Jan Van Den Dobbelsteen

October 2, 2018

Jan Van Den Dobbelsteen

11 questions to Jan Van Den Dobbelsteen over e-mail, about his LP Kringloop / New Adventures.
Can you tell me, in your own words; what am I listening to when I listen to Kringloop / New Adventures?
Constructing a music machine inspired from musical automata, self playing instruments. Music boxes, barrel and street-organs, automatic mechanical pneumatic organs. Self playing ensemble of bells. Electromechanical random clicking and tinkle. No virtuosity or individual genius. Automated musical bells generates the sounds and motion in the performance and produce richly-textured sounds and jingle while there is no need for a composer or performer.
Jingle tinkle jangle chink clang clank
Jingle tinkle
Tinkle jingle
Rattle jingle strum jangle sputter clash
Clatter clang clank patter rattle jingle
Tinkle jingle clank jangle chink clang
Clink chink tinkle jangle ding a ling ring ding 
Ping chime tintinnabulation
Clink chink tinkle ring ding ping ringing chime 
Jingle bell
Toll peal rumble grumble carillion
Is this a recording of a sound instalation?
Is this a recording of a machine?
More or less, it’s a string of little bells driven by a arduino and electromagnetic clapper. Clicking against the bells. It’s programmed/coded so that the clicking is random. Time as a musical structure.
Are both sides of the record recordings of the same machine?
Yes indeed.
Do you see this machine as a musical instrument?
If you make a self-playing musical instrument (so: an instrument that doesn’t need a player/a person) does this make the music less personal?
Should music not be about the player but about the sound? 
Indeed this musical instrument/machine has no human player but a robot, the arduino. It’s about the player and the sound/music. It’s especially made for this record-project and not for a live setting, stage, concert or installation.
Do you think that one listens to a record in a different way than one listens to an installation?
Sometimes the record is the installation. But yes listening to a record is completely something else than listening ‘sound’ in a installation.
Is a record more abstract, more open to interpretation, and is that a good thing? 
It’s never per se abstract and not good or bad.
Do you see this as a conceptual record? 
All my work is conceptual.
Do you see this as a minimal record? 
Sort of minimal you could say (‘Vexations’ by Satie or the works of C.C.Hennix for example). 

– Joeri Bruyninckx
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