Relabi, a concept design by John Berndt.
Some biographical notice. John Berndt, the man of Baltimore, who in the 90s as straight-edge, created some really stoned nazi shit on his two-tape attache-folio "John Berndt, Works, 1991-1996", which is quite often heard in the Ciat-Lonbarde woodshop speakers.
Speaking of speakers, I heard a wonderful sound last night, kitty corner, but very near to, the Apple Store, in Shibuya. No, it was not shibuya-kei music a la Cornelius, of the 90s. It was not in front of any brightly lit "kira-kira" store of boots, but rather it was in the darkness, over there, where two security gaurds stand in front of a parking garage?
Back to the John Berndt biography. John Berndt, who in the nineties, started as a freelance, designing fonts for thee olde City of Baltimore web cottage, now leader of "The Berndt Group" (also known to Twig Harper as Blue Man Group), runs a task force of many in designing robust web solutions to cities and aquariums, to name a few. Berndt has a love/hate relationship with certain "creative" 90s softwares, a good example is KAI's power tools:
Over in the dark, last night, where the security gaurds were standing, I heard a pleasant noise, the crackle of a loose connection or perhaps even an ancient Japanese transistor failing. The sound, we agreed was coming from the PA above the gaurds. It seemed to be playing a quiet, and sometimes gonging, ancient new age music. When the music got loud, the PA made a quite loud, quite chaotic crackle like thunder but without the bass, which rang out in the convoluted alleys of Shibuya.
Like a cicada, the "Japanese Gaurded PA" is its own animal (cf. Shintoism, Animism), which the security gaurds allow to sound out, crackly like a cicada scream. That was a wonderful sound.
John Berndt has invented Relabi. Actually point one of the critique here is that ancient caveman and the Mesopotamians also had Relabi. Thus goes a rebuttal that is actually the same for Pauline Oliveros' comment at Oberlin that she "had the first truly improvised music" in 1956. The rebuttal is that cavemen always have had improvised music, under the standard Darwin Lemma that this music was based on imitating the sound of birds and natural things. They also must have used sticks and stones to beat out primitive rhythms, and certain intellectuals, perhaps even straight-edge, would have also emphasized certain anti-rhythms also known in the 90s as Chaos Magick.
Thus Relabi can be defined as a constant and steady slipping of the pulse, resulting in spastic or in California Lingo, "solipsistic", dance pattern in those who are listening. Relabi can be easily created with Computer Music, but it is very hard for a traditional musician to create, they having had at least an elementary education in Rhythm. It is very easy for a bad musician to create, resulting in the type of topsy-turvy revolution similar to Maoist Schools, when students kicked the teachers out.
Relabi is thus a tool for grass-roots, but dramatic revolution, especially in those who are "straight-edge but interesting in druggedness-soundingness, or wobbliness", i.e. long-haired skinheads. Are our youth long-haird skinheads?
Relabi can be simulated in texte, as shown in the previous paragraph.
It is constant revolution/devolution, formally expressed in rhythm, but this could easily extend out to other dimensions such as timbre. My Lutheran Pastor-Elder as a kid, called evolution "devilution". The younger Pastor, however, later said Elder really meant "devolution", and added, "you can masturbate, as long as its not about anyone in particular", which I thought was sound advice.
It's like, you take the wank of 4 on the floor dance/mellow music, and tell it, "now, Zen out, don't think about any one rhythm, you know, loosen up your wank". That's what's planned for John Berndt's world Relabi Dance Tour. The plan, get as famous as 90s Dance Music.
By the way, heard last night from a gay-man, that the Tokyo scene is not where it's at anymore, that it's moved to China, Shanghai. Probably reffering to "Rhythmic Music".
\\-Mr. Prostituto's private motif of sexual tourism.\\
\\-Mr. Prostituto's "private" conversation with Dr. Smoke,\\
\\-Dr. Smoke's comment to the council about Prostituto's philosophy.\\
\\-Sam's comment to the council about Smoke's email.\\
\\-Smoke's action at the center to remedy the haemmorrhage.\\
\\-Smoke's new email: Smokey\\
石吹
せき ふ
バイオグラフィー
PETER ＢＬＡＳＳＥＲ １９７９年 アメリカ コネチカット生まれ。バルチモア在住。
年少からチューバを習う。高校生より、民族楽器を（両親に買ってもらえなかったため、）自分で作り始める。
その後、電子回路を使ったチューニングと音色に無限の可能性に見出し、シンセサイザー・ブランド Ciat-Lonbarde を立ち上げる。
彼の作り出すシンセサイザーは、独特の回路とケースデザインにより、ノード、ラジオ・フィールド、モジュレーションを直感的にコントロールできるのが特徴と言える。
今回の来日にあたり、Rollz-5 ドラムマシン、Tetrazzi Organus シンセ、そして最新のプロダクト、コンピュータ・プログラムとデジタルコントローラシステム CHUBのデモンストレーションとパフォーマンスがスケジュールされている。
Peter B BIO
Peter Blasser, tubist since 4th grade. In high school, unallowed to purchase ethnic instruments, he began making them in the basement out of wood. Later, in college, he discovered electronic circuits, and their possibilities for infinite tunings, infinite timbres. He made a career out of electronic modulations, and making these intangibles touchable through nodes, case flexure, and radio fields. His company: ciat-lonbarde.net, sells these devices to musician around the world. Now, have a seat and watch him demonstrate a few of the instruments. First, the Rollz-5 drum machine, an experiment modeling brain cells in transistors, to make organic rhythms.
Next, Peter will perform a solo on the Tetrazzi Organus, a purveyor of multi-timbres in infinite tunings, as well as deeper and deeper chaos-forms, all controled by the flex of wooden bars, creating a highly organic, humanly-shaped sound.
Finally, Peter will demonstrate his newest invention, based on years of touchable analog design, the CHUB digital squishing device will create equally organic computer music based on human gesture.
