{"id":2698,"date":"2018-02-02T14:25:14","date_gmt":"2018-02-02T14:25:14","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=2698"},"modified":"2023-05-25T09:46:10","modified_gmt":"2023-05-25T09:46:10","slug":"gunnar-geisse-the-wannsee-recordings","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/gunnar-geisse-the-wannsee-recordings\/","title":{"rendered":"Gunnar Geisse: The Wannsee Recordings"},"content":{"rendered":"

Infotext:<\/p>\n\n\n\n
\n
\n

THE WANNSEE RECORDINGS<\/b><\/p>\n

\u201cLife is complex, it\u2019s not just black-or-white, it\u2019s colored, beautiful and ugly and everything in between and something beyond. Colors we don\u2019t understand, colors we agree to and colors we deny exist. Because art may reflect and express that complexity of our human existence and condition, art is ambiguous by its nature, as is life.\u201d
\n<\/i>(Gunnar Geisse)<\/p>\n

Gunnar Geisses Faszination gilt in den vorliegenden Aufnahmen zum einen der Akzeptanz des fl\u00fcchtigen Ist-Zustandes und seiner sich oftmals widersprechenden musikgestalterischen Anteile sowie der Wahrnehmung seiner Ver\u00e4nderung, die ja untrennbar mit der Zeit verbunden ist, sozusagen\u00a0per se<\/i>\u00a0Form bildet, zum anderen aber auch der k\u00fcnstlerischen M\u00f6glichkeit, Kondition und Komplexit\u00e4t unserer ambiguen menschlichen Existenz auszudr\u00fccken und zu reflektieren, hier insbesondere Transformationsprozessen klanglicher, struktureller und formaler Natur, also der \u00c4sthetik zeitbedingter Ver\u00e4nderungen, denen alles Lebendige unterliegt \u2013 geradezu die Dom\u00e4ne der Musik.<\/p>\n

Geisse entwickelte ein Instrument, das er\u00a0laptop guitar<\/i>\u00a0nennt, eine Erweiterung seines ehemaligen Hauptinstruments, der E-Gitarre um den Computer, die es ihm erm\u00f6glicht, das analoge Spiel auf digitaler Ebene fortzusetzen. Neben dem \u00bbsignal processing\u00ab nutzt er hier vor allem, basierend auf den spektralen Eigenschaften des Ausgangssignals, die Software gest\u00fctzte Realtime-Konvertierung von Audio- in MIDI-Daten zur Steuerung von virtuellen Instrumenten und Sampler. Dabei ist es unerheblich, welche Art von Audiosignal als Quelle dient: Das kann die E-Gitarre, kann Sprache, k\u00f6nnen Ger\u00e4usche sein, ja selbst Musik in andere Musik zu \u00bb\u00fcbersetzen\u00ab, ist auf diese Weise realisierbar.<\/p>\n

Nach einer schweren Handverletzung durch einen Kletterunfall Anfang der 1990er-Jahre widmete Geisse sich verst\u00e4rkt dem Komponieren und wandte sich infolge der Elektronik zu. Es reifte in ihm der Wunsch, den Laptop als Meta-Instrument zu begreifen, mit dem die unterschiedlichsten virtuellen Instrumente gedacht, gebaut und tats\u00e4chlich gespielt werden k\u00f6nnen. Mit der erneuten Integration der E-Gitarre in dieses Setup schloss sich nun f\u00fcr ihn der Kreis.<\/p>\n

Als ma\u00dfgebliche Einfl\u00fcsse auf diese langj\u00e4hrige Entwicklung benennt Geisse drei beispielhafte Quellen aus der Kunst: die\u00a0Date Paintings<\/i>\u00a0aus der\u00a0Today<\/i>\u00a0Serie von On Kawara, die inszenierte Fotografie von Jeff Wall (in Anlehnung nennt Geisse Samples auch gerne \u00bbakustische Fotografien\u00ab) und die von Robert Rauschenberg oft selbst erz\u00e4hlte hochsymbolische Geschichte der Begegnung mit Willem de Kooning, die zur Entstehung seines Bildes\u00a0Erased de Kooning Drawing<\/i>\u00a0f\u00fchrte.<\/p>\n

