Adi Gelbart is an genius mad scientist, a true musically-accomplished giant among hordes of laptop charlatans, blending all colors and shades of electronic pop into his test tubes (old analog machines, guitars, rewired battery operated instruments, hand-built gadgets — did I already say mad?), to marvel at
each resulting explosion of sound. To call his music experimental would indeed bring to mind notions of science's modern utopianism — an adventurous, bold, and free search for new frontiers, based not on random amateurism, but on encyclopaedic knowledge of pop's traditions and secrets, and an everlasting passion to build exciting, unexpected structures on top of it.
Gelbart's live shows are a psychedelic exploration of synthesized modulations and space-age-pop inspired melodies, played with hands-on mastery on analog gear and mysterious homemade devices. His shows are as much a celebration of nonsensical musical ideas, as they are a prayer of submission to alien gods of superior intelligence. Gelbart has multiple releases behind him (including splits with Dan Deacon and Frederik Schikowski, and a complete remake of the Beatles first album!) on different labels such as Gagarin Records, LoAF, and his own Defekt Records. Gelbart relocated in 2006 from Tel-Aviv to Berlin, each of his live concerts converting new diehard fans who just can''t wait to see what will happen next. Gelbart is touring Europe in December to celebrate the release of his upcoming 12” record “Preemptive musical offering to satisfy our future masters” on Gagarin Records.
For music and videos, visit gelbartcorp.com
ist ein Ensemble für computergesteuerte Musikmaschinen, gegründet 2011 von der Musikerin Marion Wörle und dem Komponisten Maciej Śledziecki. Das Ensemble besteht aus einer kleinen Zahl selbstspielender, eigens für Gamut Inc entwickelten akustischen Musikmaschinen, die live vom Computer gesteuert werden. Von der Anmutung her erinnern die Live-Auftritte des Ensembles an automatisch spielende Orchestrions. Der Name lehnt sich an das Tonsystem der Guidonischen Hand (Gamut) an.
Eine der Musikmaschinen ist das vom Rechner ansteuerbare 16-stimmige Glockenspiel (Carillon), eine andere erinnert an ein Akkordeon und heißt Physharmonika. Bei der Physharmonika greift der Computer nicht nur in die Tonstruktur der Maschine ein, sondern er spricht auch die Register an, wodurch Effekte erzielt werden, die an einen elektronischen Filter erinnern. Das von Elektromagneten angeregte BowJo ist ein doppelchöriges Saiteninstrument, an dessen Saiten von Schrittmotoren angetriebene Tonabnehmer entlangfahren.
Bei Live-Auftritten des Ensembles werden die Klänge meist in den Computer zurückgespeist und weiter verarbeitet (Feedback), sodass nicht mehr unterscheidbar ist, welche Sounds direkt von dem Musikmaschinen stammen und welche von Wörle und Śledziecki live manipuliert sind. So entsteht eine Vielfalt laufend wechselnder Klangflächen, mit den akustischen Maschinen im klanglichen Zentrum.
Marion Wörle und Maciej Sledziecki leben in Berlin. Mit Gamut Inc erhielten sie unter anderem Kompositionsaufträge für das Kölner Acht Brücken Festival und Einladungen zum New Music Festival Montreal.
Listeners who have come in contact with the music of Guido Möbius solely through his album releases are in for surprise when they attend one of his gigs. That is mainly due to the fact that Möbius makes no attempt whatsoever to translate the album tracks into a live performance. On the contrary: With the help of no more than his guitar, his voice, a trumpet and loads of effect pedals, he creates highly energetic music in between humour and hypnosis. Another element that makes his performances so special is his spontanous interaction with the audience. Möbius always invites chance to be his accomplice.
On stage Guido Möbius is surrounded by his serially connected effects units that he controls as if in a trance. Every step in the creation of his music is public: When Möbius activates one of his pedals, the audience are a witness to this process and its result. Nothing is mysteriously conceived behind laptop screens. Möbius‘ music happens before his audiences‘ very eyes (and ears). This accounts for a large part of the fascination of his performances. The other (and maybe even greater) part results from the turns his music take, which never fails to surprise the audience.
In his live sets Möbius creates delicate links between experimentation, handmade techno, funk, polyrhythmic patterns, acid, weird noises and gospel music. Methodically prepared passages and improvisation combine into a coherent set, and Möbius deals with the energy on the fly. Failures and restarts are constant companions and sources of inspiration. At times, Möbius piles up loops of vocal-, trumpet- or guitar-sounds into a mighty drone whose gravity is interrupted abruptly by a driving beat or a gospel choir. It’s different every time.
Guido Möbius is one of those musicians you can positively recognize by their sound. At that it does’nt matter whatever musical stops Möbius is pulling out or what instruments or stylistics he’s applying. His wit, his sobriety, his wealth of ideas and his very own musical dialect attest his authorship. If Möbius sends one of his tracks on its journey you’ll never know where that journey might end. And it’s enormous fun to follow its musical mutations. The Berlin musician masters the art of subtly slipping us radical sounds and keeping a track in its flow even with the most unexpected twists and turns.
Tickets kosten 15,- Euro.