Wednesday, Apr 14 2004 | 12:36

For the first time in 4 years all Nonplace associated artists and bands join forces for “Difficult Easy Listening“. This concept record is not only a wild mixture of various exotic quality grooves, but a stunning assembly of tunes from extremely different sources.

Notoriously not fitting into a single category the 9 acts and authors present 15 exclusive, previously unreleased songs. The production spectrum ranges from pure live instrument playing and advanced programming to a visionary mixture of both. What’s worth it? Nothing, if there weren’t passionate composers playing enlightening and soulful melodies: Flanger (formerly on Ninja Tune) and CAN-drummer Jaki Liebezeit together with Burnt Friedman publish their first ever live recording from shows in Paraguay and Japan. If this wasn’t exotic enough, Replicant Rumba Rockers (Señor Coconut) supply a Bossa of a foreign nature and the Band Lycheelassi – known for their numerous live shows predominantly in Berlin – provide a classical reggae dub tune with laid back bottleneck guitars. Also spy an eye on a brandnew and intimidating Beige R’n’B interpretation. If this doesn’t move you, better check yourself for a pulse. Above all, Nonplace proudly presents the music of two newcomers, the debut of Swaai and Shank, music fuelled by impromptu wit and imagination. Swaai are two guitarists / composers from Cologne, Shank is a band of 6 improvisers based in Berlin, the worldpremiere of a June 2003 jam session produced by Friedman. Of course, the Nu Dub PLayers aren’t missing: discover Klezmer-Dub and subversive Roots-Riddims with horns and clarinet.

Consider this an exclusive and entertaining view upon the deliberately mad and accidentally chic nonplace area, exploring an otherworldly musical philosophy, addressing specialist and main-stream … hence, the missing link: “Difficult Easy Listening” … anything but a contradiction.

Free MP3 Download: Shank – Oust

Frequently Given Answers
by Burnt Friedman

What’s the Nonplace concept ?

Fighting Redundancy. Redundancy is a common term in information theory measuring the degree of information in language and its transmissions. Nonplace is there to generate improbability, hence establish discern for less redundant matter opposed to a general tendency to make redundant, i.e. get rid of what is called superfluous. Overcome identity / unity. In musical terms, I don’t see a reason why the 4-4 cross rhythms is dominating musical life in the west and I avoid this cross-symmetry in favour of odd time signatures and stretched cycles, although I am doing this with an emphasis on the song’s narrative, not it’s signature. Only by a closer look the improbability of the structure becomes apparent. Nonplace considers music and its representation a surprise territory for worldliness, something that would not give the authentic preference over the fake.

You have been recording since many years now. How did you became a musician ?

I was too young to notice.

And later ?

When I started recording music in 1978 I have been improvising. As a member of various groups during the eighties we also have tried to invent tunes from scratch, i.e. whenever the recording was engaged we forced ourselves to get the first take right, since nothing could be edited anymore. Nowadays, although the digital tools allow obsessive perfectionism and tend to displace improvisation, I still achieve the best results through improvisation. To play at risk – prerequisite for improvisation – to chase the wrong right notes.

As you don’t want to be pigeon-holed to one genre or style, why you still bother to use so many identities ?

I don’t know many who are not stating that they don’t want to get pigeon-holed. In fact, everyone is getting pigeon-holed no matter how insulting this may be, just because this is the technical procedure by which record stores function. From now on I decided to deliberately pigeon-hole my music and at the same time try to make as many combinations between genres as possible, in order to ridicule the power of redundancy. Regarding the number of identities I reconsider there aren’t many but one. Burnt Friedman, which makes 256,44

How do you create your music ?

I do work upon lots of pieces at the same time, for “Can’t Cool” I was working upon 20 tracks at the same time, and by the end I choose half of them for inclusion on the record. All of these tracks I did carry around with me for about 5 years and collected all sorts of instrument takes, basically whereever this was technically possible. Therefor I own a mobile set up which is handy to carry around and allows high quality recordings. Due to annual travelling around the globe I meet up with musicians who contribute to the sketches I take with me.

You teamed up with Atom as Flanger. Tell us the story of Atom Heart and the Australian volcano.

1996 we ve been sitting on an Australian volcano in the outback and decided to hook up for a programmed jazz jam session in Chile. The task was to programme 4 minutes non-repetitive music on sequencers per day to ridicule one of the demand of free jazz, namely to avoid repetition in instrument playing. It resulted in the record Templates (ntone / Ninja Tune 1997), recorded within one week, surely not an ordinary jam session, nuclear jazz, without any real acoustic instruments. Under apparently jazzy ingredients of the music lies its cybernetic nature, sometimes expressed by rhythmic electronic noise and synthesized soundfragments; as if false human skin falls down from a robotic being. On the third long-player “Inner Space / Outer Space” programmings of digital sound sources match with live instrument improvisation in a way that we could articulate the founding idea behind Flanger, to blur differences and listener’s suppositions concerning artificial / natural and self-sufficiently emancipate programmed soundaesthetics from the pathos of officework. Sometimes a volcano and bring about promising concepts.

What is a Nu Dub Players live program like ?

The live program is based around basic riddims that have been used on “Secret Rhythms” and “Can’t Cool”, the new Nu Dub Players album. Besides there are riddims especially produced for a live presentation. However, the live music is only to a small extend pre-produced, a wider interest we have in improvising and developing new interpretations with each performance. Using odd time signatures allows to have many different perspectives upon the riddims each time.

more information:

Upcoming Live Dates

16.04.2004 – Haarlem, Holland – Toon Festival
Burnt Friedman & The Nu Dub Players feat. Jaki Liebezeit, Joesph Suchy

17.04.2004 – Antwerp, Belgium – Luchtbal / Hof ter Lo
Burnt Friedman & The Nu Dub Players feat. Jaki Liebezeit, Joseph Suchy

12.05.2004 – Babylon Club, Istanbul, Turkey
Burnt Friedman & Jaki Liebezeit, featuring Hayden Chisholm

15.05.2004 – Guggenheim Museum Bilbao, Spain
Burnt Friedman (Workshop)

06.06.2004 – Mutek Festival, Montreal, Canada
Jaki Liebezeit & B. Friedman , featuring Joseph Suchy
MUTEK 2004: 5e Edition: June 2 – 6

19.06.2004 – New Port Jazz Festival, Rotterdam, Netherlands
Burnt Friedman & The Nu Dub Players

07.07.2004 – Zeltmusikfestival Freiburg
Burnt Friedman & Jaki Liebezeit

09.07.2004 – Future Sound of Jazz, Copenhagen Jazz Festival, Denmark
Burnt Friedman & Jaki Liebezeit, featuring Hayden Chisholm

23.07.2004 – Planetarium Hamburg
Burnt Friedman & Jaki Liebezeit

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