Biertel vor drei - Ein Suffgespräch
über Kunstproduktion in München
(nachgesprochen von unseren Müttern)
(Quarter to Three - a booze conversation about art production in Munich (repeated
by our mothers)) (2020)
A radio play by and with Martin Krejci, Thomas Glatz, Sigi Wiedemann, Florian A. Betz + Florian Schenkel - Soundtrack by Christian Nothaft
published by Volxvergnügen as a cassetten-inlay to the Schrottland Magazine #7.
this is a little byproduct of the recording of "Macht kaputt was euch kaputt macht" for the Demonum -
EP, featuring Florian Schenkel, Thomas Glatz and Gerhard
Lassen.
Cooperation with author Denijen Paulevic
4 texts by refugees in Munich spoken by Paulevic (two of them by himself), music by Christian Nothaft,
made for the webpage arriving-in-munich.de (2016/´18)
KubeNothaft - Album the legendary one and only Album of the short-lived bandproject of Christian Nothaft with Christoph Kube,
named KUBENOTHAFT, released 2001, is now downloadable at
bandcamp
Review Skug2010:
" Sometimes music comes along that sounds as if it had just slipped out of a bottle post, a time hole, without being retro or part of a (taking place, coming) revival. It simply makes itself quasi singularly wide, sometimes has tics and quirks like only children and is also not averse to a certain autism. The '"Arowana Sessions" of the Munich musician Christian Nothaft, created between 1998 and 2010, fall exactly into these categories, only to fall right back out of it. Basically we hear midi files, put together with Cubase and the titular cheap sound card Arowana. Actually a terrain between 8bit and Atari sound that seems to have been grazed long ago. Only that all this doesn't play a role here at all (and if, then as what must remain outside). Christian Nothaft calls his tracks "E-Metal" at one point in the booklet and leaves open what this "E" might stand for. Indications between "seriousness", "electronics", "ecstasy", "excess", "deceleration" there are enough in the pieces that swing back and forth between
dancefloor and minimal. But also "Metal" cannot be explained so simply. Brachial and hard may be the idea behind it, but why are we dealing with "string quartets", pianos and other classical instruments, and less with down-tuned strangle guitars? Reading metal as a radical form of an avant-garde that has long since left rock idioms behind with its ears open in all directions might be the key here as well. However, less as a simple translation mechanism (for example into said "string quartets"), but as a transformation into the possibilities and limitations of a cheap sound card. It is simply (and as simply as effectively) about software as an instrument. About the already often tackled undertaking of a self-playing music. What distinguishes "Arowana Session" from similar undertakings, however, is a kind of serious cheesiness of the sounds, which sometimes remind one of the always somewhat eerie and whimsical sounds of old music machines and music boxes." (Didi Neidhart)
The idea was to do a conventional sounding piece of music with a classicistic appeal,
without using classical academic methods; hence the title.
It seemed doable, because i did not want it to be perfectly,
i wanted it to have cracks and rough edges. Superficially it is
conventionally, more or less, concerning the arrangement of the
move ments (fast - slow - fast) and emphasis on melody and harmony.
The quartet has been composed in 1996. 2007 it was revised completely,
especially the 1. movement got expanded, and a demorecording was
made with virtual instruments.
the piece is not yet performed.
