Tag Archives: Ana Ott

26.05.17, 20:30 Buchla 200e solo Set als Opener für Golden Diskó Ship im Makroscope, Mülheim (Ruhr)

“Golden Diskó Ship zeigt, was Popmusik sein kann, wenn sie sich nicht an falsche Sicherheiten klammert. Ein wildes, organisches Klanggebiet voller Witz und Tiefe… In die vielfältigen Klangschichten aus Vogelgezwitscher, Gitarrenzupfen und elektronischen Effekten begibt man sich als Hörer wie in einen Zauberwald, in dem die Grenzen zwischen Natur und Maschinerie sich aufgelöst haben.” …sagt die Süddeutsche. Mehr Lobeshymnen (zb von Spex, A Closer Listen, taz, No Fear Of Pop und so weiter) können auf www.goldendiskoship.com nachgelesen werden. Dort finden sich auch viele Hör- und Sehproben.

Kai Niggemann kreiert eine poetisch-abstrakte, improvisierte Musik am Modular-Synthesizer. Er ist auf der Suche nach Timbres und rhythmischen Strukturen, die sich weit vom Diatonischen und four-to-the-floor entfernen und die aus vom Musiker musikalisch gewichteten Zufallsstrukturen entstehen.

Einlass 20 Uhr, Beginn 20.30.
Eintritt 5 Euro. Nur 5 Euro!

vitalweekly review über “Ein Abend am Modularen Synthesizer”

(Quelle: http://www.vitalweekly.net/1062.html, Review von Frans de Waard)
KAI NIGGEMANN/NILS QUAK – EIN ABEND AM MODULAREN SYNTHESIZER (cassette by Anaoot)

The cassette was in the 80s quite popular for the release of music by home-tapers, as they were called back then. But one of the downfalls of the medium was what some people saw  the flood of releases of people just ‘fiddling with their synthesizer for an hour, and release that’, and some musicians openly admitted just doing that. That made that the cassette underground, and it still is. I am not sure if Kai Niggeman and Nils Quak thought of that when they decided to call their release ‘an evening playing the modular synthesizer’. Niggeman uses a Buchla 200e Electric Music Box and Quak an Eurorack Modular System, a Ciat Lombarde Plumbutter and Native Instruments Reaktor. They played separately on a night in May 2016 so I assume side A is by Niggeman and the other side is by Quak. Obviously with modular systems things are much more complex than with a model available in the 80s for home use, and thereof results these days a much more enjoyable as stand alone releases. In that respect the situation is not the same. What happens in this hour of music is quite interesting to hear, and each has his own approach.

In general Niggeman has a somewhat loose approach in using a variety of sounds that can be colourful drones, imitating dripping water and warm oscillations. He moves from piece to piece, bit to part, part to bit, with considerable ease, and is on a big journey through ideas and motives. Nils Quak on the other hand is someone who likes to things slowly and has entered drone land a lot more. On his side one can distinguish two or three parts, of which the first is a long slow enveloping drone piece, and the second, short one, a logical extension of the first one and the third part starts out drone like but ends on a broken down, single click. Two different approaches on this tape and they both very
well. The cassette is definitely not the landfill of unwanted sounds here. (Frans de Waard)
––– Address: http://www.anaott.com

Split Tape(!) Release mit Nils Quak auf Ana Ott (VÖ: 17.12.16)

Announcing AO009 – out december 17

Available on cassette and digital at www.anaott.bandcamp.com.

The modular synthesizer offers an inexhaustible variety of possible interconnections. Amongst gate and trigger, inbetween 0 and 5 volt, Kai Niggemann and Nils Quak did experiment with their instruments in may 2016 at Makroscope. This recording is a documentation of their individual approach to the modular sound. Kai played his Buchla 200e Electric Music Box, while Nils utilized a Eurorack Modular System, a Ciat Lonbarde Plumbutter as well as Native Instruments Reaktor.
Kai Niggemann performed first, followed by Nils Quak’s concert.

The artwork of the tape incorporates copy art by Gabriele Klages that arose from the Makroscope. The Makroscope in Mülheim an der Ruhr is a multidisciplinary hub for art and technology, as well as Ana Ott’s yearslong main venue for leftfield music.