ostgut ton旗下live大将Tobias.

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活动结束日期2019年6月6日

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    30支持者 成都市成华区339购物中心B座负一楼Nomad 2019年6月6日 21:00

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发布联系人: Nomad

柏林俱乐部 Berghain 厂牌 Ostgut Ton 旗下

擅长 LIVE 的柏林电子音乐中坚力量

重量级大将制作人 Tobias.

过去的38年里,Tobias. 一直凭借自己的实力征服了欧洲电子音乐场景。去年回归 Ostgut Ton 后,便带来包含12首作品的全长新专「Eyes In The Center」

 

Tobias. 作品的原创性和独特性是不可复制的,

他对音乐百科书式的知识,熟知所有关于音乐制作硬件的运用,按照他想要的方式推动音乐的发展,制造创新、注重细节、聆听感极强的酸性跳舞体验!他独特的现场风格,被很多人模仿,但也仅仅是模仿而已。

 

他的创作历程可追溯到八九十年代,在德国传奇制作人 Frank Farian 的高级工作室里做专业录音师的几年里,Tobias. 接触了更多更为复杂和罕见的音乐,也让他对混音台上的种种了解至深。他对音乐的执着令他快速成长,他知道要如何处理和表达他心中对音乐的想法,因此当他觉得自己准备好时,他的音乐就产生了巨大的影响。之后 Tobias. 便开始全力以赴用本名发行作品: 通过淋漓精致的多种风格现场,在 Acid、Ambient、Techno 之间保持律动性,并尽可能多的展现细节来影响保持对舞池的冲击感。

2006年, 他成立了自己的厂牌 Non Standard Productions, 厂牌理念就像名称所传达的那样, 用于发行他和同僚制作的一些“非常规”的作品。

 

在Tobias. 这几十年的音乐之旅中,他没有停止过创作和发行,不断输出高品质音乐,从未令人失望。并在去年回归大本营后,发表了前文提到过的新 EP <Helium Sessions> 和全长新专 「Eyes In The Center」。

作为专业制作人、录音师、厂牌主理人、现场表演艺术家的他可以说是德国电子文化的标杆,世界各地 Club 不可或缺的音乐人。

Tobias. 了解音乐有自己的一套模式,他知道如何运用各种设备去创作他想要的声音和音乐,因此他既能发展自己,也擅长与其他优秀的音乐人合作。在这么多年里,他虽然对制作电子音乐的任何硬件都了如指,但仍旧忠于 Roland TR-808 鼓机, 并用它去创作、去传播,将心中复杂的音乐结构转化为扣人心弦的编排。

 

Tobias.的 live 演出结合了他的创作,但也经常将其中的元素拆解后重新拼贴,让人既能感受到熟悉的旋律,聆听过程中又激发出新鲜感,带来极致的现场音乐体验,让人们情不自禁的为之着迷。

 

在当今电子音乐场景中,Tobias. 可能是“非常规”的,他不是一个循规蹈矩的音乐人,但作为一个艺术家,他确实让很多人开始循他的规,蹈他的矩。

 

 

Supprot DJs 

孟 aka Azu

蓉铁出行主理人,在钢铁森林里拥有音乐的孟,是真诚、自如的。他以独有的姿态,以Techno的形式美学,通过微妙变化、精致细节去表达自己、表达生命。

 

HAO

沉浸在HAO以Minimal、Techno为基本格局的音乐场域中,在工业感的冷峻表象下,是爱与分享的友好氛围。此外,HAO还创立了独立设计集合品牌“肆合FOUR”。打通电子乐与时装两者之间的连通轨道,探索电子声响在舞池之外的更多可能。

 

 

How does one achieve to become a mainstay in a scene as temporary as electronic music? In the case of Tobias Freund, all the answers are there, yet they will most probably not apply to anybody but him.

 

Sure, it might help to gather encyclopedic knowledge through the years about music ranging from Post Punk to Stockhausen and all points in between (and much beyond), but if you are not able to shape that into a personal artistic vision, it is very likely that your potential audience might prefer the artists your very knowledge consists of. In the works of Tobias Freund, inspirations are more to be suspected than to be pinned down. You feel they must be there. They just have to, if only for lack of better explanations. Still, his works are so original and individual that they have become a part of said knowledge themselves. Nobody else sounds like him, they just try to. He owns his sound.

 

Certainly, it might help if you know what you are doing in terms of creating music. Tobias Freund’s process of learning what you are doing stretches back to 1980. Since then, he worked as engineer in the high-end studio of German producer legend Frank Farian for many years, getting to know everything on the mixing desk you could tweak. And he gathered more analogue hardware than others have plugins installed, and got to know it as well. And when he felt he was ready to become an artist himself, he knew exactly what to do with the ideas he had in mind, and thus his music made an impact right from the very start. Transferring his overground work into underground output, his aliases since the early nineties read like an inventory of German electronic music: Metazone, Zoon, Phobia, and especially Pink Elln. Then he put the full stop behind his first name and started releasing tracks that refined the live approach to his broad variety of music between Acid, Ambient and Techno to reduced but jacking grooves that displayed as much attention to detail as to floor impact and became an integral part of the defining sounds emanating from Germany to rule the clubs worldwide since the turn of the millennium.

 

And it might help as well to extend your abilities to the work with other artists. Tobias Freund already started this as part of the electronic cassette circuit in the 80’s in groups like Von Ese or Hypnobeat, but a decade later his much loved group Sieg Über Die Sonne (with Martin Schopf aka Dandy Jack) graced the clubs with twisted and multi-faceted Techno Pop, and when it went on hiatus two decades later the project nsi. (with Max Loderbauer) and the Non Standard Productions imprint were initiated, to quickly become an institution for groundbreaking explorations in freeform electronic experimentalism. And there is Odd Machine, a joint venture with Ricardo Villalobos and Uwe Schmidt (aka Atom™) in particular, with whom he also forms a live and recording act that puts the weight of their experience into according action. He produced and remixed international stalwarts like Efdemin, Cassy, Ellen Allien, Los Updates, Delano Smith, Margaret Dygas or Aérea Negrot, on seminal labels like Sähkö, Playhouse, Ongaku, Cadenza, Perlon, Logistic, Wagon Repair, Mule Musiq, and, of course, Ostgut Ton. And this is just an excerpt.

 

With Tobias Freund a lot of things fall into place. He knows sound from the inside out, thus he is able to develop his own as well as lend his expertise to others. And even if the studio might be his favourite instrument, he knows so much about any hardware to produce electronic music that he can push the music forward any way he wants to. There is no need to divide his works into avant-garde or club contexts, because he effortlessly merges his whole spectrum into a performance that is all him, transforming the complex textures and gripping rhythms that make his music so fascinating into experiences where listening and dancing are one, and a whole life of music leads to ever new innovations. As it happens. On the spot.

 

Tobias Freund may be non-standard, but he sure set many.

 

 

*进场需年满18岁

*本场演出有暖场DJ,21:00为开门时间

 

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