After many years experimenting with tapes — alone or in collaborations with others — I started to feel lost; like I had exhausted the subject and all ideas. Perhaps I was too influenced by the new wave of cassette culture. Pretentious thoughts started coming to mind.
Without any new ideas on the matter, I took a break. I stopped using tapes during live shows as well as during recordings. Why not break new ground?
Following months of emptiness and dead end streets, I asked myself; does it really matter why we use certain tools? Is it worthwhile to question myself and waste time on such things?
Those new questions seemed too important and too broad — perhaps too naive — to answer by myself. So I turned to those musicians who had used tapes in all possible ways, some before me, some in collaboration with me and, some even after me. Almost all of them replied; some pretended they didn’t understand the question, whilst others gave me very precise answers. Others still, raised new questions.
In the meantime, I collected a large quantity of tapes, found on the street – in all sorts of unimaginable places – and started working with them. This process resulted in a 3-hour long composition that I later recorded back onto the original tapes; 300 casettes in total, each with different portions of the composition interacting with the source material.
The Fall Of Chrome
Book + Cassette edition of 300
Kam Hassah, Brendan Murray, Ralf Wehowsky,
Guillaume Siffert, Riccardo Benassi, Howard Stelzer,
Daniela Cascella, Mattin and Ray Brassier, Marcel Turkowsky,
Yan Jun, Jérôme Noetinger, Joseph Hammer,
Lionel Marchetti, John Olson, Massimiliano Bomba,
Harold Schellinx, Rinus Van Aleebeck, Maurizio Bianchi,