“”I mean, what are the odds of getting a good, strong signal, behind the steel bars and reinforced concrete of a prison? To add to the vibe, I whipped out a little contraption of my own making: two springs from a Luxo lamp, suspended over an empty 19 inch rack enclosure. Makes great steely reverb sounds when bowing the springs with a cello bow, and works well as a percussion instrument too.”
“Being different and “better” than other states can be a double-edged sword sometimes, and as I was given a map area depicting part shore, part ship, part sea, I couldn’t get the current refugee crisis in the Mediterranean out of my head. What happens on the edge of Utopia? Who is allowed to enter and who is not? And why not?”
One of the most frequently-asked questions we get from musicians, artists and curious visitors approaching Cities and Memory for the first time is ‘how do I go about reimagining a sound?’ or ‘what does remixing a field recording actually mean?’. It’s a perfectly valid question, of course – one person’s
“I recorded a single track, listening to the original, commenting on what I heard. After that, I didn’t listen to the original again, but built everything on top of the commentary (and looking at the waveform of the original. I tried voice-acting some of the atmosphere, added more comments (some of which were inspired by reviews of St Patrick’s Park found online) and thought a lot of early Frank Zappa montages while doing it. “
Just a few yards from the Silbersack playground is my first transport stop of the day – my local S-bahn station at Reeperbahn. Remarkably (at least for me, given what I’m used to), the entire public transport system in Hamburg seems to run on a trust system. There may well
