2021-01-14 music nerds & music idiots | entry by sven

music has always been important for me. when I realized growing up and loosing interest in toys playing guitar was still an option to play around. and it is still. making art is fun and keeps my mind going, making a digital production is always a routine on a known path but also moving into unknown areas. it is amazing what you discover, something to be found in yourself to become an entity a group can benefit from…

on the other hand my view on music appears limited in comparison to kent granyon, his view is way more open, while I´m focussed on a bunch of warp artists pretending that this is the tip of the iceberg that reaches into the future. I was able to be appalled during party conversation when someone did not know the cool stuff or talked about his lame taste in music. I am much more open-minded today realizing that I have been a fan of stupid stuff. and let us be honest: the choice in music is very personal and is often linked to biography. maybe a girl, a friend or a situation made you familiar with a certain track or a band and then the fascination takes off.

I remember a girl playing nuno bettencourt´s guitar solo in extremes´ ’hip today, saying ‘if you can do that, you´re good’ (I could not). the fascination for his phrasing, technique, speed, polyrhythm, wit and sound was immediately there and never vanished again. I remember frequenting a fan website on chris cunningham and michel gondry having a link to the boards of canada website on their homepage. when I clicked it (after ignoring it for months), the magic happened, I spend hours listening to their animation-escorted loops.

back in the days of being a trainee teacher I went to a party of my trainee girlfriend with lots of further trainees. I met a guy with mid-long hair, tall and gawky with a unique way of talking to you making you wonder if he is making fun of you or if he is supposed to be your best friend. we talked about our fascination for autechre, explaining which album is the best and which one would be a must have. he recommended four tet and prefuse 73 to me. actually I got the four tet debut which is still one of my favourites and a great revenant album. I turned down looking for prefuse 73 as I was not into hip hop and it was a kind of a no-go for me at that time. how naïve to ignore where autechre came from…

however, my fascination for nuno was deep and his playing and drafting guitars made a deep impact on me. I had to get all the extreme albums, but even more interesting was ‘schizophonic’, the solo debut and the funk rock power trio mourning widows. I still love these albums, unfortunately they have never been released in europe (or united states) so I had to import them from japan for 60 dm each. I am just writing this to show that I was okay with spending much money on music, not only to get it but also to appreciate the work. there have been further releases I could not order in any way. however, I had a guy in my orbit who was downloading a lot in these newer days of the internet. I was never into napster or sharing, or trading bad sounding mp3s that you would not listen to again anyway. so as I was offered I asked him to look for stuff to find on nuno. he came up with ‘population 1’, an album I could not buy in any case (post hmv, pre ebay, amazon, bleep, etc) and another track with nuno in it, saying that is was some kind of stupid hip hop.
a quick listen proved it, it was stupid hip hop, five seconds of the middle of the track must have been enough to render a judgement.
back in 2020 (so about 20 years later) my fascination for prefuse 73 exploded after rediscovering an album I had bought and mislaid in 2009. while developing a greed for more and more abstract post-hip-hop tracks I discovered the 2001 warp sampler ‘routine’ featuring the fantastic prefuse 73 track ‘nuno’. I cannot be sure but it must have been this track I dismissed back in 2001.
in retrospective I feel like an idiot, only seeking for what is already known. it is like spitting out juice when you expect milk.

it is hard to find birthday gifts for people of my age, but it is easy when they have a vinyl addiction. well, it is hard to find the right record for people of my special interest, but it is easy if you listen sometimes. however michi went to onkel stereo to get the album by the only artist she had heard before apart from the warp icons. so I got tycho´s ‘weather’ which is brilliant. but here is another idiot story: I put on the record on 33 rpm even when the label and sleeve tell to play it on 45 rpm. I read it and did not realize… the album sounded good anyway, we enjoyed the downbeat sound agreeing that the down-pitched vocals are enough after a while. when I listened to the mp3 version I realized that it was supposed to sound differently. while typing these lines I am listening to the album on 45 rpm, realizing that the voice I now a great female voice while all the tracks appear a little bit to fast. however, this is a boards of canada sound turned into pop music. still great anyway.


in december I ordered kelly lee owens and kelly moran vinyls (the names are just coincidence but it was a good opportunity to make my collection a bit more diverse concerning gender) but my parcel has not arrived yet, forzunately the mp3s have. so I thought about how to play music via the sound system without putting my smartphone on it. so I just took an old smartphone (my old fairphone 1) and attached it to the mixer. now I have kelly lee owens’ technoid sound in my living room, even when I miss the white vinyl… I never thought I could spend music on digital formats, but here it is. and it works pretty good. you can even play spotify on it, but who wants that?




