Our next Ableton user group Berlin meeting is dedicated to live performance setups and improvisation. We will welcome Ableton certified trainer Xavier Jacques who will demonstrate his Ableton liveset for recording external gear using the MX-1 and Veslemøy Rustad Holseter who will talk about her workflow for live improvisation and production. Afterwards she will do a short showcase of her musical work.
Date: Wednesday, April 12, 2017
Time: 8 pm (on time!)
Admission: free
Location: Panke, Gerichtstr. 23, Hof V., close to S-Bahn Wedding
About Xavier:
The Roland MX-1 mixer is a dream come true for electronic musicians who want to sync and record Aira gear, vintage drum
machines with midi and iPad apps with the new Ableton “Link” together along Ableton Live . The MX-1 mixer has 6 analog inputs, 4 Aira link usb inputs , digital i/o and send and return jacks . Xavier Jacques will demonstrate how he is using the MX-1 for his live performande.
beatport.com/artist/
About Veslemøy Rustad Holseter…
… is an electronic musician working mainly with live improvisation through voice and live electronics in Ableton Live and Max Msp will give an overview of how she works with focus and presence in live improvisation, the production workflow and using live improvisation as a deliberate production technique to expand and develop new ideas.
Webpage: http://grindrrrteeth.net/
Faceook: https://www.facebook.com/
Theres a video with Live-impro clips from show in Vienna last year here: https://www.youtube.com/
About her topic:
Original Nature‘ – Live Improvisation with Voice and Live Electronics with Veslemøy Rustad Holseter.
‚In improvisation, there is only one time; This is what computer people call real time. The time of inspiration, the time of playing it, and the time of communicating with the audience, as well as ordinary clock time, all are one. Memory and intention (which postulate past and future) and intuition (which indicates the eternal present) are fused.
The iron is always hot. Inspiration, experienced as an instantaneous flash, can be delightful and invigorating and can generate a lifetime of work. Giving birth to a line of poetry brings with it an incredible rush of energy, coherence and clarity, exaltation and exultation. In that moment, beauty is palpable, living.‘
– ‚Free Play – Improvisation in Life and Art‘ by Stephen Nachmanovitch,
Nachmanovitch argues that when musicians improvise they return to a so-called ‚original nature‘ of expression. A hyper-focused state of mind of conscious flow free of the constrictions imposed later in life.
Short bio:
Grinder teeth, the Berlin-based multi-media solo project of Norwegian Veslemøy Rustad Holseter utilizes live improvisation through Ableton Live, sequencers and Max Msp to build reverb soaked, noise soundscapes blending pounding beats and layered vocals. Following a european tour with London Noise artist ‚AJA‘ in autumn 2016, Grinder Teeths Debut release ‘Memory Of Flesh [[KIME]]’, an opus for voice and live electronics set for release on Berlin label Freudian Slit 2017 marks a new, darker direction in her work, exploring themes of sexuality, gender and hypersensitivity through metallic instrumentation.
Rustad Holseter originally coming from a background in classical piano discovered the concept of live improvisation while turning to jazz in her late teenage years, and brought this with her as a main feature in her live electronics works. Her interdisciplinary live performance & sound art works often build on set beat structures fused with live improvisation, exploring socio-political themes of gender and sexuality as they relate to current day feminism and cultural ideology. In 2015 Holseter completed studies in Live Electronics at the Norwegian Academy Of Music, following a Bachelor in Music production at the Liverpool Institute of Performing Arts (2012), and has previously presented work at Berlin Kunstfabrik HB55 (2014,) National Jazzscene, Oslo (2015) and Fluc, Vienna (2016) to mention some. Since autumn 2015 she has taken up residency in Berlin presenting live works around Europe.
