Nicolas Wiese started the solo project [-Hyph-] in Hamburg around 2001.
Inspired by media theory and Godard’s principle of the ‚irrational cut‘,
[-Hyph-] was all about irritation by editing – subversive counter-zapping.
Over the years, the cut-up form became less rough’n’rugged, more subtle…
Here are some pieces from the [-Hyph-] years (/releases).
BREATHING GADGETS is a 60 minute composition, which has been aired on
„ONE HOUR AS“ / RESONANCE FM and released on CDR by AIC in late 2004.
it deals with the metaphor of breathing, and with the idea of spoiling, repairing
and simulating the respiratory system by technology.
sound sources ( in this extract ): myself breathing, cello, the voice of VICTORIA
FERNANDEZ, the pneumatic brake of a freight train, self made techno beats
played through a broken speaker and then recorded on magnetic tape.
WERKEND 20xx (2006) was a contribution for a competiton of the BR
( bavarian broadcast ), unfortunately without success. the concept was to
deliver a contemporary „remake“ of Walter Ruttmann’s legendary sound
collage „WEEKEND“ (1930). i decided to only work with human voices, and apart
from having comprehensible spoken words, to generate sounds from those
voices which can be associated with industrial labour, post industrial labour,
spare time environments and pressure.
the only sound source: voices recorded from BR broadcast.
In 2010, the piece was aired by Swiss radio DRS2.
PULVERIZE DREAMS (2005-2007) // edit from the 10 minutes opener of the
CD album „ALTER.TENACIO“ out on Tourette Records / Houston, USA.
The source material used: Xylophone, City sound scape recording from Barcelona,
Improvised Double bass / Alto Saxophone duo recording of J. Hughes and L. Scherzberg
This piece features the most excessive moment of my
MAGNETIC TAPE VS. DIGITAL EDITING back and forth exploration.
GRANULIT 150405 (2005) is another installation soundtrack. The installation
in total was a collaboration with Hans Stuetzer. This edit has been released by
TWISTED KNISTER / Bremen, on a rectangular mini CDR in a cardboard box.
Sound sources: a rusty gate in Barcelona, a short tape-edited string quartet
fragment, field recordings of children playing in a park, myself breathing into
a plastic bottle, myself drumming on the same plastic bottle.
DISLOCATED STRING QUARTET1 (2002) has been released on the [-hyph-]
debut tape IRRATIONAL CUT RESEARCH VOL.I.
I used a lot of different recordings from string instruments, and manipulated
those recordings via minidisc, cassette tape and magnetic tape. I finally
assembled this „composition“ using one tape deck, two minidisc recorders
and a keyboard triggered AKAI S2000 sampler. No computer and
no multitrack recording used.
THE REALNESS was a plunderphonic concept focussing on acapella rap vocals.
There has been a freedownload release in September 2007 by the netlabel Plakatif, a short historical approach to the ideological notions of
»authenticity« and »street credibility«, in contradiciton to the actual commercialization
of HipHop culture. Including points towards the mythic competitive murders of
2Pac Shakur and Notorious B.I.G. Smalls, and the specific role(s) / ambiguities
of female rappers.
ULTRAPEER (2008 Excerpt) string quartet manipulation. As released on the LP Ultrapeer, Walter Ulbricht Schallfolien.
VERTIKALZEIT (2007/2008) is a 15 minute composition for manipulated sounds
of string instruments ( violin / viola / cello / double bass ) and has been one of the
winning pieces in the Canadian/German competition JTTP 2009. Details see HERE