\u201cSo I thought the only way to do it is like with an erasure. When I just erased my own drawings, it wasn\u2019t art yet. And so I thought \u2018Aha, it has to be art\u2019. And Bill de Kooning was the best known acceptable American artist that could be indisputably considered art \u2026 And so, I bought a bottle of Jack Daniels, and hoped that he wouldn\u2019t be home when I knocked on his door. And he was home. And we sat down with the Jack Daniels, and I told him what my project was; he understood it. And he said, \u2018OK. I don\u2019t like it, but I\u2019m going to go along with it because I understand the idea.\u2019 He went through one portfolio, and he said, \u2018No. It\u2019ll have to be something that I\u2019ll miss.\u2019 \u2026 And then he went through a second portfolio \u2026 and then he said, \u2018I\u2019m gonna make it so hard for you to erase this.\u2019 And he had a third portfolio that had crayon, pencil, charcoal and \u2013 and it took me about a month, and I don\u2019t know how many erasers to do it \u2026 It\u2019s not a negation, it\u2019s a celebration. It\u2019s just the idea!\u201d \/ \u201cVandalism is the other alternative\u201d \/ \u201cAnd for you?\u201d \/ \u201cIt\u2019s poetry.\u201d<\/i>\u00a0(Robert Rauschenberg)<\/p>\n

Heute nutzt Gunnar Geisse den Rechner sowohl als Improvisations-Instrument als auch als Produktionswerkzeug in mittlerweile weit \u00fcber 20 H\u00f6rspielen f\u00fcr den BR, WDR, SWR, NDR, ORF und f\u00fcr DLR Kultur, in Auftragswerken f\u00fcr die\u00a0musica viva<\/i>, die M\u00fcnchner Opernfestspiele, die M\u00fcnchener Biennale und die Donaueschinger Musiktage, bei der er die Realtime-\u00dcbersetzungen von Sprache in Musik f\u00fcr das St\u00fcck\u00a0Hotel zur Ewigen Lampe<\/i>\u00a0von Michael Lentz entwickelte und komponierte. Eine Echtzeit-Manipulation des Klangs von Chor und Orchester (W\u00fcrttembergischer Kammerchor und Philharmonie) verwendete Geisse bei Gregor H\u00fcbners\u00a0De profundis<\/i>, einem Auftragswerk der Internationalen Bachakademie Stuttgart, angelehnt an die\u00a0Missa sacra<\/i>\u00a0von Robert Schumann. Als Interpretations-Instrument setzte er den Rechner zuletzt am Theater in Erfurt in elektronischen Versionen von Ausz\u00fcgen aus der\u00a0h-Moll Messe<\/i>\u00a0und der\u00a0Johannespassion<\/i>\u00a0von Bach ein. Aktuell arbeitet er an einer elektronischen Transformation des Streichquartetts von Debussy mit Musikern der M\u00fcnchner Philharmoniker.<\/p>\n

Neben seiner T\u00e4tigkeit als E-Gitarrist im Symphonieorchester des Bayerischen Rundfunks, im Radio-Sinfonieorchester des SWR, im Orchester der Bayerischen Staatsoper, im Staatsorchester Stuttgart, im Orchester des Staatstheaters am G\u00e4rtnerplatz sowie bei der\u00a0Broadway Musical Company New York<\/i>, in denen er \u2013 neben Opern, Operetten und Musicals \u2013 Werke der Neuen Musik, von Helmut Lachenmann und Hans Werner Henze \u00fcber Dieter Schnebel und Friedrich Cerha bis G\u00e9rard Grisey und James Tenney spielte, brachte ihn seine Liebe zur improvisierten und experimentellen Musik zu Kooperationen mit Eivind Aarset, Richard Barrett, Jaap Blonk, Peter Br\u00f6tzmann, Marc Ducret, eRikm, Vinko Globokar, Barry Guy, Jo\u00eblle L\u00e9andre, George Lewis, Phil Minton, David Moss, Olga Neuwirth, Lauren Newton, Phill Niblock, Evan Parker, William Parker, John Russell, Giancarlo Schiaffini, Elliott Sharp, Mike Svoboda, Gary Thomas und Michael Wertm\u00fcller.<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Programm:<\/p>\n\n\n\n
\n
\n

