33-127 (mode206), by Peter Ablinger

33-127 (mode206)

by Peter Ablinger

	/

Compact Disc (CD) + Digital Album
Includes unlimited streaming of 33-127 (mode206) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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$15 USD or more
Streaming + Download

Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Purchasable with gift card

$12 USD or more

1.	Big Intersection 1 00:37
2.	Big Intersection 2 00:37
3.	Medium Intersection 00:37
4.	Small Intersection 00:37
5.	Small Intersection 2 00:37
6.	Bridge Over Highway 00:37
7.	Traffic Under Bridge 00:37
8.	Country Road 1 00:37
9.	Country Road 2 00:37
10.	Light Traffic Area 00:37
11.	Tram Stop from Front 1 00:37
12.	Tram Stop from Front 2 00:37
13.	Tram Stop from Front 3 00:37
14.	Tram Stop L-R 1 00:37
15.	Tram Stop L-R 2 00:37
16.	Subway 1 00:37
17.	Subway 2 00:37
18.	Subway 3 00:37
19.	Subway 4 00:37
20.	Subway 5 00:37
21.	Train Station 1 00:37
22.	Train Station 2 00:37	buy track
23.	Train Station 3 00:37
24.	Train under Bridge 00:37
25.	Bus Station 00:37
26.	Airport Entrance 1 00:37
27.	Airport Entrance 2 00:37
28.	Airport Interior 1 00:37
29.	Airport Interior 2 00:37
30.	Airport Exterior 00:37
31.	Aircraft Take Offs 1 00:37
32.	Aircraft Take Offs 2 00:37
33.	Turbines at Take Off 00:37
34.	Low Fly Over 00:37
35.	Pedestrian Zone 1 00:37
36.	Pedestrian Zone 2 00:37
37.	Fashion Department 00:37
38.	DS Cash Register 00:37
39.	Coat Hangers 00:37
40.	Escalator 00:37
41.	Supermarket Loud 00:37
42.	Checkouts Loud 00:37
43.	Supermarket Quiet 00:37
44.	Checkouts Quiet 00:37
45.	Bottle Shop 00:37
46.	Loud Restuarant 00:37
47.	Tray Return Area 00:37
48.	Quiet Bistro 00:37
49.	Rest-Cash Register 00:37
50.	Full Bar 00:37
51.	Small Bar 00:37
52.	Roulette Table 1 00:37
53.	Roulette Table 2 00:37
54.	Roulette Ball 00:37
55.	R Ball and Announcement 00:37
56.	Slot Machines 00:37
57.	Lucky Wheel 00:37
58.	Billiards Hall 00:37
59.	Bank 00:37
60.	Museum Hall 00:37
61.	Museum Med Room 00:37
62.	Museum Small Room 00:37
63.	Museum Quiet Passage 00:37
64.	Footsteps in Museum 00:37
65.	Cathedral Square 1 00:37
66.	Cathedral Square 2 00:37
67.	Bells from Square 00:37
68.	Bells Outside Tower 00:37
69.	Bells Inside Tower 00:37
70.	Church Organ Prelude 00:37
71.	Classroom Drawing 00:37
72.	Classroom Lesson 00:37
73.	School Playground 00:37
74.	School Hallway 00:37
75.	Large Market 00:37
76.	Small Market 00:37
77.	Large Swimming Pool 00:37
78.	Small Swimming Pool 00:37
79.	Paddling 00:37
80.	Diving into Water 00:37
81.	Showers 00:37
82.	Theatre Foyer 00:37
83.	Audience Enters 00:37
84.	Applause 1 00:37
85.	Applause 2 00:37
86.	Applause W Bravo 00:37
87.	Laughter 1 00:37
88.	Laughter 2 00:37
89.	Petrol Station 00:37
90.	Garbage Collectors 00:37
91.	Skating Rink W Music 00:37
92.	Skating Rink Middle 00:37
93.	Skating Rink Higher 00:37
94.	Outskirts of Town 1 00:37
95.	Outskirts of Town 2 00:37

about

From orchestral works to installations, Peter Ablinger's oeuvre explores the differences between reality and our perception of reality. In 33-127 for electric guitar and CD, Ablinger confronts the rational, human division of sound into musical scales with the complex acoustical reality of any given moment - its "noise." In each of the 95 pieces that make up 33-127, these two realities come face to face again and again: scale, noise, scale; scale, noise, scale...

In each piece, a scale descends, with gentle and unpredictable irregularities of both rhythm and pitch, from the top of the electric guitar's range to the bottom. The sound of the instrument is clean, clear, and precise. At some point in each of these tranquil, neutral scales - all but one of them, anyway - a cacophony of recorded street noise bursts in, which the guitar, now louder and rougher in tone, doubles, playing an orchestrated spectral analysis of this recorded noise. Just a moment of this though, or a few seconds; then the scale resumes as if nothing has happened.

This common use of scales in Ablinger's music is perhaps influenced by his background in graphic design, including his studies with Roman Haubenstock-Ramati, who composed many graphically notated scores. The basicness of a scale, like a stroke from a pencil, functions as a degree zero of human making.

Noise, or rather, "Rauschen" (the German term) has been a prominent part of Ablinger's music for more than 20 years. For Ablinger it is never simply a matter of mastering or claiming noises for musical purposes, but rather of acknowledging and confronting the place of all sounds in the general "noise" of reality.

In 33-127, the guitar is neither the soloist nor the protagonist. It and the "Rauschen" are equals in seemingly endless near-repetition, building up to a sublime incomprehensibility.

Peter Ablinger (born 1959 in Austria), began studying graphic arts and was inspired by free jazz, but completed his studies in composition with Gösta Neuwirth and Roman Haubenstock-Ramati in Graz and Vienna. Since 1982 he has lived in Berlin. Ablinger is one of the few artists today using noise without any kind of symbolism - not as a signifier for chaos, energy, entropy, disorder, or uproar; not to oppose something or be destructive; but rather for the sake of noise itself - to question the nature of sound, time, and space.