JerĂŽme Noetinger / revox, tapes, electronics

© Pierre Gondard

Born April 1966, in Marseille, JérÎme Noetinger discovered experimental music under the influence of the Déficit Des Années Antérieures in Caen. He studied electroacoustic music under the direction of Xavier Garcia from 1986 -1988 at COREAM in Fontaine.
He was a member of 102 rue d’Alembert, programming coordinator of exhibitions, concerts and experimental cinema from 1989 -1998. From 1987 to 2018, he was director of Metamkine, non-profit organisation dedicated to the distribution of improvised and electroacoustic music, which operates with an on-line mail order catalogue. He was also member of editorial committee of quarterly journal of contemporary sound, poetry and performance, Revue & CorrigĂ©e since 1987.
He is composer (musique concrete in the studio) and improviser woking with electroacoustic devices such as: the reel to reel tape recorder Revox B77 and magnetic tape, analogue synthesisers, mixing desks, speakers, microphones, various electronic household objects and home-made electronica. Active in the international music network since 1987, he is performing both solo and in ensembles, and collaborating often, and touring extensively internationally working with music, dance, films and painting.

Die Totenbandmaschine (Noetinger 2018)

Das TonbandgerÀt fÀngt die Stimmen des Jenseits ein.
Der Magnetstreifen fixiert eine unmittelbare Vergangenheit, die uns sonst entgangen wÀre.
Der Lautsprecher fungiert als Stimme und als Spiegel.
Dieses aus dem Geist der Improvisation realisierte StĂŒck versucht, diese „unmögliche Kommunikation“ in einer enigmatischen Transparenz zu offenbaren, die durch die Auswirkungen von Feedback noch beleuchtet wird.


Mark Vernon / found dictaphone and reel to reel tapes

Mark Vernon is a Glasgow based artist whose work exists on the fringes of sound art, experimental music and broadcasting. At the core of his practice lies a fascination with environmental sound, obsolete media and the re-appropriation of found recordings. He is an avid collector of domestic tape recordings; audio letters, dictated notes, home sing-alongs, answer-phone messages and other lost voices that he incorporates into his compositions.

A keen advocate of radio as an art form, he co-runs Glasgow art radio station, Radiophrenia and has produced programmes for stations internationally. His solo music projects have been published through labels including Kye, Flaming Pines, Misanthropic Agenda, Entr’acte, 3Leaves and his own meagre resource imprint.

His performance for Un-Tape Me will be based upon ‘Lend an Ear, Leave a Word’ – the 2016 LP released on Graham Lambkin’s Kye label. Composed from field recordings of contemporary Lisbon combined with reel-to-reel tapes and micro-cassettes found at the Feira de Ladra flea market, it is a portrait of time and place – an archaeology of sound. The result of the audio flotsam and jetsam washed up on the shores of low commerce in the flea markets of Lisbon.


Marta Zapparoli / tape recorders & reel to reel tape machine

Marta Zapparoli is an active experimental sound artist, improviser, performer, and self-taught researcher. She works and lives in Berlin since 2007. In the past fourteen years her sonic work has focused on self-recorded sound from the external world using a wide array of devices, microphones, sensors, ultrasonic, digital and analogue recorders, and in the past four years she has also included antennas, radio receivers, and detectors. She works without borders and with many unconventional techniques. She is interested in the boundaries and relations between acoustic ecology, electro- smog, radio wave phenomena, natural radio (VLF), wireless communication, and EMF. With all the recordings she has captured around the world, she builds strongly narrative and imaginative sonic pieces through live improvisation with real-time tape manipulation.

Beside her solo project she has extensive duos and larger group collaborations including: Pareidolia with (Liz Allbee), The Elks (Fagaschinski, Roisz, Allbee), CIRCUIT TRAINING, Duo with Alessandra Ezramo, TOWA with Julie Rousse,Duo with Burkhard Beins and since 2009 she is a member of Berlin’s 24-piece Splitter Orchestra. She has played with many regarded musicians and bands like Matmos, LAFMS and more. She performed throughout the EU as well as Turkey, Norway, Sweden, Switzerland, UK and the USA, in festivals such as Maerzmusik, Atonal, A’LARM, Fusion, Darmst dt, Sincussion, (Germany), Hudders eld, Sonorities (UK), Borealis (Norway), Crack (France), Sonic Circuit , High Zero (US), Geiger (Sweden) and more. She has received grants from Musikfonds (Germany), GAI (Italy). She has been an artist-in-residence at EMS (Sweden), AIR (Austria), and AIR (Lithuania).

Sonata Per Eterna ( by Marta Zapparoli 2018 )

“Sonata Per Eterna” is a text-piece in which the meaning of some combinations of words are connected to selected radio waves and natural radio phenomena signals which I recorded in different countries over the world in the past recent years. This piece is inspired by my personal romantic idea feed it also by scientific notions about the journey of the soul after death to a perpetual motion in the universe.

The signal of the soul thought as a pure energy form, leaves the body and reach the outer space passing across stellar storms, planets, pulsar stars, black holes and intergalactic dust to enter in the Krasnikov tube: a distortion of space-time that can be intentionally created in the wake of travel close to the speed of light. Through it, the soul will be able to reach the final destination, discovering “Eternal” in another universe.

A piece of meteor come back to earth as a symbol-messenger, bringing with it the secret of a new beginning of life.

During the performance, the piece will be played in real time with the use of tape recorders and reel to reel tape machine.
“Sonata Per Eterna” is dedicated to my father and his soul.


Wien Diesel feat. burlin mud (r.f. culbertson iii)

WIEN DIESEL ist ein musikalisches Duo, das 2016 in Wien gecastet wurde.
Es besteht aus den Musikerinnen Coco Bechamel und Marie Vermont.
Coco Bechamel wurde 1991 in Wien geboren, arbeitet und wohnt in Wien.
Marie Vermont, geboren 1989 in Österreich, arbeitet ebenfalls in Wien.
Seit 2018 haben sie eine eigene Domain:
BURLIN MUD (Holy Moly) / Phantom Band, Modified Dictaphone, 4-Track
Holy Moly: spawned in 2001 from the Kuu sect of Tempora, Illinois. Wrangling the Metal Mang Orkaestra and conducting Warning Orbs in Vienna since 2009.
forget erasure
mud boiled reaches purity

Das Projekt „Tapes” ist eine Sammelbezeichnung fĂŒr ein- oder beidseitig bespielte, eckige TrĂ€germaterialien. Manchmal kommen sogenannte TransferbĂ€nder zum Einsatz: trĂ€gerfreie, dĂŒnne Haftkabel, die vor der Verarbeitung beidseitig mit gewachsten GerĂ€uschen abgedeckt werden. Tapes können durch Bedrucken und Stanzen auch in Bandform verarbeitet werden. Die Band bilden zu diesem Anlass WIEN DIESEL und BURLIN MUD (Holy Moly) mit einem industriell und nicht industriell gefertigten Instrumentsortiment.


Angélica Castelló / magnetic altar (installation)

Composer, Sound Artist
Her sound work and compositions concentrates on fragility, dreamworld and the subconscious. Performs continuously solo or in cooperations everywhere between Mexico City and Vienna. Numerous compositions for ensembles, radio works as well as installations that operate at the interface of music, performance and visual arts. Several releases on labels like Interstellar records, Mikroton recordings, Monotype records, Mosz etc.

Magnetic Altar (2018) is installation inspired by the Mexican Tradition of home altars and cult of the dead in which the main Material are magnetic tapes of all types, as material and as noise and sound makers. An offering to the dead and their sounds, hoping that they come to hear ours.