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Claus van Bebber

German turntablist Claus truck Bebber (b. 1949) is normally among the many avant-garde sound performers also fronting a profession in the visible arts. His account is comparable to those of Martin Tétreault, Christian Marclay, and Philip Jeck. In his single concerts, he runs on the variety of antiquated turntables (generally five or six) to try out prepared information bought in inexpensive second-hand shops. His dense layering of sonic components has little regarding Marclay’s skipping rates or Tétreault’s funny narratives (in his early years) and no-vinyl tests (afterwards), nonetheless it stocks commonalities with Jeck’s soundscapes. Being a visible artist, he’s mostly thinking about landscape artwork, returning the materials of character (hardwood and stone, mainly) to character in abstract forms. Upon completing his simple education, Bebber educated to be an workplace clerk, pursuing his father’s desire. He empty this ambition after his armed forces service, instead earning money putting together screen displays while acquiring night time classes in painting. He still left his initial traces in Germany’s music background in the past due ‘70s as the drummer in a free of charge jazz trio that also included Ron Schmidt and released an LP entitled Stück für Stück in 1977. Another of his initial companions was trombonist Paul Hubweber, with whom he still functions even today. In 1982, he co-founded the performers’ collective Heinrich Mucken. An intermedia system animated by a small number of experimental music artists, and visible and performance performers, the group also included Dieter Schlensog, Michael Vorfeld, and Helmut Lemke, who along with Bebber would all later on become household titles from the label NURNICHTNUR. Heinrich Mucken folded in 1990, departing a path of cassettes and an individual. Bebber took the chance to retreat to his older cottage on the low Rhine and concentrate on his artwork profession. In parallel, he left behind everything percussive and, influenced by Czech conceptual designer Milan Knizak, started to develop his idea of the “schallplattenkonzert,” the record concert, actually a overall performance where one takes on records (mismatched types) all at one time. Part sound set up, part musical overall performance, his concerts have already been offered throughout Germany, holland, and Italy, frequently followed by exhibitions of his artwork. An initial single EP, just entitled Schallplattenkonzert, arrived in 1993, accompanied by Herz Mit 2 yrs later. Bebber offers appeared on several CD tasks curated by NURNICHTNUR, but offers otherwise kept a minimal profile. His appearance in the Intermedium 2 event in March 2002 alongside Philip Jeck continues to be released as Viny’l’isten.

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