THE WANNSEE RECORDINGS 1<\/b>
\ntotal playing time: 76:36<\/p>\n

[01]\u00a0VII.4 [10100111_A7_*167]<\/b>\u00a001:58
\nelectric guitar, brass, percussion, timpani, celesta<\/p>\n

[02]\u00a0V.1 [1011000_58_*88]<\/b>\u00a002:11
\nelectronic guitar, distorted guitar<\/p>\n

[03]\u00a0I.1 [11_3_*3]<\/b>\u00a001:10
\nelectric guitar, electronic drums<\/p>\n

[04]\u00a0I.2 [1011_B_*11]<\/b>\u00a003:33
\nelectric guitar, piano<\/p>\n

[05]\u00a0III.2 [110011_33_*51]<\/b>\u00a001:08
\nelectric guitar, piano<\/p>\n

[06]\u00a0V.3 [1100110_66_*102]<\/b>\u00a006:35
\ndistorted guitar, choir, orchestra, percussion, timpani, vibraphone, celesta, piano<\/p>\n

[07]\u00a0VI.1-3 [1110001-1110010-1110011_71-72-73_*113-114-115]<\/b>\u00a0 05:13
\npiano, string ensemble, orchestra<\/p>\n

[08]\u00a0II.4+V.4 [100100+1100111_24+67_*36+*103]<\/b>\u00a013:33
\nelectric guitar, saxophone, drum set, trombone, woodwinds, strings + piano, choir, noises, electric guitar, trombone, drum set, woodwinds<\/p>\n

[09]\u00a0VII.3 [10100101_A5_*165]<\/b>\u00a002:58
\ntrombone, electric guitar, noises, choir<\/p>\n

[10]\u00a0VII.6 [10101011_AB_*171]<\/b>\u00a004:15
\nfield recordings, non-virtual electric guitar, processed noises<\/p>\n

[11]\u00a0II.3 [100001_21_*33]<\/b>\u00a005:35
\ndistorted guitar, non-virtual electric guitar,\u00a0 electronic bass, electronic drums<\/p>\n

[12]\u00a0V.2 [1011111_5F_*95]<\/b>\u00a005:54
\nprocessed electric guitar<\/p>\n

[13]\u00a0I.4 [1111_F_*15]<\/b>\u00a003:34
\nelectric guitar, non-virtual electric guitar, prepared acoustic guitar, distorted guitar<\/p>\n

[14]\u00a0VII.9 [10101111_AF_*175]<\/b>\u00a004:26
\nchurch organ<\/p>\n

[15]\u00a0IV.4 [1010110_56_*86]<\/b>\u00a003:05
\ncharango, strings<\/p>\n

[16]\u00a0VII.1 [10011111_9F_*159]<\/b>\u00a003:30
\nsteel string guitar, piano, strings, drum set (brushes), vibraphone, woodwinds<\/p>\n

[17]\u00a0I.3 [1101_D_*13]<\/b>\u00a006:31
\nelectric piano, choir, electronic drums, piano,\u00a0 strings, percussion, celesta<\/p>\n

[18]\u00a0IV.1 [1001101_4D_*77]<\/b>\u00a001:25
\nprocessed brass, processed woodwinds, processed vibraphone<\/p>\n

