about my music and noise
My music is a flow of sounds, noises, forces, it develops to a point where it goes beyond itself. The speed with which different sound elements follow each other, and the density with which they superimpose vertically, are so great that a sort of overload occurs, one which transcends the restlessness of arousal, like a film run through at a too hight speed.
The occasional passages with tones, harmonies and sounds in a more "normal" rate can, in context, seem almost banal - a measure of the distance we have travelled in the music. The intuitive molten metal brutality of the music brings the player into the energy of a hot improvisation. A new music is created, a new speed of thinking and feeling where the intellect meets the manic raver. We experience an energy born of rapid movement, sound, noise, flow and expression. The music does something palpable to its listeners, or at least incites them to a form of action, of awakening.
The most immediate audible characteristic of my music is its noisiness.
Abrasive, loud, fast.
The textures and rhythms are never sweet or satisfying in the conventional sense; one has only to hear the primal screams of Pig iron (The celestial fire CD/ANKARSTR¯M-¯10 (Dror Feiler Solo) for tenor saxophone & amp;live electronics)), the punk-free improvised thrash of Tio Stupor (Saxophone con forza PSCD 81 (for alto saxophone & live electronics)) or the new composition Ember (for symphonic orchestra & electronics (1997 Donau Eschingen festival commission) to realize that neither a pathetic World music prettiness, a pretentious new romantic resolution, nor new music academism has any place in those work of music, except as an antagonistic element. Nor do these compositions allow the conventions of modern and contemporary music unproblematically. My music uses "noise" that is "noise in itself" but noise, in this connotation, is not simply a haphazard or natural sound, the audible "background" that encroaches on a work such as Cage's 4'33, as the audience is forced by the tacit piano to listen to its own shufflings, or to the urban soundscapes that emerge through an open window. It is a noise that is always impure, tainted, derivative and, in the Romantic sense of the term, beautiful like in Alka, OpFor & DiaMat ((FYCD 1007) By the Too Much Too Soon Orchestra).
Noise, in the widest possible sense, is one of the central elements in my music as for its more popular "musical cousin" the Noise music. The abrasive raucousness in the music is an attempt to alter how people hear.
Noise, as sound out of its familiar context, is confrontational, affective and transformative. It has shock value, and defamiliarizes the listener who expects from music an easy fluency, a secure familiarity (it can be a "modern" one), or any sort of mollification. Noise, that is, politicizes the aural environment.
The music is difficult in the sense that Adorno finds Schoenberg's music difficult-not because it is pretentious or obscure, but because the music demands from the very beginning active and concentrated listening, the most acute attention to simultaneous multiplicity of movement, forces and expression, the renunciation of the customary crutches of listening which always knows what to expect and the intensive perception of the unique, the specific and the general. The more the music gives to listeners, the less it offers them. It requires the listener spontaneously to compose its inner movement and demands of him not mere contemplation but praxis.
(Stockholm, February 1998)
about my music, che guevara and the revolution
Che Guevara made the choice to dedicate and than sacrifice his own life to a revolution. A last inaccessible event that mostly leaves the survivors only with traces of desperation and loneliness. And yet it is this last absolutely unique choice that allowed him to become his own and from one moment to another, left us only with the power that is found in his work. Perhaps it was not the kind of suicide which Foucault spoke of as an act which should be thought about, that illuminates life, but more the radical refusal to give up the realistic dream of the revolution ...
Che himself thought of life, the energies that life releases within itself and the act of forcing the struggle, as a great experiment to overcome the possibilities of existence and the ways of life which one is a prisoner in. Life is more and even beyond than the biological force, in every moment it should create new constructions by opening the lines of resistance. Just as life is the discovery of the new and setting itself free of the self to be able to think of the new, so must music draw vanishing lines, withdraw from the mechanisms of being shut in, avoid the permanent control and hyper-information.
As part of the modern capitalist society music is in danger of perishing in random samples, data, markets, instrumentation patterns, institutions and computer nets, or of suffocating in the gigantic tautological machinery of the media industry, that continuously sends back the opinions of the masses, that they, as media, formulated.
The music of the NEW AVANT-GARDE, is the differential, that neither compromises or thinks of surrender, but carries on even in the shadow and disguise like the guerilla fighters and draws active disappearing lines in the fields of society.
The music of the NEW AVANT-GARDE is a labyrinth, a rich ensemble of relations; diversity, heterogeneity, breaks, unexpected links and long monotonies. It is the vision of a life that opens the ways and allows the horizon of resistance to light up. The right to life, the right to power for all.
