Pierre Bal-Blanc (Ed.)
|Klaus WeberLarge Dark Wind Chime (Tritone Westy)|
The sound of the wind chime was recorded in the dome of Secession in Vienna on September 17, 2008 at 2.30 pm. The specifically developed wind chime was installed on the top of the building to send out “bad vibes” over Vienna during the course of Klaus Webers’ solo exhibition.
The wind chime is 4.3 meters high and made from tempered aluminium. Its composition is based on the Tritone (tritonus)—the “diabolus” in music, what is known as the “devils interval.” “Diabolus in Musica” is Latin for the Devil in Music. It is used to describe a musical interval consisting of three whole tones comparable to the augmented fourth or diminished fifth. It is often used as the main musical interval of dissonance in Western harmony.
In medieval times, the Tritone—after being rejected by the Church as the interval of the Holy Trinity—was deemed the interval of the Devil himself. Some sources say the interval was outlawed as it was thought to evoke sexual feelings. There was a general belief that playing the interval aroused the devil. As a result a great deal of superstition became associated with the interval. Through this original symbolic association with Satan, and its avoidance, the interval became known in Western cultural convention to carry evil connotations and represent the “other.” In popular music such as heavy metal and particularly black metal the Tritone is an important interval. It is even used in the theme tune for The Simpsons.
The chimes are designed so that the frequency ratios of the instrument create distinct beats and waves when several pipes vibrate simultaneously. It is less about the isolated individual tones and instead their droning after-effects. Alternate pipe constellations result in different vibration patterns. These sonic patterns can be seen to modulate the surrounding physical space, dynamically overlapping or taking on the sound of the urban environment.
The recording of the sculpture was basically not manipulated in the recording studio.
Concept & composition by Klaus Weber
Record cover design by Christian Wurster
KW 03, 2009
12“ record, B-side blanket
Edition of 666, €35.00
KW 01, 2004
12" record, B-side blanket
Limited edition, €35.00
The song kranke Fuchs is meant as a manual about how to get rid of yourself as an inextricable part of an unacceptable structure. At the same time it represents a conception of the available options of acting productively within it.
On the record cover Klaus Weber is depicted as an apeman. The image refers to the cover of a 1963 record by Klaus Kammer, reciting Kafka’s brilliant short story “Report to an Academy” (1917), the story of an ape who has decided to become human, while he found himself amongst humans in forlorn captivity.
There were two pieces on the one track of the record, using different frequency ranges, which were played simultaneously—one for the crickets and one for human perception. When the record is played, Weber is also singing inaudibly for the crickets.
Crickets use a very high frequency sound for their communication, which cannot be perceived by the human senses. The crickets' chirping of which we are so fond is in fact no more than acoustic debris to which the crickets themselves are utterly oblivious. The same applies to our voices which reach the crickets' “ears” as an abstract acoustic hiss only.
public fountain lsd hall
KW 02, 2004
12" record, hand-made silkscreen, B-side blanket
Limited edition, €45.00
The sound on this record is that of the “LSD Fountain.” It was designed as a music machine.
The three-tiered fountain is made from heavy Victorian crystal. The liquid in the fountain is potentized LSD.
When it flows over the crystal and hits its surface by tripping and dropping on the edge, a high bell-like melody can be heard. It is never repetitive and never sounds the same.
Some people say it sounds like a flock of goats at a mountain spring.
The record starts with the switching on of the pump, then the first dish is filled and overflows into the second then fills the third and biggest bowl and finally spills into the concrete base, to simulate the sound of rain on the street after the pump is switched off again.
The crystal originates from the British company Osler which manufactured a famous crystal fountain exhibited in the Crystal Palace for the 1851 World’s Fair in Hyde Park, London.
The “LSD Fountain” was reassembled and manufactured 2003 as the centrepiece for a future public building, the “Public Fountain LSD Hall.”