 <\/p>\n

THE WANNSEE RECORDINGS 2
\n<\/b>total playing time: 73:09<\/p>\n

[01]\u00a0II.2 [100000_20_*32]<\/b>\u00a010:27
\ndistorted guitar, vibraphone, piano, brass, woodwinds, electronic bass, non-virtual electric guitar, processing, electronic drums<\/p>\n

[02]\u00a0VI.5 [1111100_7C_*124]<\/b>\u00a003:23
\nelectronic guitar, electric piano, electronic bass, electronic drums, distorted guitar<\/p>\n

[03]\u00a0II.5 [101011_2B_*43]<\/b>\u00a001:18
\npiano, electronic drums, electric piano<\/p>\n

[04]\u00a0VII.8 [10101101_AD_*173]<\/b>\u00a002:56
\ndombra, synthesizer<\/p>\n

[05]\u00a0VII.2 [10100100_A4_*164]<\/b>\u00a002:24
\nsteel string guitar, prepared piano, drum set (brushes), electric piano<\/p>\n

[06]\u00a0VII.5 [10101000_A8_*168]<\/b>\u00a001:26
\ncembalo, bowed acoustic guitar, marimba, xylophone, vibraphone, glockenspiel, piano, percussion, orchestra<\/p>\n

[07]\u00a0III.3 [1000101_45_*69]<\/b>\u00a005:47
\nstrings, double bass, tabla, piano, vibraphone, woodwinds, brass, percussion, celesta<\/p>\n

[08]\u00a0VI.4 [1111011_7B_*123]<\/b>\u00a008:56
\ndrum set, double bass, saxophone, vibraphone<\/p>\n

[09]\u00a0VII.10 [10110001_B1_*177]<\/b>\u00a004:06
\noud, ney, shakuhachi, muted trumpets, mandolin, double bass, electric organ, drum set (brushes)<\/p>\n

[10]\u00a0VII.7 [10101100_AC_*172]<\/b>\u00a003:26
\nshamisen, steel string guitar, cembalo, ebowed acoustic guitar, glockenspiel<\/p>\n

[11]\u00a0VII.12 [10110011_B3_*179]<\/b>\u00a003:48
\nclassical guitar, flute, oboe, clarinet, alto saxophone, woodwinds, vibraphone, strings, double bass<\/p>\n

[12]\u00a0II.1 [11010_1A_*26]<\/b>\u00a012:44
\nelectric guitar, prepared acoustic guitar, woodwinds, brass, percussion, timpani, celesta, vibraphone, strings, choir, piano<\/p>\n

[13]\u00a0IV.2 [1001111_4F_*79]<\/b>\u00a002:01
\nelectric piano, piano, electronic drums<\/p>\n

[14]\u00a0III.2a [110011_33_*51]<\/b>\u00a000:58
\nelectric guitar, piano<\/p>\n

[15]\u00a0III.1 [101111_2F_*47]<\/b>\u00a007:57
\nwoodwinds, vibraphone, drum set, double bass, distorted guitar, saxophone, trombone, electric guitar, piano<\/p>\n

[16]\u00a0IV.3 [1010101_55_*85]<\/b>\u00a001:29
\ncharango, prepared acoustic guitar<\/p>\n

 <\/p>\n

Gunnar Geisse<\/b>\u00a0laptop guitar<\/p>\n

 <\/p>\n

The laptop guitar instrument is a unique hardware\u2009\/\u2009software set-up that allows to pursue the analogue playing on a digital level, consisting of an electric guitar, a laptop, a MIDI controller, and software which converts audio signals to MIDI messages in realtime for the purpose of operating and controlling any virtual instrument, and in fact a lot of them at the same time, with a non-virtual electric guitar.<\/i><\/p>\n

Signal chain:
\naudio input -> digital conversion -> MIDI processing\/virtual instruments -> audio output<\/i><\/p>\n

