Deutsche Version

chitarra, la rivelazione dell’edizione 99, si esibirà con JOE WILLIAMSON basso e TONY BUCK batteria.


Foto © 1999 Peter Bastian

Olaf Rupp was born in 1963. He found his first guitar in 1975 and played free music on it because this is the most natural thing to do. He was his own teacher and until 1988 he played Rockmusic and Classical Music in public and did the free Music only at home. Then he met other improvisers who introduced him to the tradition of FreeJazz and Improvised Music. He played with Paul Lovens, Wolfgang Fuchs, Butch Morris, Sainkho Namtchylak, Hannes Bauer, Jean Marc Montera and many others.
At the same time Olaf Rupp still kept up the way of improvised Popmusic in Duos with drummer Hanno Leichtman (EMAK BAKIA) and later Stephan Mathieu (STOL). Stol had an EP out on Berlin Pop Label Kitty-Yo. After that he focused on acoustic and electric guitar improvisations.
VIRTUALITY POP - (virtual virtuality)
I like it, when it sounds like scrolling through a broken CD by Neil Young or Manitas de Plata. But Post Electro? You can create those sounds that we know from Digital Country with elektronic tools - but you can also just outline them, circle around them, imagine them by layering a dense network of shreds of tones around them. These are virtual sounds. They work in the same way as a newspaper photograph is screened into many many single dots of different size and still we can see a picture in it, when we look at the whole thing.
Arnold Schönberg has shown that consonant intervals can be derived from lower ranking harmonics, dissonant intervals from higher ranking harmonics. So there are not two worlds, one tonal the other atonal but rather a continuum between these extremes. What is said here about harmony can also be true to the question of loop-lenth: we hear short cycles (Loops between 20 and 20000 cycles per second) as pitch, medium cycles (40 to 208 cycles - BPM) as rhythms and long cycles (more than 12 seconds) as sounds. So there are not two worlds, one of rhytm music the other of free music but a continuum from tones to beats to sounds. But the bridges towards Popmusic have to be build anew - or maybe not. The plural of the word SOLO. Like we can read at Paul Celan, Sprachgitter, 1959 (If you are alone with the lamp you have only your hand to read from).
Olaf Rupp, Berlin 1999



Born in Sydney in 1962, Tony is regarded as one of Australia's most creative and adventurous exports, with vast experience across the globe. He has been involved in a highly diverse array of projects. Apart from The Necks, he is probably best known as leader of hardcore/impro band PERIL.
Early in his musical life, after having graduated from the New South Wales Conservatorium of Music, he became very involved in the jazz scene in Australia, often touring with visiting international artists such as Vincent Herring, Clifford Jordan, Mickey Tucker, Branford Marsalis and Ernie Watts, as well as Australians Mark Simmonds, Paul Grabowsky, The catholics, Sandy Evans and Dale Barlow.
Following time spent in Japan, where he formed PERIL with Otomo Yoshihide and Kato Hideki, Tony moved to Europe, and has involved himself in many projects there, including the development of new "virtual" MIDI controllers at STEIM in Amsterdam.Tony has played, toured or recorded with, among others, Jon Rose, Nicolas Collins, Tenko, John Zorn, Tom Cora, Phil Minton, Haino, Switchbox, The Machine for Making Sense, Ne Zhdall, The EX, Peter Brotzmann, Hans Reichel, The Little Red Spiders, Subrito Roy Chowdury, Clifford Jordan, Kletka Red, Han Bennink, Shelley Hirsch, Wayne Horvitz, Palinckx, and Ground Zero.

Review and Discography (The Necks)

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