................. thewatchfulear (2010)........................................................................................................................................................

So after such a tranquil day it seemed fitting to listen to the new Noid / Taku Unami disc again . The CD has the typically awkward name of ? + : * and is a recent release on Ryu Hankil’s excellent The Manual label from Korea...

... The thing is, it isn’t really. It struck me after listening to this a few times that ? + : * is actually one of the most straight-down-the-line fluid improvised releases that Taku Unami has been involved with. What throws you is the instrumentation, that unmusical mechanical drilling. The sounds here sound unlike the instrumentation we have come to associate with improvised music, be it of an electroacoustic variety or not, but the way they are used is actually not that different to a traditional improv session. Sounds are allowed to run, with others interacting with them, the two musicians stop and start playing in tussles with each other, there are tense momentary silences and other sections of all out noise. These descriptions could be applied to a Derek Bailey duo just as easily. What throws us as listeners is the choice of sonic palette used.
So this is actually a really engaging recording, that, if you are able to accept the sounds we hear as just as musical, or potentially enjoyable as any other pulls the listener along nicely. Although the sounds seem to not change much across the entire album they actually do. There is plenty of subtlety there, good use of sudden changes in dynamic and often the ambiguity over who is playing what adds a further level of intrigue. The music is conversational though, a discussion between two sensitive musicians using slightly more unusual methods to carry it out. Though really when we think about it, is playing a cello with a fan any more o than playing it with bow? Is a big hollow wooden ox not as suitable for percussive sounds as it is tonal? Maybe its just our training through music’s history that leads us to think of one way of playing as right and another as wrong. The same could be said when relating ? + : * to other improvised music. So not too many improv records sound like they were made using closely miked bits of old clockwork, but is it so necessary to focus on this surface element, when the real music comes through the way the sounds are allowed to engage with each other to become a third entity again...

richard pinnell

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Elke Tschaikner was producing a very nice radio portrait about me, that was broadcasted in january 2008 and can be re-listened here:
zeitton portait about noid.mp3 (in german)

About my CD "you're not here" you can find a feature and an interview on Jez Riley's bologspot
here a little excerpt:

[...] Throughout the main 65 minute composition it's possible to experience that all too rare thing in field recording, having a music drift in and out of ones conscious perception. In this way noid has managed to produce a work that does indeed retain something of an architectural presence, a work that can be listened to closely or can mingle in with the ambient sounds of our surroundings, wrong footing our perception of what we hear.
Of course all of the ‘empty’ spaces recorded are far from silent and like all good field recordings this cd allows us to re-listen and to experience aspects of these environments that one can often filter out.
‘you’re not here’ is essential listening. [...]

more critics:

........................... freistil #17 (february 2008) ......................................................................................................................

NOID "you’re not here"

a composition of empty performance/rehearsal rooms - as far as possible no sounds should be produced inside, hibari music #12

1919 schrieb Erwin Schulhof mit „in futurum“ ein Klavierstück, das aus Pausen besteht. Nur an zwei Stellen, in der Mitte und am Ende, blicken jeweils zwei Notenköpfe mit traurigen Gesichtern aus dem Notensystem. 36 Jahre später demonstrierte John Cage mit  „4’33“” seine Auffassung von Stille.
Während Schulhof mit der Tonverweigerung seinen Schock über den 1. Weltkrieg zum Ausdruck brachte und Cage die Aufmerksamkeit auf die umgebenden Umweltgeräusche lenkte, führt Arnold Haberl aka Noid mit „a composition of empty performance/rehearsal rooms“ eine weitere Form von Stille ein: den Klang leerer Proben- und Aufführungsräume.
Aufs erste Hören findet sich auf „you’re not here“ nichts. Beinahe nichts. Ab und zu blitzt etwas auf, doch rasch ist wieder vergessen, dass da eine CD im Player läuft. Darin liegt die Faszination dieser Aufnahmen, die in den Jahren 2002–06 in 16 Räumen in Wien, Lissabon, New York und Nickelsdorf entstanden sind. Im Kopf der Zuhörer entstehen Räume, in denen normalerweise Musik aufgeführt wird, ohne dass diese erklingt. Bei manchen werden Orte wie Jazzgalerie Nickelsdorf oder WUK möglicherweise Erinnerungen an dort Aufgeführtes hervorrufen, zusätzlich hat Noid zwischen den einzelnen (nicht verortbaren) Räumen längere Pausen eingefügt, die wiederum aktuelle Klänge der Umgebung in die Komposition einfließen lassen – wie Echos auf Ecos „offenes Kunstwerk“ inspiriert die Komposition die Zuhörer zum aktiven Mitgestalten des Gehörten, das jedesmal neu und anders tönt.
In einigen der aufgenommenen Räume scheint die darin gespielte Musik noch lebendig zu sein, und so drängt sich noch eine Geschichte auf, die Burkhard Stangl in seiner Dissertation erzählt:
„Im 15. Jahrhundert ließ Schah Abbas den Palast Ali-Qapu in Isfahan bauen. Der Musikraum des Palastes (ca 10 x 10 m mit Kuppel) bestand außen aus Ziegeln und hatte eine zweite Schale aus Holz mit Nischen und Öffnungen, deren Formen man von Gitarre, Laute etc. kennt. Nach dem Musizieren – so die Sage – verließen die Musiker den Raum, der dann vom Schah und seinem Harem betreten wurde, die nunmehr ungestört der Musik lauschen konnten.“ – Mehr als nur interessant!

