in South Africa, Chile, USA, Japan, China, Taiwan, Malaysia, Australia, Israel and Palestine.

SEE ALSO

marcbehrens.com

Marc Behrens on Bandcamp

Marc Behrens on YouTube

Marc Behrens on SoundCloud

Marc Behrens on sonosphere

Marc Behrens on Entr’acte

Dimitris Papadopoulos (aka baby on board) is performer and composer. He is mainly interested in experimental sound and music. His research focuses on soundscapes, theatrical and performative sounds, installations and field recordings. He perceives sound as energy. Thus, is everywhere and totally independent. We are just part of it and we perform as one of its endless forms.

SEE ALSO

baby on board on SoundCloud

a4mthtr.com

Utsusemi

hiiragi_ is an Japanese IDM/ambient project organized by Kazuki Mochizuki and others. Kazuki explains:

The music of hiiragi_ polishes expressions, which comes from a distinctive view of the world. It’s filled with transparent feelings that everyone experiences at once. The memory of the far past agonized in order to forget speech to present myself, and then the journey of the heart begins. The transiency that tries to efface memory will set your heart free.

SEE ALSO

hiiragi.tv

hiiragi_ on Discogs

hiiragi_ on Facebook

hiiragi_ on SoundCloud

 

Jim Haynes about himself:

I rust things. Specifically, I focus on how decay parallels and relates to the perception of time when cycles of activity collapse into stasis. Sound and more recently video have emerged as central media for my current installations and performances. Drawing from shortwave radio static, electric field disturbances, surveillance camera observations, controlled feedback oscillations, and numerous textural scrapings, I manifest a broken minimalism through magnetic drones, caustic noise, and ghostly projections. This engineering of disparate materials and media seeks to evince the unpredictability of decay and to bare witness to its inevitability.

Currently, Jim Haynes resides in the San Francisco Bay Area and have exhibited at the San Francisco Museum of Modern Art, Electric Works, The Exploratorium, Westspace (Australia), Diapason, etc. He has participated in residencies at Djerassi Resident Artists Program, MoKS (Estonia), and Jack Straw Productions; and his recordings has been published by Editions Mego, Ghostly International, Semperflorens, Intransitive Recordings, Hooker Vision, 23five Incorporated, and the Helen Scarsdale Agency.

SEE ALSO

23five.org

helenscarsdale.com

Adam Basanta (b. 1985) is an award-winning experimental composer and sound artist whose work traverses electroacoustic and instrumental composition, audiovisual installations, site-specific interventions, laptop performance, and dynamic light design. His artistic and scholarly output interrogates the intersections between conceptual and sensorial dimensions of listening and audiovisual perception, the re-animation of quotidian objects, and the articulation of site and space.

His concert works have been presented worldwide and awarded multiple national and international prizes, including Métamorphoses 2010 (Belgium) and the John Weinzweig grand prize in the SOCAN Foundation Awards for Young Composers (Canada).

His sound and audiovisual installations, both solo and collaborative, have been presented across North America and Europe, and awarded in the Prix Ars Electronica 2013 (honourable mention, Hybrid Art category) and the 2014 Edith-Russ-Haus Awards for Emerging Media Artists.

Adam holds a BFA in composition from Simon Fraser University (Vancouver, BC) where he studied extensively with Barry Truax (CAN), and an interdisciplinary MA in composition and sound art installation at Concordia University (Montreal, QC), supervised by Sandeep Bhagwati (GER/CAN) and Chris Salter (US/GER). He lives and works in Montreal, QC.

See Also

adambasanta.com

Adam Basanta on SoundCloud

Fernando Laub (aka flaub) is a composer and visual artist mainly orientated to avant-garde, experimental and electroacoustic music.

With the aim of compiling sonic substance and creating new devices from old industrial machines and recycled scrap, he spent several years living into an abandoned factory reconditioned as a sound laboratory. Besides those post-industrial quests he use to travel around the world documenting sonic and visual material. Combining all that stuff with the research of new synthesis methods his music not only describes pictures, it will transport you to a sort of surreal and Sci-Fi scenarios, images that are quite difficult to define.

See Also

flaub.net

flaub on SoundCloud

flaub on bandcamp

flaub on facebook

We’re very happy to welcome Helena Gough at noise canteen. Some of her thoughts about why & how (from helenagough.net):

Working with very limited material, maybe only two or three sounds for each new piece. Taking everything possible from the tiniest element, making the smallest things significant, creating something from nearly nothing.

Exploring the qualities of a sound. A process of uncovering, of revealing hidden details and turning perspective on its head. A fascination with states of stasis, by matter that appears to be still yet is always in motion. Searching for sounding movements that change our perception of time and textures that slowly evolve, rotate and turn in on themselves.

To listen, rather than just to hear with dumb ears. The power of sound as a transformative experience, a place for uncertainty and substance. Moving out of the harsh glare of a visually dominated culture.

Intuition: you are the idea, the movement, the moment. Intuition is a technique of knowledge or self-knowledge that has become internalized, can run on automatic and at a rapid rate. It is a reaching into the depths of memory and the subconscious that cannot be willed or forced.

Because: I have many doubts and many questions (I don’t think I have any answers). Sometimes I hope to offer a moment in which someone might sense that things do not have to be as they are.

Because: words fail me. Language leaves too much to be desired.

It’s a posting from July 2007. Unfortunately she stopped her creative sound work currently. On her website she wrote about her private motives.

SEE ALSO

helenagough.net

Helena Gough on SoundCloud

Helena Gough’s Knot Invariants on Entr’acte

Helena Gough’s Mikroklimata on boomkat