Faitiche Label Night
Wednesday, 18.10.23, door 20:00
  • 20:30 blackbody_radiation plays Ultra-Materials (solo laptop)
  • 21:15 SG (Andrew Pekler) plays For lovers only / Rain Suite (solo guitar & pedals)

10 Euro At The Door

Morphine Raum,
Köpenicker Str. 147, 10997 Berlin
Hinterhof 1. Etage

Andrew Pekler plays songs from his recently released SG album For Lovers Only / Rain Suite. The moody, sentimental, guitar-based tracks are augmented live by improvisational passages and new, spontaneous compositions.
blackbody_radiation (Andrew Black) will recontextualize elements extracted from his debut album Ultra-Materials. The nights solo performance with computer assistance will include spontaneous sound masking, diffusion, repetition, abbreviations, permutations and densely smeared traces to create a further extension of the album.

SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism. What does Pekler’s pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don’t know, but we might find out tonight at Morphine Raum.

Andrew Black, who hails from one of the UK’s post industrial North West Milltowns has a sensitive feeling for space and its acoustics. Having trained as a designer and operated within the realms of architecture and public space, it was only natural to extend his interest to manipulating field recordings.
The six pieces collected on Ultra-Materials provide an insight into Black’s highly sensitive minimalism: they stand for a subtly meandering mediation on room acoustics and place, which are manipulated with the help of sound masking, among other things - that is, the addition and superimposition of artificially generated frequencies to mask unwanted sounds. Sometimes the pieces are reminiscent of warm engine noise, sometimes one thinks of carefully captured natural phenomena. Their strength lies in their elusiveness: free of concrete attributions or musical location, they can unfold their hypnotic pull without revealing anything about their origins.

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