Research | GIS Studio
TBC (Thomas Beck)
Live at Bei Roy | Ohrengala Series
tbc are three letters of my name to bring luck.
How did you get into electronics and harsh noise?
When I was a teenager... I am strongly interested in Sience Fiction. Then, I
remember I read in an magazine article of Perry Rodan about how to be a sf-musician,
and so on.
It was there where I found a recommendation to the works of Klaus Schulze. So
I heard a short time Klaus Schulze and Cluster.
But there was also the time of Punk and New Wave. When I moved to Elmshorn,
I came in contact with punks and also with the music
of groups such as the Collapsing New Buildings and the Tötliche Doris. Since I
heard Klaus Schulze, I have always wanted one synthesizer, but I had
only a lousy synth Casio keyboard, and my decision was clear, when I heard
first White House and New Blockaders: "That, I can do it also and I will buy a
Korg Ms Synthie..."
H 6 4 was my project in Elmshorn and it was for its own in particular for the isolation and loneliness of the modern society.
Musically, it was marked by the ästhetic of Come Organisation and Broken Flag, with whom I held in contact, but also things I knew from Merzbow.
I published several tapes on my label "Ex" , and made concerts in different locations in Antwerp, Elmshorn and Club Morale.
The whole thing would not being so good without my friend Ingo alias TaE - Victor / with whom I worked for different occasions.
He was interested in Industrial also and to make music. He had a tape label from which he sent tapes all over the world. We played together
more often and made small Industrial Elmshorn festivals in a social therapy center. One was with Con-dom.
And related to your mail music projects... since
when you have started with this idea and what were the
conditions moved you to start into this kind of productions?
Generally, I think that the mail music, like it is today, does not work. You can not expect someone who is unfamiliar to you, and send sounds,
producing songs for him, there is something that can please and fit with him. I've always prefered to work with musicians who lived in my
immediate environment and it's become the best collective work, because they are immediate. Guido from Synthetischen Mischgewebe liked a
record of mine and wanted to edit it. It was the same case with Christian Brume. I'm a person with a wide musical taste and I am tolerant
to different kinds of music. So in the end I liked both.
Another idea of the " Mail Music" was... musicians away from all countries and cultures, to do
music to a specific topic - especially the Italian industrial people have had very good publications in these areas, as well as Merzbow.
Unfortunately, this is an idea that was not longer continued in the nowtime but I can imagine again very good results. Another very popular
idea in the time of the mail-art music is to recycle existing music. And rrr records has released many cassettes of it.
How is the scene in Hamburg? Which activities are you running
there related to radical and experimental music?
I do not want to talk about people like Tietchens Asmus, Jetzmann or
Ditterich von Euler-Donnersperg, probably the most popular guys of
experimental, electronic music, from Hamburg, with whom I still work together.
Radio Gagarin for experimental music in fsk 93.00, perhaps is the most successful thing I'm doing what you've asked me not at all. And
I want to talk about those who have left me artistically... There are Lunde and y-ton-g, with whom I was in the beginning time of Hörbar and
in 1990 I had an improvisation session group with them. We met us in unregular recording session in the rehearsal room and everyone brought self
made instruments of whom we played experimental music. Y-ton-g had self-made metal objects, Lunde was a genius, which was concerned from the
simplest of objects in produce sound objects.
Our music was quiet and sensitive. The original idea to found this group was based on the necessity to give this session group a forum.
We played there under different assumptions and published a lot of tapes. Quiet Music was something very new in this time and this kind of
music, the rest is history.
The last I heard of Lude, was that he had become a programmer as you may know. I guess its for a lot of musicians the end of their art,
to went into the computer business. Y-ton-g I see more often, but we do not talk so much. Now he is married, lives in a suburb of Hamburg and
let bonsais grows - even an artistic dead.
Talk about Wachsender Prozess label. When you started and why?
I started Wachsender Prozess in 1994 and it should be a label for my own music
and for close musician collegs and friends.
And about Odradek magazine?
I started the Odradek magazine with Felix Knoth (Felix Kubin) and Günther Rezincek (Nova Huta founder) and it is named after a short
story by Franz Kafka: "Die Sorgen des Hausvaters"
Today it is the printed version of the radio program, and I recommend any new publications on Radio Gagarin (www.fsk-hh.org) to hear the
interviews and articles. And also the parts I am not talking about in the Radio Show you can read in the Odradek. Meanwhile, two language English / German.
What sensations do you expect to provoque?
To entertain. In different ways I guess.
How to describe your music?
The difference - the beauty and the ugly, the hard and soft, the loud and quiet, the tonal and noise-rich, the European and non European,
death and life, the artificial, natural presence and absence.............
Do experimental and improvised music scene is changing?
No, no change, only the tech people have been added. Everything is in flux.
What kind of artists or concepts are you looking for
- when you curate performances at Rote Flora?
I hate the word curate, I curate nothing. All my activities in this area
is a self-organization of musicians for
what's good for musicians. It is also for the fun I have and the fun for
the others. Since there is no higher goals. Maybe that's the mistake.
Interesting musicians and sound projects in Hamburg:
There is Asmus Tietchens, with his quiet electronics, Jetzmann, with electro-acoustic work, Ditterich von Eulers-Donnersperg with sound poetry
and ambient, the 7. Kavallerie with the harsh noise but humorous sort, Audible Pain with electronic noise , Renoise with guitar noise, Stefan Ebinger
with contemporary piano music, Magrit Holz with looping field recordings / plunderphonics ,etc...
How do noise impacts in your life?
Harsh Noise is transgression. As Foucault has described in his work "History of
Sexuality", it is the care of themselves and others. The desire to
know, be telling the truth and about to use the lusts are essential points for me.
I am totally satisfied with what I know about music.
I would like, because of current occasion, recommend the page
www.whomakesthenazis.com. Its about nazis and pop culture.
Many thanks for the interview
Thomas Beck, 8th May 2012
[ar069] TBC | Live at Bei RoyOhrengala Series
Surrealistic electro-acoustic harsh noise piece for Ohrengala Series.
Field recordings & electronics (no input mixer).
Recorded live at Ohrengala #9, Bei Roy, Berlin on 29th April 2012.
Curated by CoCo. Recorded and mastered by Julian Bonequi. Picture and translation by CoCo.
Produced by Audition Records in collaboration with Bei Roy. Design by Aniana Heras.
Special thanks to Bei Roy people, Kim, Johannes and Jaddy for their support. To CoCo, Evapori,
Bejamin L. Aman and André Vida.