Numbering key:
\nconcert day.track [serial file number] = [binary code_hexadecimal_*decimal]<\/i><\/p>\n

THE WANNSEE RECORDINGS solo improvisations recorded live direct to SSD
\nAll instruments performed without overdubbing by Gunnar Geisse on laptop guitar<\/p>\n

Initiation, realisation & recording supervision: J\u00f6rg Diernberger<\/p>\n

Thanks to J\u00f6rg Diernberger, Marty Cook, Geoff Goodman, Friedrun Geisse,
\nChristiane, Solly, Dominik Weinmann, Brigitte and Wulf Weinmann<\/p>\n

This music is for you.<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Pressestimmen:<\/p>\n\n\n\n
\n
\n

\"\"<\/p>\n

Komponieren im Medium der Samples<\/b><\/p>\n

Bei Gunnar Geisses \u201eThe Wannsee Recordings\u201c (2018) handelt es sich um zwei CDs mit Improvisationsst\u00fccken, die technologisch so innovativ sind, dass sie sich mit herk\u00f6mmlichen Gattungsbezeichnungen nicht benennen lassen. [\u2026]<\/p>\n

Geisses Improvisationen geh\u00f6ren sicherlich zu den technologisch avanciertesten Musikprojekten, die es zur Zeit gibt. [\u2026]<\/p>\n

Harry Lehmann<\/p>\n

www.nmz.de<\/a><\/p>\n

 <\/p>\n

\"\"<\/p>\n

5against4.com<\/b><\/a>\u00a0\u2013 a blog devoted to the most interesting, innovative and impressive music of our time<\/b><\/p>\n

Gunnar Geisse \u2013 The Wannsee Recordings
\nby Simon Cummings<\/p>\n

The Wannsee Recordings is a double album by German composer and improviser Gunnar Geisse, released on the NEOS label earlier this year. In some ways, that sentence is about as certain as i can be about the album because, to be honest, i was as impressed by it as i was flummoxed by it. Usually, when an album ramps up its flummox factor it doesn\u2019t take too long for it to become unengaging and ultimately boring, but in the case of The Wannsee Recordings, despite the fact that i regularly found myself staring at the speakers in a certain amount of disbelief, something about it kept me hooked for its complete 150-minute duration.<\/p>\n

Let\u2019s back up a bit: the album is essentially an anthology of 34 individual improvisations, ranging in length from 58 seconds to well over 13 minutes, performed by Geisse using a special laptop guitar rigged up to a MIDI controller and a laptop enabling the instrument to transform into a host of other instruments and sounds. Sometimes the guitar stays fairly close to its own identity, but in most cases it would be impossible to tell that what you\u2019re hearing is emanating from a guitar. […]<\/p>\n

In terms of its stylistic and methodological traits, The Wannsee Recordings brings to mind the late work of Frank Zappa, particularly his glorious swansong Civilization Phaze III. […] The comparison isn\u2019t an entirely fair one, since Zappa\u2019s music was (and, more importantly, sounds) composed rather than improvised, but where Geisse\u2019s pieces become problematic is precisely in the nature of their improvised behaviour, which might generously be described as \u2018rhapsodic\u2019, but other words like \u2018haphazard\u2019 or even \u2018schizophrenic\u2019 would suit many of them just as well. Put simply, it\u2019s the difference between frenetic and manic, and while it\u2019s fair to say that in none of these improvisations does it ever sound as if Geisse has lost control, the same isn\u2019t necessarily true of the plot. There\u2019s a pervading sense in many of these pieces that its sense of direction is arbitrary, that the software Geisse is using is glitching his materials to the point that while their integrity is maintained, their place within an ongoing continuity is much harder to comprehend.<\/p>\n

