Eisentanz does not just choose the usual presets and default settings using synthesizers and other electronic instruments, but instead dedicates himself to the challenging path of sound research. He elicits a fascinating and archaic sound from the most diverse materials, whether it’s metal, wood, or stone, and thus finds his own interpretation of a timeless yet modern industrial sound. He builds his instruments himself as prototypes made from everyday scrap materials. The variety of noises he is able to produce from scrap iron, barrels, and metal springs is truly spectacular.
On the stage, he lets loose with hammers on the pipes, sets metal plates whirring, and is himself part of a flowing electric current. Eisentanz moves to the groove of a robot-accented sound system in which he himself steers his musical spaceship. All live elements are then woven together and, using meticulously placed microphones, are incorporated into a total concept that whisks the listener away on a journey into the exciting, rhythmic heart of electronic music. This “sound of the underground” will appeal equally to lovers of dark, melancholic, yet also percussive, sound collages, and fans of spherical, conceptual film music, and will delight enthusiasts of art exhibitions and genre-spanning performances anew.
The visual aspect of his performances is likewise an important component of his fundamental concept. Thus, abstract visuals, animated computer streams, and futuristic processes are displayed on the monitors. He also plays a live scoring to an old surrealist silent film from 1928. Eisentanz has performed his challenging music at important locations around the world. He is a cosmopolitan who follows his own rules and does not fit in any musical pigeon hole. With somnambulistic openness, Eisentanz falls upon curious ears even after quarter of a century of sound Technology.
S H O WEisentanz plays different shows with a duration of up to 90 minutes. In his shows he presents some of his self-made instruments. If he plays in Europe, he brings the bigger instruments on stage. If he plays in Asia or the USA, he brings some smaller instruments and buys different materials on site. Mostly he finds what he needs in Do-It-Yourself stores like Home Depot or OBI.
Eisentanz also sets music to a 1928 surrealist silent film by Germaine Dulac, live on stage. The scoring takes 21 minutes and is a part of each show
I N S T R U M E N T S
S H N I C K S H N A C K Metal closure of unknown origin. Generates clicking and snapping noises.
M E T A L B O D Y D R U MTwo aluminum plates mounted on the legs and metal angles fixed on arms are each equipped with a microphone which then passes through various electronic effects.
M E T A L S P R I N G S Two compression springs and a car shock absorber spring are mounted on a wooden box. The box serves as a resonance chamber and creates sustained metal sounds.
H O T S T E A MCold water in a hot pan. This creates a well known hissing noise.
M E T A L T U B EMetal tube of unknown origin. Since the tube is slightly curved, it has two detuned pitches.
T U B E2.4 m long plastic pipe. Playable with a timbal stick, tunable in a water filled bucket. Sounds deep and warm.
S H R O T O P H O NVarious discordant tuned metal tubes which are suspended over a carrier on a chain. Not only the tubes, but also the chain and the support beams are audible.
B A R R E L V O I C EPlastic barrel in which I speak through a tube. Also playable with a timbal stick. The barrel has a second hole on which a metal tube is standing. Hitting this tube generates a very high tone.
© 2006 Ng-Productions