Akustische Ereignisse: Rainer Straschill
The idea for this recording formed, as many good ideas do, during one rehearsal. As it was the case, the rehearsal hadn't anything to do at all with this recording: it was one of the rehearsals for Wolfi Schlickhorn's Wonderbrass, where suddenly drummer Groxi (a.k.a Der Künstler Groxi) asked whether the group would like to perform at his art exhibition's opening at Café Vor Ort, Neuried bei Gauting, on 1st of July 2000. "But then", he added after a short pause, "this wouldn't be so cool anyway, as I don't want to perform at my own vernissage". "Well, but if you're looking for some weird musical concepts to accompany this event, I might just drop in and carry some of my gear along", said the group's lead trombone player, one Rainer Straschill. "Cool thing. It starts at 'round 19:30 at Café Vor Ort, Gautinger Straße 3". A Moinsound Weirdstuff Productions concert had been organized!
Two of my warm-up loops opened the official part of the evening with Sixtus Reverse? when I started up the DAT, namely the reversed lute opening to Sixtus Beckmesser's song in Richard Wagner's "Meistersinger von Nürnberg" and the theme from Genesis' "Hairless Heart". After I had made sure that the loops worked, I kicked in the powerful synth strings from "Advanced Taoism" with the title Tao's Restroom. The suspense slowly built up with a Prophecy solo, until the fast-paced groove was kicked in and grooved along for some bars. At 4:09 on track 2, enter D.C. Becker, noted Moinlabs cover artist. Upon spotting him entering the venue, a quick fade-in from one of the loopers started the "Mosaic Greetings"-Samples which remained from the soundcheck as basis for a Rhodes solo over the "Taoism" synth arpeggio. 7:25 into the track, the bass line kicked in again, accompanied by a sung warning that "this is weird stuff coming from this house", followed by by the Rhodes solo, part 2. The last chords of the solo at 8:38 started yet another weird synth solo on the Prophecy (with the turnover between both solos not as cool as I would've liked it, as the Prophecy was positioned to the left of the Yamaha instead of over it). After some more quote from Sixtus Beckmesser's loop, a guitar solo (well, actually a bass solo...) starts over the drum groove at 10:20. Actually, the whole solo sounds a lot like Derek Bailey to me, although I would've wanted something like i.e. Jimi. The musical progression intensifies at 12:50 with the entire Restroom-groove kicking in with the 80ies organ, and the song's main chorus is intonated on top of the continuing guitar solo. But again, the guitarist drifts off towards Derek's corner, and can't even be stopped by the fact that the song's groove suddenly starts to fade out. Only the inclusion of a wah-wah loop manages to stop the efforts in Jimi kotzt, and the saxophone loop with the Zwischenspiel: Thema aus "Hairless Heart" kicks in just in time
Set two actually starts as set one has ended in Seminar für Statistische Akustik, Teil 1 with samples of the very announcement that ended the first set - followed by yet another weird bass solo, which then segues into the second part of Subwars for a talker guitar solo - all of this accompanied by the soprano sax loop we know from set one's "Edges". The solo ends with a start of the "heavy Subwars groove", forming the basis of an extended organ solo. Yet, the synths kick back for another solo, which ends at 7:30 into some arpeggiator mayhem. The arpeggiator, incorporating analogue filters and all, continues into Seminar für Statistische Akustik, Teil 2, which again clearly shows the basis for its name, with soprano sax, synths, loopers, filters, delays and modulation effects kicking in in any combination imaginable. This sonic madness fades into the last few minutes of the performance, played on the trombone with a Coda: Theme from Hairless Heart.
The CD is mainly the recording of what came out of the main outs of my Behringer MX2642A console (sans the enhancement effected by the Ultramizer) into the PA system. Any changes to the audio material, transferred from DAT to harddisk via the EWS64XL, have been limited to "mastering tasks" (i.e. dynamic processing, eqing et al. - in short: the things that the Ultramizer did to the PA feed). Nothing has been left out, nothing has been added. Thus, the album "Groxis Tafelbilder" comes quite close to what guests at Café Vor Ort heard in the evening of 7-1-2000 - but showing again the discrepancies between the live sound and the sundboard's main out in cases where the FOH P.A. isn't the only discernible acoustic source. May you enjoy it as much as I did...
Several of the people in the audience were so kind to let me know of their favourite moments during the performance:
Andrew Loughnane, drummer (ex-Sound Research Project)
The "Everybody in the Restroom" vocals (track 2, 13:37)
Henry Wolf, engineer, ESD specialist for Fraunhofer-IZM ATIS group
The beginning of the "Tao" groove - "This really sounds like a mainstream pop song!" (track 2, 3:40)
Florian Wolf, engineer, CEO Ingeniq Arts GmbH
A little child standing in front of the performer staring in awe, hands firmly pressed against his ears, while the performer just "lets it play" (track 7, 8:10)
Dominik Scheuring, student, rock bass player
Johnny's Offspring and the audience's fearful reaction (track 6)
Rainer Straschill, artist
uttering "Sag' amal, is des kraß !" after producing weird vocal noises for several minutes (track 8, 4:34)