Genetic Annotation im MAX/MSP

This composition is based on two genetic sequences running through a hybbridising several times, hybiridising the limited genetic informaton again and again.
The genetic sequence (ATTGCAAAGTTCG…)is generating an intervall,- dynamic and- duration structure, played virtually in MAX/MSP: Piano, Marimba, Vibraphone.
Due to the very limited genetic material the end of the multi hybbridising
will be a reduced intervall structure of only one or two notes left.
Here a 4 minutes excerpt = 6 hybbridisings

Michael Renkel, Burkhard Beins_Foto by Ingo Scheffler

Michael Renkel: strings & percussion
Burkhard Beins: percussion & strings

Over the course of 29 years Activity Center has developed a unique style of musical performance. Their distinctive way to “create spontaneous compositional structures” has been referred to as “improvised sound art” as well as “hand-played musique concrete”.

Their long sold out double-CD ‘Moewen & Moos’ (1999) has been regarded as a milestone of it’s genre, while they have managed to build bridges between generations and allegedly also styles with their CD ‘Activity Center & Phil Minton’ in 2005. With ‘Lohn & Brot’, their most recent release from 2010, they have summed up their wide range of musical experience in electro-acoustic splendor. The Activity Center was founded in 1989 when post-war Germany stumbled into a new aera and post-punk finally felt worn out. Renkel and Beins played their first concert in the legendary Hannover underground club ‘Silke Arp bricht’, and their second one as part of a Guenter Christman ‘Vario’ project. After the duo had been the core of the ‘Hamburger Salon’ for a while it re-established itself within the freshly evolving Berlin Echtzeitmusik scene around 1995. Their Berlin version of the ‘2:13 Club’ at ‘Vollrads Tonsaal’ became a central meeting point of the so-called ‘Berlin Reductionism’ and it’s like-minded companions from London throughout the late 1990’s – at a time when this musical episode didn’t have any names yet. Activity Center gained some recognition for playing it’s idiosyncratic version of it and consequently became one of the original ingredients of the Berlin “all star group” Phosphor at the turn of the millennium and throughout the decade of the group’s existence.

What will come next?

Michael Renkel & Sven Åke Johansson_Foto by Theresa Iten

Sven Åke Johansson, Michael Renkel : Kalte Welle 102, 13 Fragmente, Kning Disc (Sweden)

Brian Morton, The Wire

Drummer Sven Åke Johansson has written elsewhere about the aesthetics of renouncement, about leaving out rather than putting in. This is a man who – for all the theatricality of some of his performances – favours a mechanistic approach as stripped of personality as a dismantled engine; the guy once conducted an ensemble of 12 vintage tractors.
Though he drummed on Peter Brötzmann’s For Adolphe Sax in 1967 – a Swede he moved to Berlin the following year and helped make Machine Gun too – he he favours the light, evanescent touch audible on this remarkable duo set.
Renkel is some kind of young genius, too, a guitarist who can be described as ‘post-Bailey’
only in the most notionally chronological way.
Like Johansson he’s essentially a composer who improvises, and he’s acutely responsive to context, playing differently with Johansson than he does in duo with another percussionist, Burkhard Beins. If he resembles Bailey at all, it’s the Bailey who toys with melody.
Renkel is more about space and aural geometry than he is with line and texture.
Take ‘Der leere Saal’, a slowed down rattlesnake blues so static it could be hibernating. The following ‘Im Feld’ is all high harminics and out of reach scratch, reflecting Renkel’s interest in electronica (though that’s not what’s afoot here) and Johansson’s brilliance with his cymbals. 13 ‘fragments’ doesn’t do the music entire justice, since many of these are gracefully and satisfying achieved.
Others do, admittedly, hang in the air, but as intimations of something larger than discarded
sonic chaff.
For a man who has been recording for 40 years, Johansson’s discography is disconcertingly scant. He’s also an artist and poet, so his endeavour has its unheard outlets, but it’s time he was more widely recognised as one of the great European percussionits.