during the first lockdown in march 2020 I sat down and rendered tracks for a collection having the working title ‘yellowcake’. in the time afterwards I have produced so much more music that this album will probably not be released very soon as I hope to have better stuff now. I have finished CRW2 and I am collecting and writing for CRW3, I did a sample based album in the winter break and have another album waiting for release. so I really hope that I can put out a concept album, a post hip hop album and a post rock album this year, sometimes even escorted by vinyl eps… cross your fingers, this might be huge!

recordoftides.com


‘revernant euclids’ still sounds perfect in the car, it is so cold, huge and powerful in a sound I never expected me to be able to do with a friend who is as nerdy as me. we have even got our first (poetic) review which appeared as facebook comment and is coped with permission:

‘finally,’ the machines would have said, using such limited, deficient communication as speech, ‘finally this broken species is gone, these irrational morons with their hallucinated interpretive sovereignty, their obsessive search for meaning and the grubby-banal projection of muses is pure mathematics! who needs creatures whose limited horizon of shallow needs is always accompanied by need and excrement, by suffering and decay!’ this time i didn't wake up. i merged with the god's graveyard and decomposed. god is dead.
markus verhülsdonk a.k.a. on ‘revenant euclids’

recordoftides.bandcamp.com/album/revenant-euclids

recordoftides.bandcamp.com
recordoftides.com
primal-scapes.de


update 2021-01-16: like every artist or musician I believe to not get enough attention. everyone knows that success is not liked to quality but it never feels good when the public simply doe not notice you. however, when the recent autechre remix of a sophie track was shared the feedback was pretty divided. I am usually among the sceptical ones these days and I took the obvious chance to post a link to ‘revenant euclids’. I feel bad for using every opportunity and the discussion on a different topic to advertise my issue. the bad thing about it is its efficiency. above you see the graph that bandcamp delivers: you can tell the interest on the day of release (january 1) and the second increase after my post among the comments. it is true, there is not bad publicity but I do not want to play the game this way. I just needed a proof that I can.


update 2021-01-16: yet another story from the past: in january 2016 I used to listen to wdr cosmo playing a lot of world music which is actually not my type of thing. however, I remember driving through the grey day in mülheim while this track came up on the radio. I had no idea what mura masa was but I was immediately struck by this track. fortunately my car radio delivers the artist and title in screen so I could take a picture (see above) to do some research at home. unfortunately the tracks have only been available digitally or on vinyl which were no options for me these days. however, mura masa was supposed to be hauled up to the mainstream, his debut album was supposed to feature damon albarn and a$ap rocky who did a makeover of ‘lovesick’ (which is originally called ‘lovesick fuck’). the advanced praise must have been too big, every track got a feature, it was supposed to be huge. When the album finally came out my interest was gone, and I guess it was a flop. I even think it is suspicious to put all feature guest onto the cover, was mura masa not enough? now, being into vinyl, I got the ‘someday somewhere’ vinyl ep featuring the original ‘lovesick fuck’ track. what can I say: this piece is perfect as it is supposed to be, offing different styles even on the shot run, great sound, writing and production on point. who came up with the idea to pimp it with big names? maybe it is not suppose to belong to mainstream. from the artists point of view, this is the best that can happen to you!




sven piayda | aftermath
KURZstummfilmfestival

zeche carl, essen / youtube, worldwide
2020-09-26, 3pm at zeche carl
2020-09-25 on youtube

kurz-stumm-filmfestival.de
'aftermath' on youtube
youtube.com
facebook.de/kurzstummfilmfestival
facebook event





sven piayda
NEEDLE IN THE MULTIVERSE

kunstwerden e.v., essen
2020-11-08 – 2020-12-11
opening 2020-11-08, 4 pm

postponed

opening hours sun 3 – 6 pm
fri 8 – 11 pm

ruhrtalstr. 19 in den werdener toren – tor 2
45239 essen

kunstwerden.de






AESTATE

questions? complaints? ideas? contributions? collaborations?
click here


2021-01-07 lockdown, boredom, sample packs | entry by sven

the time around christmas and new years eve as well as the first days of the new year are usually quite calm, they are usually used for orientation and inspiration. where do you want to go this year? many of us have learned that making plans does not mean to control the future, all tough not everything was not bad which differed from the expectation. when there is no big party in town with me invited I like to escape to luxembourg, new year´s eve on kirchberg has become a modern classic and a perfect way for me to see the numbers flip. spending the first day of the year in a museum instead of admiring the hangover has also been a satisfying routine.
without spoiling anything you might guess that I simply stayed home in the smallest constellation that you might call party. (distanced and mostly sober). while working on stuff for money, playing around with digital options and losing any feeling for time in grey and short days we have all become quite lethargic, somewhere beyond boredom. you may ask yourself why to do something anyway as you do not know if your actions or products are taken up one day. why make another tableau as you cannot imagine an open gallery anymore?

