German composer Marc Behrens began as an electronic and digital composer
specializing in sound manipulation.
Advanced Environmental Control (Trente Oiseaux, 1995) collects some of
his early soundtracks, preoccupied with room acoustics and sound textures,
besides the three-movement title-track.
He then added computer-based composition and feedback-based devices to his
arsenal, and field recordings became the main source of inspiration.
Compendium (1998) collects recordings of the previous decade, while
Final Ballet (Rastermusic/Noton, 1998) is music for an imaginary
Contraction (Digital Narcis, 1998) contains very intense music, while
Four Installations (Trente Oiseaux, 1999) focuses on sparse, minimal sonic events.
Elapsed Time (Intransitive, 2001) and
Transition (Edition, 2001), released as 2 mini-CDs,
veered towards cacophonous collages of highly-charged musique concrete
(in both cases derived from old tapes of field recordings).
Elapsed Time would remain his most emotional work.
The glitchy micronoise of
Integracao (Sirr, 2002) was the result of a series of installations
during which Behrens kept refining some field recordings.
Here, silence prevails over movement.
A Szellem Alma (Absolute, 2004), also known as
Laermschutzlandschaft, is a collaboration with
The main piece on
Animistic For Donatella (Auf Abwegen, 2005) is another of his haunting
and subtle electronic soundscapes built out of ordinary sounds.
Nikolaus Heyduck and Marc Behrens began collaborating in 2000. Their
first two performances used plastic wrapping and bottles. The next two used
two self-made metal instruments. Another performance in 2003 "played"
wine bottles, water, bricks and metal objects.
Plastic Metal (Antifrost, 2005) documents their ideas.
Hades (And/OAR, 2007) is a collaboration with Paolo Raposo that employs
field recordings to compose a soundtrack to the legendary crossing of the
river that leads to the underworld.
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