Alex Buess Parallaxe A (biomechanical version 2, 2002)
for ensemble and 5-channel surround tape (Stereo Version)
... «What interests me in the machine,» says Buess, «is
its connection of regularity and moodiness.» In principle he formulates,
with that, far more than a characterization of his creative work, since the
heart of the postulate is in the statement from which each musical theory
(and criticism) of the mechanical ought to take its starting point. With regularity,
at first the mechanization of a particular process, the interaction of component
parts devoted to the cause of an overriding course of events can be comprehended.
The machine, then, is the mechanical assemblage of an algorithm ...
... With the stutter of brittle transmission belts which no longer run around
perfectly moreover mirrors the technique, often used by Buess, to submit rhythmic
patterns to minimally continuous changes which lead the ear to «enrhythmic»
(Buess) equatings ...
... Especially with the repetitive, however, also another dimension opens
up: with the intensity of hammering machinery, degenerate rites of modern
life, the release of direct musical energy becomes comprehensible. This energetic
massivity which distinguishes rock and techno music, for instance –
even if often at the price of formal banality – Buess combines with
structural diversity of contemporary «serious music». The mechanically
disastrous, always the image of fear of a subject blowing-out which degrades
the drilled-open human body itself to an engine, again is made accessible
to a formal thinking of music. Why, one would have to ask techno-politically,
machine sound seems to be «bad»? With the condensation of ritual
release of energy and structural bundling Buess’ sound worlds find an
answer without wanting to humanize the
mechanical body ...
Excerpts from a portrait on Alex Buess
«Regularity and mood ...» Music from man’s and machine’s
wit by Andreas Fatton
Alex Buess
Maxwell`s Demon (1992/93)
for trumpet, trombone, e-bass, 3 percussionists, keyboard & live electronics
The perpetual motion machine – most ardent desire of numerous inventors,
enthusiasts, lunatics. It’s not to be produced in the field of the physically
tangible, thus one cannot smash somebody’s head with it. As a true,
as a seeing lunatic, Buess knows deep inside that this perpetual motion machine
has to be looked for in the world of magic – and thus he sat down at
his computer and produced such a demon – following physicist James C.
Mawell’s rules, but with music – and therefore magic in the brainfilter.
Live electronics functions, here, as a regulator: Maxwell’s Demon which
actually regulates the endless physical exchange of gases rules, here, the
connections and relationships among musicians.
As an actually unreal being Maxwell’s Demon is called to the site of
performance via electronics. Evoked, he gets down to music. Thus the non-real
suddenly turns into acoustic reality and influences both musicians and listeners,
throws fragments from an unknown world into our brains, our souls. Once we
risk this encounter, we never can be sure of the long-term effect, the long-term
consequences of such an encounter of man and demon, between biolo-
gical and magical structures.
(C. Platz, journalist)