DIEB13 (A) STROTTER INST. (CH) // turntables
dieter kovačič born in 1973
school and various studies in vienna. since the late 80ies he has worked continuously in rendering cassette players, vinyls, cd’s and harddisks into instruments.solo appearances as dieb13, dieb13, dieb14, bot, echelon, dieter bohlen…
permanent collaborations include: eh, NotTheSameColor, siewert/dieb13, erik.M/dieb13, dieb13 vs. takeshi fumimoto, swedish azz, phil minton/dieb13, john butcher group
founder of the klingt.orgestra
performances at various international festivals and locations including: phonotaktik wien, sonicacts amsterdam, beyond innocence osaka, lmc festival london, electrograph athens, maerzmusik berlin, kammermusiktage witten, musiktage donaueschingen, wien modern, musee de art moderne strasbourg, worldinformation.org beograd, turningsounds warszawa, piksel bergen, donaufestival krems, batofar paris, university of colorado springs. distributed by 1.8sec, absurd, amoebic, antifrost, charhizma, doc, durian, en/of, erstwhile, filmarchiv austria, for4ears, grob, hathut, mego, orf, pilot.fm, rhiz, sixpack, staalplaat,transacoustic research, unframed recordings.
music for theater-, opera- and videoproductions and installations.
runs the internet platform klingt.org
dieter kovačič is a conscientious copyright-objector and lives in vienna fuenfhaus
With five old manipulated Lenco turntables Strotter Inst. creats polymorph sound- and rhythmstructures. Inspite or probably because of the analogue sources the structures produce a contemporary and accurate athmosphere in space and time – somewhere between noise, bruitism, beat and meditative soundscapes
After more than ten years of making music with turntables, tapes and loops the swiss based musician, artist, performer and architect Christoph Hess started in 1998 the project Strotter Inst. to concentrate just on the manipulation of turntables not using any records or sounds made by someone or something else.
The „Strotter“ in the decade before World War II were fishing in the canalisation for stocked fat to sell it to soapcompanies. As they were standing on the edge of society today Strotter Inst. stands on the edge of art and music, working with stuff thrown away by others.
The anacronistic machineries have dual roles as objects and as instruments. The first live impact is as installations, then the sounds start to grab the listeners‘ attention. The auditive level surpasses the visual one. Therefore, the optical comprehension of how the sound is generated plays an important role. Hardly using sounds from LP’s – if so, they are cut or scotched – the main source of sound are the prepared pick-ups (i.e. sewing needles or strings instead of the diamond or the extended use of rubber bands). The treatment involves the unclean nature of the sounds as part of the music. Besides the work as a musician, Strotter Inst. is creating sound objects and installations out of turntables. The abbreviation „Inst.“ can both mean „instrument“ or „installation“.
(both texts from the artist’s websites)