In my music I want always to deal with the grim problems in life: Shrapnel (war); Beat the White the red wedge (Revolution); Schlafbrand (Second World War); Let the Millionaires go Naked (Revenge of the poor); Intifada (Israeli-Palestinian conflict); Ember (the anti imperialistic struggle). Aesthetics per se does not interest me. More than that, it is dangerous. When I compose or play, I do not look for beauty, but for truth. I often depict, fortissimo and at great length; a violent struggle is heard but as in Maavak (struggle) the composition does not describe the struggle it is the struggle itself.
Whenever I dedicate a composition or write IN MEMORIAM, i.e. Che Guevara in Ember, the palestinian peoples struggle in Intifada and the foreign workers in Europe in Gola', it is not so much a question of an inspirational motif or a nostalgic memory, but on the contrary, of a becoming that is confronting its own danger, even taking a fall in order to rise again: a becoming as far as it is the content of the music itself, and it continues to the point of end... Becoming, so that the music goes beyond itself.
(Stockholm, Februar 1998)
about music & the anti-fascist existence
I am a part of a new international guard of experimental composers moving through the spheres of the electro-acoustic, the musique concrète, the serial and post-serial contemporary music, the techno, ambient, jungle & other micro genres of new electronic music and that music is making itself heard, comfortably navigate between clubs & concert hall, between (post-)popular youthculture & the avant-garde of 'contemporary classical'.
As a new dimension and complement to the orderly dialectics of classical Marxism it uses the theory of complexity: a method of complications and implications as an antithesis to the dialectic method of restricted sequence of cause and effect. To complicate means crossing the borders of categorization, exposing and even creating unexpected relations; like composers do in their computer, sampler and synthesizer based music and DJ's do in the mix.
Such is the praxis of the NEW AVANT-GARDE: a democracy of sounds breaking through predictable hierarchies of instruments, ensemble combinations and instrumentation (the usual privilege of voice in classical music, sax solos in jazz and guitar solos in rock music) and of narrative structures (the familiar dominance of plot and character in art).
Music is more than the reproduction of tones, it is a process to produce sounds and forces. The tone is first of all just a noise that is bound up in a canon of rules - and is only a tone in these circumstances. The music of the whole occident builds a system, creates models that filter the noise, the rauschen (a german word for rustle (leaves, silk, radio), rush (flowing water, wind), roar (storm, waves); rausch - intoxication, drunkenness; rauschend - rustling etc., orgiastic (party) swelling (music)).
Here the word is used to describe the electrical noise and allude to the other meanings of the words) and the currents of sound. The computer, the sampler and the synthesizer are machines that through the varied possibilities of sound synthesis and calculations not only make new sounds audible and new structure possible but also restructures the process of the production itself. It is the musical work with structures and sound material itself that allows new energies and intensities to be captured.
We are becoming deaf and musically unconscious when we hear nothing but perfect harmony, perfect structures, just new academism, repetition and its refrain. Perfect melodies and perfect chords in popular music, perfect structure, instrumentation and electroacustic sounds in the "new music" scene, just the circulation of clean and sound sound currents, cleaned of the noises and sounds that could disturb prosperity that's what music offers us today. This use of chords, melodies, voices, structures and electroacustic sounds that claim to be the music itself, create an aesthetic of boredom, a self sufficient repetition and artistic conformity. The tracks are overwhelmed by signature tunes, the concert halls by "classical" compositions and "new music" academism. This is the potential fascism in music. People are being manipulated into passivity and confimity by the the computer sound, the synthesizer, the "new" pop tune and the "new music" academism . So the structure, the harmony, the chord, the sound even the tone itself must explode; one must open the door to noise itself, make even the channel to the sound currents quake.
That is the place for the NEW AVANT-GARDE to burst in.
I am in opposition to the heavy machinery of institutional philosophy and its blatant complicity to power, that is preventing rather than encouraging people to think. I find classical philosophy (and classical education in general and music education in particular) an immense school of intimidation delivering specialists in thought and music, and in addition pressuring outsiders to conform to the phenomena they've come to fight.
My music and words should function as a tool kits for an anti-fascist existence. My music is a strategy and subversion, my compositions and writings should escape even my own intentions; the more unplanned uses that my music and words take on the more it pleases me.