the only thing that keeps me going is an obsession taking over… I have always been critical against sample packs (sound snippets producers offer for your own productions) but after using scott rockenfield´s drums for years I have bought and adapted scott herren´s ‘the failing Institute of tapes upon tapes (sample pack)’ and turned it into my own record. it is strange, I do not even thing this is mirroring my own genius, it is a post-modern way of making music, like wearing someone else’s clothes while making your own significant dance moves. (imagine michael jackson dancing dreassed up like a beatle…) the result is going to be wild and weird, but most important: it is differing from the rest while keeping my typical stuff within. michael schreiber wants me to start with generative stuff, but I have to finish this one first. making albums seems to be the only thing making sense in a pandemic… more to come.


when everything moved into digital during the first pandemic I was also planning to it but abandoned the idea for a good reason: it does not work. you do not get what you come for. digital disappointment by generation loss. when you take a bottle of water from the ocean and take the bottle home as a gift for someone, do you really think that you can pass on the idea of infinity, power and freedom?
the mudam also presents a digital show, it is still not as good as the real thing, but it was the opportunity to spend january 1 with it. if you want to try a digital show, I would recommend this one.
also I might bring back a digital show myself, back in 2015 we did #howdeepisyourlove for an online gallery. I was sceptical doing it, in retrospective I thing it was an appropriate show – and ahead of it´s time, as we know today. (you can´t beat the real thing.)

mefamily.mudam.com


michael and me have created the ‘revenant euclids’ album and this was actually an album I would have hoped for from autechre. we released it without any mentioning in advance on january 1 (a good release friday), I even tried to get a track featured in a podcast but this ended pretty confusing and disappointing. the album is brilliant anyway, mixing up generative randomness with real composition. I love that sound and I`m am happy to have been able to create a minimal artwork. however, I thought about making a vinyl version, maybe just a vinyl ep, but this is no commercial hit anyway. however, we are not doing it for the money, just to prove that we can for ourselves.

recordoftides.bandcamp.com/album/revenant-euclids

recordoftides.bandcamp.com
recordoftides.com
primal-scapes.de


and this is my recent bleep portfolio. I never thought I could become obsessed with spending money on digital music but here we are. and they know how to trigger me. however, it is cool to have the record collection in your pocket (in your car, in your garden...) but how do you get your digital collection into the living room sound station? more soon.


going out for a walk is tricky these days, you know every tree around. we made some therapeutic walks through bottrop starting at the new build part at quadrat museum. later we made a walk through angertal, a place that is not to far away from my home delivering a so called sculpture path. we have been here years ago in summer, only seeing a single sculpture and finding out that the local museum of ratingen has no idea what the sculpture path is. when we retuned this week, at least we found stefan balkenhol´s prominent piece – and that was it… the unknown is pretty close to you.


we have started to watch ‘community’ once again and it is still perfect third time. I have also started to re-watch the fourth season of ‘rick and morty’ which does not persuade me perfectly as I dislike too much self-reference and loose adapting of contemporary issues. however, I know I have to watch it over and over again to get an idea. however, the ‘vat of acid episode’ nails it! without spoiling, rick buids a reset remote control for life on morty´s request. (like in the futurame episode? yeah, but no.) before returning to a larger context we see morty exploring the power of actions (seemingly) free of consequence. the dramatic use of the clapton song is brilliant. while it illustrates the good time when it first appears it brought me close to tears when it returns (stupid jerry strikes again…) I did not know or realize it was clapton, however I´m obsessed the the song now…


you know I can stand exquisite boredom, hanging around all the time, I can really forget about things I usually miss, what I really miss is the isenbergplatz. I am really looking forward to summer and nights like these, probably a bit more crowded...


have a good start in 2021. we´re in this together. as usually. old paths and new ways.


sven piayda
# H O W D E E P I S Y O U R L O V E
galerie tellerrand, gelsenkirchen
2015-11-01 — 2016-01-31


sven piayda @ galerie tellerand
#howdeepisyourlove (archive of complete online show)
galerie tellerand




sven piayda | aftermath
KURZstummfilmfestival

zeche carl, essen / youtube, worldwide
2020-09-26, 3pm at zeche carl
2020-09-25 on youtube

kurz-stumm-filmfestival.de
'aftermath' on youtube
youtube.com
facebook.de/kurzstummfilmfestival
facebook event





sven piayda
NEEDLE IN THE MULTIVERSE

kunstwerden e.v., essen
2020-11-08 – 2020-12-11
opening 2020-11-08, 4 pm

postponed

opening hours sun 3 – 6 pm
fri 8 – 11 pm

ruhrtalstr. 19 in den werdener toren – tor 2
45239 essen

kunstwerden.de






AESTATE

questions? complaints? ideas? contributions? collaborations?
click here