At the beginning we wondered whether it was possible to transform the everyday sounds of Berlin and whether a sonic pleasure could accrue from the sound and noisiness of the city. We wanted to learn about the character, the acoustics and the process of Germany's capital city. So during three days in May 2004 we went out in order to record everything recordable in different places, on sites, roads, in backyards, underground trains and buildings. In the studio we screened the sound pieces, separated them and set up the first audio tracks. At this stage our working title was: GERÄUSCHBILD BERLIN (Noise Picture Berlin). Design ideas became clearly evident when we investigated the sound material thoroughly. We took great interest in carving out the over-heard sounds and discovering sound layers and patterns - we became acoustic archaeologists of sorts. With the means of the studio we started a dialogue with the pieces we had found. Carefully we added guitar sounds and the voice of Peter Deininger. Andreas Buff contributed important sound editing and refinements of the rhythms. As the sound material changed so did the project title and it became: HÖRBILD BERLIN (Hearing Picture Berlin). Musical structures, rhythms and sounds came to light even more clearly. The city began to groove, the usual borders of perception between noise and sound, between noisiness and music became more and more permeable. Honking, squeaking, the rushing of a fountain, the ticking of a traffic light for blind people, babbling - piece by piece everything fell into place. This conversion process turned out to be extremely exciting and the project name became: KLANGBILD BERLIN (Tone Picture Berlin). (label info)
in stock | DE| 2005| DAY-GLO RECORDS | 14.80

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