1 Signal To Noise I 22:58
2 Signal To Noise II 9:32
3 Studies For Thunder 21:26
One of my favourite instruments, the Yamaha SY77 can produce timbres that slowly change and mutate via FM synthesis, and recordings of these sounds formed the basis for what was to evolve into Signal to Noise. The recordings mainly consisted of harmonic droning, so I found them to be a bit boring after extensive listening. I began filtering, pitch-shifting and processing the material using granular resynthesis, aiming to achive erosion and diffusion of the sound while preserve some of the original movements. The signal became the noise.
The sonic sculptures in Studies for Thunder were created mainly by feedig short pulses of filtered noise into a complex network of granular delay lines. No natural recordings were used as source material - this is a completely artificial world. But, in a fascinating coincidence, I experienced more thunderstorms in Berlin during the realzation of this project than ever before, so that the artificial storm took shape while I was listening to the actual storms outside my windows.
The photo on the cover was taken on February 1st, 2004 at Joshua Tree National Park in California, right before an impressive thunderstorm. When recording the first sounds for Signal to Noise, I immediately remembered the color and atmosphere I had experienced at this magical place. I looked at the image again and again during the creation of this CD, and it became the guideline and inspiration for what had to be done musically.
Studies for Thunder was further refined into a 30 minute eight channel concert version.
Robert Henke
In the mid-90s, New York City's electronic music scene was quite splintered, at least in regards to record shops. For trance, there was Throb, for disco-house there was Vinyl Mania, for drum and bass there was Breakbeat Science. But when it came to techno, it was usually Sonic Groove Records on Carmine Street where I first heard Monolake and the Chain Reaction/Basic Channel label for the first time. Monolake was at times a duo with Gerhard Behles, but in the end, it became a vehicle for Robert Henke. Nearly ten years later, Henke has recorded his third solo release, Signal To Noise, a minimalist wash of drone and crackles that epitomizes cold German winters and the relationship between man and machine. Crammed into 55 minutes, three expansive tracks make up the album. Keith Fullerton Whitman's use of drone and minimalist loops are probably the best source for comparison, but instead of Whitman's reliance on guitars as his origin, Henke's veteran use of computers shows the master showing his chops. On "Signal to Noise II," melodic elements akin to "Treefingers" from Radiohead's Kid A leave a lasting impression on the listener. Henke's liner notes cite his use of the Yamaha SY77 as the tool used to filter and synthesize the 'boring' drones originally created for the album -- hence the signals became the noise. Henke makes it clear that there are no natural sounds on this release, everything is artificial. During the making of Signal To Noise, Henke's home in Berlin experienced severe thunderstorms on a regular basis. This environment, coupled with the filtered drones has given computer music new life and sees Henke at the forefront of a synthesis between artists and computer music.
Tiny Mix Tapes
seems to be sold out visit Robert Henke (here or here) & Imbalance Computer Music
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