Dienstag, 6. März 2012

Recording "A chinese roof"

It begann 2007 in China.
It was the year of the fiery pig.
I was living in the campus of the 中国美术学院,
the chinese academy of fine art in Hangzhou.

It was midday.
Not much moved outside.
Dea wasn't there, so I had the room for myself.
I stood by the window,
staring at the roofs of the lower buildings.
I had a microphone sticked onto the top of my i-pod.
I recorded some cats. They were strolling around on the roof of a temple.
The cats were singing. They fought over something.
There was the sound of somebody hammering.

I listened closely. I don't remember my thoughts.
After a while I left the room and went upstairs.
I stepped out on the flat roof of the art school.
In my memory, I was alone, but maybe I wasn't.
I walked around recording.
I recorded the climate control unit of the building.
There were fans, ventilators –
They sounded like the blood in my ears.

The next day I woke up very early.
My bed was soaked with sweat.
Dea was fast asleep.
I tossed the mosquito net aside and put my feet on the floor.
I took my microphone and my guitar.
I was afraid of wakeing her.
I played a series of faint flageolet tones.
Then i sung a short melody. Or maybe two or three of them.
They sounded like little groans or snores.

Later, when Dea was gone,
I recorded some louder guitar parts.
I recorded part by part, line by line,
without knowing how all of this would go together.
Then I assembled everything on the computer.
Everything had the same pulse.
I didn't woke from what I was doing until it was done.
I was oblivious to me. I could have been a fan on a roof,
a cat fighting over something with someone.
I could have been someone hammering.

I brought my noises back to Switzerland.
It now seemed like a very strange and busy place.

I had to form a band because Daniel Fontana invited me to play a show.
Christoph joined in as he always did since I was sixteen.

We only played the song live twice, at the Bad Bonn and at the Mehrspur.

Confidence comes and goes. Thank you,

Christoph Isler,
Christoph Brünggel,
Jérémie Bochet and
Hans Peter Gutjahr.

It took us four years until we recorded the song.
We recorded it with our new bass player Jérémie Bochet
in an abandoned shoe factory next to an atomic powerplant.
This was so much the place to record a song like this.

Things disappear.

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