[…] Despite the fact that a great deal of The Wannsee Recordings plays exceptionally fast and loose with notions of continuity or coherence or even sense, it somehow never stops being compelling. This is probably due in equal parts to its ear- and mind-mangling levels of WTF and its underlying, irrepressible sense of sheer glee. Either way, i think the only thing i can say with certainty about this remarkable album is that the more i spend time with it, the more i find myself giving into its deranged charms and feeling less and less concerned about trying to make sense of it all. Ultimately, it really is enormous fun.<\/p>\n

Please read the full article here<\/i><\/a>.<\/i><\/p>\n

 <\/p>\n

\"\"<\/p>\n

Die vorliegende Doppel-CD mit dem Titel \u201eThe Wannsee Recordings\u201c birgt zweieinhalb Stunden Improvisation von Gunnar Geisse auf der von ihm entwickelten Laptop Guitar. Aufgenommen wurden die Titel bei sieben Live-Konzerten in den Jahren 2016 und 2017.<\/i><\/p>\n

Gunnar Geisse begann seine Karriere als Jazz-Gitarrist, wandte sich jedoch bald dem Free Jazz und der experimentellen Musik zu. Nachdem er bei einem Kletterunfall zwei Finger der rechten Hand verlor, widmete Geisse sich vermehrt dem Komponieren und sorgte damit schnell f\u00fcr Aufsehen. Sein Interesse wurde vor allem von digitalen Instrumenten geweckt, die per Computer programmiert und gesteuert werden k\u00f6nnen \u2013 sp\u00e4ter nahm er die E-Gitarre wieder zur Hand und koppelte sie mit seinem Computersystem; so kann Geisse die T\u00f6ne auf seiner Gitarre erzeugen und live digital modifizieren.
\nDie M\u00f6glichkeiten, die sich Geisse mithilfe der live-\u00dcbersetzung von Audiosignalen in MIDI und umgekehrt bieten, sind schier endlos \u2013 in seinen Improvisationen sch\u00f6pft er sie\u00a0 voll aus. Mit Instrument und Computer kann Geisse unterschiedliche \u201aBesetzungen\u2018 zum Klingen bringen, in manchen St\u00fccken schallen uns Orgeln\u00a0entgegen, Klaviere oder ganze Orchester und Ch\u00f6re, dazu immer wieder undefinierbare elektronische Ger\u00e4usche. Geisse bedient die digitalen Instrumente mit der Gitarre, kann am Computer schnell von einer Besetzung zur n\u00e4chsten wechseln und so verschiedene Kl\u00e4nge konfrontieren; durch die Loop-Funktion k\u00f6nnen auch mehrere Spuren gleichzeitig laufen. Die Musik von Gunnar Geisse ist dicht und komplex, sie entwirft immer neue Schattierungen und Abstufungen einer Idee, wodurch sich die St\u00fccke beim Entstehen aus der Keimzelle heraus entwickeln. Abenteuerlust und Wildheit str\u00f6mt dem H\u00f6rer entgegen, die Freude am Experimentieren setzt sich kontinuierlich fort. Geisse l\u00e4sst sich von seinen Kl\u00e4ngen treiben, wenngleich er es ist, der die Weichen stellt: diese Ambivalenz macht seine Musik aus. Entsprechend vielseitig gibt sich auch das t\u00f6nende Resultat der vorliegenden Improvisationen: Viele der St\u00fccke bestechen durch eigenwillige Klangf\u00e4rbungen und -zusammensetzungen, konfrontieren den H\u00f6rer mit Unerh\u00f6rtem. Manche verlieren sich dabei in Zusammenhangslosigkeit, doch andere entwickeln auf unterschwellige Weise neue Formen, die man mitverfolgen kann und die Sinn ergeben: Irgendwo zwischen dem gewollten Chaos und einer klaren Linearit\u00e4t. Es verlangt vom H\u00f6rer zu viel, die gesamten zweieinhalb Stunden auf einmal durchzuh\u00f6ren, doch es lohnt sich, die Wannsee Recordings auf mehrere Tage verteilt zu erleben und ersp\u00fcren.
\n[Oliver Fraenzke, Dezember 2018,\u00a0http:\/\/www.the-new-listener.de<\/a>]<\/p>\n

