Vondelbunker, Amsterdam


On September 26, 2014 a new project gave its very first public performance as part of an exhibtion and artistic exchange called wearenotsisi – Fresh and Clean Art from Austria in the Netherlands. And Back. at Vondelbunker in Amsterdam (Netherlands). The trio consisting of Barbara Haider (recorders, gemshorn), Friedrich Neubarth (recorders, krummhorn, gemshorn) and myself on live electronics explores a vast acoustic field crossing several centuries of musical history.

Starting off from musical structures by renaissance and baroque composers like Orlando de Lassus or Matthew Locke we recharged these structures with abstract electronic treatments & sounds resulting in a surprisingly consistent mix. On a first view it may seem as a contradiction to cross over from renaissance and baroque music into abstract electronic sonic textures, but in my mind it isn’t at all. Both musical worlds are of highly affective nature, leading the listener into his inner self, roaming through an emotional landscape.

The trio does not only cross borders of musical history, it also crosses over from composed music into improvisation. Almost all of the pieces in the concert started off from composed structures introduced by the two instrumentalists, gradually being guided away by the the intervention of live-electronic treatments. This resolves into free form sonic structures, a certain kind of “fantasia”, synthesizing the counterpointing sounds of wood wind instruments and electronic noises into a whole new soundscape.

Bruckmayr/Loibner/Opcion @ Steirischer Herbst

Didi Bruckmayr/Bernhard Loibner/Opcion live @ Steirischer Herbst 2013

It was a nice gathering at Explosiv club (as part of Musikprotokoll at Steirischer Herbst) in Graz on October 3, 2013 when Didi Bruckmayr and myself teamed up with Graz-based sound artist Opcion aka AB-Hinc for an hour of serious action.

The audience experienced some nice physical vibration when Opcion unleashed his thundering sub-bass sounds and their hair-style got some redo from my rumbling noises and Didi’s fine voice-activity with crispy processing on top.

Big thanks to Marufura Fufunjiru who curated the series and teamed us up for this evening. We all really enjoyed the gig in a fine space with a decent sound system and proper stage and lighting. Also thanks to Otmar Lichtenwörther for the great pictures!

… and here is a short video clip for a sneak idea of the evening…

Club Moozak #64

Bruckmay and Loibner live on stage at Club Moozak

Didi Bruckmayr and myself performed another version of our collaborative improv duet at Club Moozak #64 at Fluc in Vienna on June 26th, 2013.

In this collaborative effort we continue to explore some of the more radical edges of the musical spectrum. This time it was a wild and bumpy ride across a musical landscape populated by Didi’s roaring voice, processed vocals, rough and noisy rythmical structures and pulsating sub basses which developed into dense sonic textures. We deeply enjoyed the ride and, as it seems, the audience did too!

Here is some short video footage (thanks Andreas Zhukovsky) and a bunch of great b/w pictures by Markus Gradwohl which does give a good idea of the dense atmosphere of a great evening.

to be continued…


Trapdoor was a sound-performance by Bernhard Loibner (electronics) and Didi Bruckmayr (voice). It took place at Museum Essl, in Klosterneuburg (near Vienna) on May 15th, 2013.

Border areas can be dangerous. This is where the unknown, unexpected, unexplained, unspoken, unheard is lurking. An expedition into unexplored areas is risky, but may at least be profitable on an immaterial level: Great experiences. A chance for new knowledge and insight. An extension of our limits.

The expansion into new areas on the edges of reason or consciousness does also implicate the possibility of failure. This failure may be linked on a mental level with confusion, disgust and shock. On the physical level it can be associated with pain and, in extreme cases, physical destruction.

It is one of the core tasks of art to explore the edges and allow the audience to take a look at yet unexplored terrain. Experimental music is by definition located on the aesthetic edges. Artistic development is to explore new techniques and methods and to extend the limits of perception again and again. Anyone who is committed to the experiment, thus aesthetically oriented on these edges, may find himself also economically and socially marginalized. Some things found on this route may gradually be absorbed into the mainstream of the art world but only in rare cases the researchers themselves will benefit from this canonization.

Didi Bruckmayr & Bernhard Loibner once more aim to explore the edges of a musical territory with their performance.

The starting point is the human voice and its use by Didi Bruckmayr. He is looking for a path to the unconscious through the assignment of special vocal techniques. In 2009 he underwent a week-long special training in Rome where he learned to put himself into a trance, free of fears and compulsions, following his intuitions to sing and act from a state of unconsciousness. An intensification of this practices (which are often carelessly called “method acting”) leads to higher states of transcendence. The singer moves through “unconscious landscapes” without a sense of space and time by speaking and singing in weird languages.

Bernhard Loibner takes this acoustic raw material and tries to re-contextualize it. Using his computer instrument the vocals are processed, distorted, slowed down, accelerated, fragmented and destroyed, newly assembled and distributed to multiple speakers. The output of this acoustic particle accelerator serves Bruckmayr as a basis for further vocal activity, which again feeds the computer-controlled “contextualizing engine” — a musical-cybernetic system with an uncertain result.

Together voice and electronics form an abstract expression and effective tool for a walk through the border zones of the human soul. Uncertainty is waiting there.