Si-cut.db + Pole
23rd September 2004, The Spitz
Si-cut.db is Douglas Benford’s musical nom-de-plume, the format of
the name giving a clue to the style of music he produces from the iBook
in front of him tonight. He’s dressed anonymously in dark clothing
and stands head bent, focused on his bright lcd screen. The music is gentle,
mellifluous and crests just above the level of chatter coming from the bar
at the back of the Spitz’s top room. There’s something oddly
muzak-like about the music, with sounds closer to presets than hard-won
textures. The creation of smooth, warm bubbles within which musical structure
and melody gradually become apparent is surely intentional, but it’s
an approach which which risks dismissal because of its subtlety.
Stefan Betke takes to the stage after a short interval. His releases as
Pole have delineated a territory in which dub, glitch, electronica and ambience
meld into a convincing hybrid that acknowledges the dub roots of much contemporary
music-making while exploiting the potential of digital technologies to contribute
to that history. Betke’s engagement is intent and physical: energy
appears to flow from the whole of his body through the tips of his fingers
and into the instruments before him. These instruments comprise a small
mixing desk, a keyboard and a Powerbook, each a different aspect of the
music’s heritage and possibility. One moment he’s crouching
down with the tabletop almost at eye-level, the next he’s playing
melodica into a microphone or pausing to listen.
The music’s defining characteristic – apart from digidub plasticity
- is its acute sense of dynamics. This is experienced both vertically in
the interaction between the crackle and hiss of percussion with the infinite
malleability of bass, and horizontally in the temporal exploration of repetition,
tension and release. Unusually for a laptop performance, it seems as though
the music might disintegrate at any moment - only Betke’s expertise
and intense concentration keeps the music functioning to achieve an almost
baroque-like complexity. Both Si-cut.db and Pole are done no favours by
the graphics displayed on the videoscreen behind them. It’s the all
too familiar clips of skateboarders, silent movies and animation: hideous
in its moribund inanity. It does, however, do some of the audience the unintended
favour of prompting them to close their eyes. The result is a greater concentration
upon the movement of multiple event layers and a strong spatial sensation
of floating past these elements as they move in four dimensions.
One piece is almost shockingly minimal, a brief figure alternating this
way and that for minutes on end. Another sees a melody tiptoe carefully
between big, threatening blocks of bass - Betke knows bass and one track
centres around the foggy, mystical bass sound recognisable from Basic Channel’s
Porter Ricks. Calls for encores prompt Pole to switch from digi-dub to two
and a half tracks of electronica. That final piece is nothing more than
a sketch, almost a failure but welcome as it confirms just how much Stefan
Betke is actively experimenting rather than just running loops.