Those are the fundamentals of my music; I work with methods, instruments and tools that can directly inspire the process of producing sound structures, which will molecularise (break down) the forms of music and at the same time expand them. The new music-machines (synthesizers, computers, music software, algorithms) don't function by technologically or musically defined precision ideals, but rather continuously produce unpredictable results, complications and implications. All this by multiplying noise, sounds, politics, notes and creating interfaces for the new.
THE BRUTAL SENTIMENTAL CONCEPT
chaos & composition
Recent theories of Chaos come from scientists with an interest in the real time, messy processes that we witness in our everyday World. Composition together with improvisation, perhaps can be seen as the celebration of music making: the putting together and pulling apart of the bits and pieces of sound which are the expression of living musicians working in real time. This desire for understanding of chaotic processes as a part of the composition work is hardly 20 years old: Free Improvisation, as an accepted recognizable genre in Western Music, is not much older. Philosophically, they have a lot in common - ideas of self-similarity, attractors, butterfly affects and noise seem useful models in the discussion of both areas. What's more, with the development in music of interactive computer technology, practical application of chaos theories in Composition and improvisation have become a reality - a vast and fruitful area for discovery. Improvisation of course doesn't need any theoretical basis - it exists because musicians have a need to do it (as in all 'musicians' orientated music). But context is probably the most interesting variable in contemporary music and the process of improvisation is appearing and renewing itself in a whole kaleidoscope of new contexts. Western classical music (mostly European) represents old-fashioned hierarchical structures and it works as an extremely slow feedbackloop. Being born in Israel in Asia what can I possibly do with the European sentence? With the climax? With the motif? With the development? What is orchestration? What is a solo? Being born in Israel in Asia I instinctively wanted to write and play music free from the European musics burden. Every composer and musician must examine these questions especially Non - European composers and musicians. One must start from scratch and in particular, cast aside the burden of the European tradition: the principles of development, climax, dynamics and orchestration. Many of the composers that are still working with traditional means of notation and instrumentation are often victims of an closed end, nonimprovisational and nonempirical music system. In trying to avoid this kind of traps I am working on a more organic / alive music creating process by attempting to "unlock" the preconcieved ideas about sound, mix different musical expressions and let all these things float in one piece of music. Nearly everything that's makes music alive comes from conflicts in the music or in the listeners ear or expectations. So in the last years I am working with the collision of Western (counterpoint/ vertical) tradition with other traditions like Asian (texture / linear) styles. I do it by putting together orchestras or groups with musicians from different traditions (classical, improvisation, noise, electroacustic) and have them execute together a set of rules in time. Everybody in the orchestra gets a set of rules and a time table to execute, these rules are not algorhytmic closed systems but rather open heuretic patterns (they are often just executions of purely physical tasks so that the orchestra doesn't play the piece, they work themselves through the piece), meaning that they determine only general direction of the sound events (small details are allowed to just happen and freely develope creating the overall mixture of independence and interdependence and oscillation between them).
My BRUTAL SENTIMENTAL CONCEPT is an attempt to look at improvisation and composition through the contexts of Chaos and Melody. In my BRUTAL SENTIMENTAL CONCEPT a composition / improvisation will spotlight three very different views of Chaos. So far, science has concerned itself primarily with 'orderly' areas in which causes and effects stood in direct connection to each other (Western music, Jazz and Rock music is going generally the same way) - if one opens the faucet just a little, it starts to drip; opening it all the way lets the water shoot out. If an event was too complex to understand, one divided it to the point at which an unambiguous mechanism could be captured in an equation; by coupling these equations together, the whole event then became calculable and foretellable.
Through the use of computers to deal with ever-more complex systems, it became increasingly clear that these preconditions only exists in special cases; they are, so to speak, the islands of order in a sea of chaos. Here, the smallest causes can lead to huge changes - the so called butterfly effect describes the situation that the beat of a butterfly's wing in Arkansas can lead to a snowstorm in Siberia. Long-range weather forecasting will thus - even using ever-larger computers - remain impossible forever. But chaos is not arbitrary disorder - in contrast to this, it is based on mathematically precisely defined causes, and thus it always carries the seed of order within itself. Surprisingly, in the transition from chaos to order, images can arise whose aesthetics are more reminiscent of intoxicated visions than of the depictions of mathematical systems.
One must start from scratch and in particular, cast aside the burden of the European tradition: the principles of development, climax, dynamics and orchestration. The only criterion is: does this work try to deal with the the great questions - here and now.