Orifice
„Orifice“ (formerly „Atmen im Atom“) is a noise project driven by Burkhard Jaeger from Germany. Since 2009 he recorded three releases on different sublabels of HERBAL INTERNATIONAL in Malaysia: synthesizer and analog gear improvisations done by hand without any post-production.
Discography:
- Atom Heart Noise III (2009, as „Atmen im Atom“, Why Not Ltd No. 21)
"The art work for this is an A4 photocopied sheet wrapped around a CDR. If you folded the sheet so as to insert it in a jewel case then the cover would be the wrong way around. Doris Boeker gets the credit for this, the text also has the caution that the CDr contains extreme Frequencies and unexpected Dynamic Processes. Well it (Track 1) starts in the bass - with a bubbling sounds (custard?) then slowly and predictably moves up the spectrum. Track two is whistles and hisses and crashes with reverb - as opposed to rhubarb. The other tracks continue in this industrial vein - with the occasional high pitched noises but never more than 22khz (which would be something?) Not that its particularly relevant but the worst/best thing on Audio CDs is fairly fixed high DC offsets - which can in some cases burn out speakers." Vital Weekly, 678(jliat)
- Daring Maunder (2010, Themepark No. 19)
- Fashionweek (2011, Digital Daylight Distribution on Bandcamp)
Links to label: www.herbalinternational.tk;
www.digitaldaylightdistribution.bandcamp.com/album/fashionweek
_____________________________________________________________________________________________________
New Release just out on ATTENUATION CIRCUIT in Germany called "Signal Kitchen":
"After several releases on international noise labels, German noisician Orifice introduces fully-fledged noise art to the Attenuation Circuit roster. Two lo-fi improvisation tracks generated March/April 2011 with the only help of analog gear (mainly semi-modular synth-knobbing) on a kitchen table boil sawtooth signals down to noise. No editing, no overdubs, no mastering or any post-production result in a sound that has a very tangible quality, especially on the first track. The direct impact of energy and intensity remains palpable in the colliding textures of noise and signals.
Coming in a delicately water-coloured package reminiscent of Japanese calligraphy, the sound on this short (28-minute) album does not, however, share the negativist philosophy of Japanese noise music, but rather celebrates noise as a joyous form of expression, a vital playfulness articulated through high volume and ecstatic human-machine interfacing: Orifice’s credo “Without signal, no noise” sums up the fundamental listening experience that, beyond a certain threshold level of intensity, the boundaries between musical signal and musical noise become meaningless, and this experience is not restricted to the genre explicitly referred to as ‘noise’, but can be encountered in musics as different as The Stooges’ ‘Fun House’ or free jazz powerplay. Orifice’s approach to improvisation seems related to all of these."
www.wix.com/attenuationcircuit/attenuation-circuit#!__orifice
VITAL WEEKLY No. 800 to it:
"If something has 'no editing, no overdubs, no mastering or any post-production' and is labelled 'noise', then I certainly raise an eyebrow. Two tracks, sixteen and twelve minutes, which perhaps explains my suspicion further. German noise maker Orifice uses analog gear ('mainly semi-modular synth-knobbing') and its sounds like grinding teeth. There is something about the recording which is odd, like it has been recorded with some cheap microphones in front of speakers, rather than using the line out of the mixing board. He apparently doesn't share 'the negativist philosophy of Japanese noise music' (who said it was negative?). The first, longest, piece didn't anything at all for me, but the second was alright, not great either, but it comes without the overall distortion at the beginning, and has a spacious cosmic like sound to it, before leaping back into distortion. Now editing, overdubbing and post-producing could have made a difference, I thought."
