Institute of Contemporary Arts

CMM: Raster Noton 12 years

Date: 30 May 2008

Frank Bretschneider. Photo: Gabriel Green

Jahan Nazeer 

It was Friday evening, my weekend had already started the night before and I was in good spirits as I arrived at the ICA. Tonight was to be a different kind of affair, German electronic music label Raster-Noton were in town and had brought some of their sounds with them. Being unfamiliar with the German electronic scene, I had checked out their website before leaving the house. Celebrating their 12th year, the label was born from the joining of two other labels, Rastermusic and Noton. It covers music projects, publications and installation works. ‘...common idea behind all releases is an experimental approach - an amalgamation of sound, art and design.' So, as I picked up my ticket and walked through to the main room, I really had no idea what to expect... Inside, the stage was set up with a long table full of music technology. Unfortunately, I couldn't make out exactly what was there, but there were definitely a handful of laptops for starters. As the stage filled with smoke and a graphic equalizer visual was projected onto the backdrop, the first act took to the stage.

Byetone , aka Olaf Bender, is a co-founder of Raster Noton. His background was in experimental film, before turning his skills to music and he is also responsible for much of the graphic design. Standing at one part of the long table, he began with heavy kick drums and pulsing bass. The growing crowd sat and listened attentively as DnB style bass growls and thumping drums fell into large, beat-less soundscapes. A projected countdown began from one, going up one every two beats as lights flashed and smoke filled the air. Finishing with helicopter sounds, Byetone certainly got the night off to an interesting start... but were the crowd really gonna sit on the floor throughout an entire evening of what sounded to me like dance music? All would be revealed after a short toilet ‘n cigarette break.

Next up, Alva Noto aka Carsten Nicolai. His website describes him as ‘the German artist/musician...' who ‘...uses electronic sound and visual art as a kind of hybrid- tool to create his own microscopic view of creative processes'. Taking a spot slightly further down the long table, Alva Noto began, as seems customary, with a kick drum and deep bass opening. The crowd were now firmly on their feet and the venue was beginning to feel more like a dance club as eerie synth parts faded in and out like disturbing, violent memories. Above the industrial, techno-like drums, what sounded like French dialogue was added with haunting effect. Glitches, hisses, and even a something that sounded like the door buzzer in my block - all were manipulated and controlled masterfully. A crowd favourite on the night.

With a very short break between acts at this point, Frank Bretschneider aka Komet was on stage before I had noticed and soon heavy drums were pounding out of the speakers. His website offers that ‘Frank Bretschneider works as a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach.' His background is also split between the visual and the audio worlds and was active in East Germany's underground music scene as far back as 1984. With the main room pretty much full, the crowd were now reacting to the hard beats and began to bounce and gesture with approval as Frank Bretschneider journeyed through a matrix of grimy drums, bass and fuzz. A much more danceable set, the vibes in the main room were reaching rave heights.

Kangding Ray was up next and made his way past the long table and over to another workstation I had not noticed before. After a cheer from the now very enthusiastic audience, he began with the sort of sub bass that seems to send one's entire body into a hum. More melodic than the previous acts, Kangding Ray almost had a ballad feel to him at points. Playing songs from his album Automne Fold, the clicks and glitches were complemented by chords and soft vocals. Ghostly soundscapes formed the backdrops as scrapes and beeps triggered bass swells and modulating bells. The audience were captivated by the hypnotic nature and cinematic feel and I think this was my favourite performance of the night.

So then, after a short interval, the conclusion to the evening's entertainment was about to take to the stage. The Raster-Noton supergroup consisting of all the guys who performed earlier - Signal took their positions and began. Opening with a modulating bass roar, the sell-out crowd were, by now, absolutely in tune with the experimental aspects of the pieces and they were loving it. A sub bass onslaught followed that sent hands into the air and bodies bopping and gyrating. Mechanical patterns became rhythmical loops as did clicks and beeps as layers of fuzz drifted overhead. Finishing their set amidst large applause and appreciation, the Raster-Noton boys had done what they had come to do and left the messy crowd to enjoy the rest of the Friday night in the bar where djs had been spinning all evening.

All in all, a very enjoyable night, interesting music, cool visuals and a great introduction for me into German electronic music.

 

Byetone. Photo: Gabriel Green

Alva Noto. Photo: Gabriel Green

Kangding Ray. Photo: Gabriel Green

Signal. Photo: Gabriel Green