 <\/p>\n

\"\"<\/p>\n

In der\u00a0Novemberausgabe 2018 besch\u00e4ftigt sich Manfred Karallus unter dem Titel „Was hei\u00dft eigent\u00fcmlich?“ mit vier Neueditionen von NEOS.<\/p>\n

(…) Er entwickelte ein Instrument, das er \u201elaptop guitar\u201c nannte: eine Erweiterung seines Hauptinstruments, der E-Gitarre, um den Computer, die es ihm erm\u00f6glicht, das analoge Spiel auf digitaler Ebene \u201efortzusetzen\u201c. Leichter, hoher Grundpuls, flirrig und fl\u00fcchtig, flimmernd und flatternd, jazzig, bisweilen sehr attraktiv, improvisatorisch bis an den Rand der Willk\u00fcr. (…)<\/p>\n

Lesen Sie hier den vollst\u00e4ndigen Artikel von Manfred Karallus.<\/a><\/p>\n

 <\/p>\n

\"\"<\/p>\n

September 2018<\/p>\n

Der Mann hat mit Jazzern wie Peter Br\u00f6tzmann oder Eivind Aarset kooperiert, mit Joelle Leandre oder Evan Parker, aber genauso mit Olga Neuwirth. Als Interpret auf der Gitarre f\u00fchrte er Werke von Henze bis Lachenmann und Tenney auf. Eine schwere handverletzung zwang Gunnar Geisse, sich noch mehr vom Interpretieren aufs\u00a0Komponieren zu verlegen. Er erweiterte sein Hauptinstrument um einen Laptop, mit dem er Musik sampeln oder kreieren kann. Egal um was f\u00fcr eine Ausgangsquelle es sich urspr\u00fcnglich handeln mag: Stimme, Ger\u00e4usche, Instrumente – alles kann Geisse verwandeln, sich anverwandeln. Allm\u00e4hlich kam die Gitarre wieder dazu. F\u00fcr Geisse schloss sich der Kreis. Sein Instrument nannte er fortan Laptop Guitar. Und nun also „The Wannsee Recordings“, zwei Live-CDs voller, man kann es nicht anders sagen, brachialer Musik. Das macht zun\u00e4chst einmal in der Stringenz durchaus Sinn. Dabei haben die St\u00fccke jeweils einen besonderen Verfremdungsprozess oder besser Modulationsprozess durchlaufen. Strukturen wurde wieder und wieder \u00fcberarbeitet, geschnitten und erneut zusammengesetzt bis sich eine ganz neue ergab.<\/p>\n

(Tilman Urbach)<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: THE WANNSEE RECORDINGS \u201cLife is complex, it\u2019s not just black-or-white, it\u2019s colored, beautiful and ugly and everything in between and something beyond. Colors we don\u2019t understand, colors we agree to and colors we deny exist. Because art may reflect and express that complexity of our human existence and condition, art is ambiguous by its […]<\/p>\n","protected":false},"featured_media":2869,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[26],"product_tag":[],"class_list":{"0":"post-2698","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-zeitgenossische-musik","7":"pa_artikelnummer-neos-11720-21","8":"pa_brand-neos-music","9":"pa_ean-258","10":"desktop-align-left","11":"tablet-align-left","12":"mobile-align-left","14":"first","15":"instock","16":"taxable","17":"shipping-taxable","18":"purchasable","19":"product-type-simple"},"yoast_head":"\nGunnar Geisse: The Wannsee Recordings - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/gunnar-geisse-the-wannsee-recordings\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gunnar Geisse: The Wannsee Recordings - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: THE WANNSEE RECORDINGS \u201cLife is complex, it\u2019s not just black-or-white, it\u2019s colored, beautiful and ugly and everything in between and something beyond. Colors we don\u2019t understand, colors we agree to and colors we deny exist. 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