Cordula Boesze

.......................................................................................... bagatellen ....................................................................................

noid "you’re not here"
hibari #12

As best I understand it, Noid (Arnold Haberl—I do wish he’d lose this nom) has recorded sound in various empty rooms, emptied these tapes of a certain amount of unwanted noise (which is collected in the one-minute opening track), then layered the results into a laminated void. I love it. “You’re Not Here”, a kind of shadow image of “I Am Sitting In A Room”, with only the “resonant frequencies” left to be heard, sans obvious input. Imagine several photographic transparencies of different interiors laid atop one another. You hear presumably external sounds, vehicles, birds, osmosed through the walls, reverberating faintly within the space, but that’s about all save for the odd bit of clatter and, at one point, some tapping, possibly on a drum, a drip or two. Though the bulk of the disc is comprised of one 65-minute cut, Noid takes a cleaver to it at several points, abruptly and violently lopping off the thrum with a loud shearing sound. This acts to remove any sense of comfort or meditative aspect though as the piece rumbles on, those cuts become less and less abrasive. Around the 45-minute mark, the “rooms” disappear almost entirely for a while and when the sound resurfaces, it’s virtually vibrant, a steady, thick not-quite-hum adorned with a bang now and then. It’s a beautiful piece with a good balance of “real world” and artifice and enough of an edge to keep it from being too soporific. My personal favorite of this bunch as far as pure listening pleasure goes.

Brian Olewnick

........... THE WIRE, June 2006 .......................................................................................................................................................

Arnold Haberl "ausflug ins gruene"
KLANGGALERIE 7"

This Austrian cellist has worked with a variety of Improv outfits, and has released CD's under the Noid sobriquet, but his first vinyl is only just out and it's choice. It's all done on strings, but mixes recognisable tones with others that are far from the instrument's natural voice. One side sounds almost as though Haberl is trying to saw his way out of a hippno's stomach or some damn thing. I mean, if those gurgles aren't hippno-digestion motifs, what the hell are they? The other side's a lot more like cellists being thrown over a parapet in slow motion. Hard to pick a fave.

................................................................................ BBC-online .......................................................................................................
...
Monodigmen is conceptually closer to fine art than popular music, there's a strong sense of each piece being an experiment in process and possibility: the nature of the research is laid bare in the listening and the results are there for the audience to discover and interpret. Musically, there are shades both of techno's locked grooves and of Steve Reich and Phillip Glass 's minimalism _though it's only the repetition which triggers this association, the 'sample' might just as well be lifted from a Tom Waits song. Haberl mixes an intensity verging on sadism with humour to create challenging, but fascinating music.

Colin Buttimer

.............. onefinalnote ......................................................................................................................................................................
...
Vienna’s Arnold Haberl—who performs as Noid—and Chicago’s Fred Lonberg-Holm have created impressive documents by adopting two simple, yet expressive strategies. Noid’s Monodigmen (aRtonal) is more than 73 minutes of repeated loop patterns, creating 13 hypnotic tracks that range from four seconds to twelve-plus minutes. Repeated, close listening exposes the rhythms and patterns in what seems at first to be a monochromic sound. Elsewhere Noid has collaborated with musicians as different as Israeli saxophonist Assif Tsahar and British-Australian violinist Jon Rose, as well as with performance artists and dancers. Mixing the temperament and techniques of minimalism and electro-acoustic music, Noid sounds patterns that are repeated for an extended period of time. Elsewhere, electronic loops would be used to produce this resonance, but he, like several other young experimenters, manages the same feat acoustically. As he says, “when the point comes where I think ‘it’s not possible to play any longer,’ I continue playing. When I reach the point where I think ‘I can play for hours’ I stop.”
...
On Monodigmen, stratagems used to amplify the cello’s woody resonation take many forms. The oddly titled “36,5° celsius”, for instance, reflects that hotter than hell temperature with rubato wood sawing noises that could be made by a boy scout trying to start a fire by rubbing horsehair bow and nylon strings together. “Vacuum” doesn’t reflect its title, however. Instead, nearly twelve minutes of “Flight of the Bumblebee”-like spiccato bowing, using the same seven accented notes in various permutations, finally create corrosive undertonesthat reference a hornpipe or a gigue.

“Herz” reflects the same sort of mesmerizing pattern that appears to have no beginning and no end, although the pitch and tone variations break up the emphasized patterns to such an extent that a beat and specific rhythm emerges from the repetition. This is a method favored by AMM and The Necks. Conversely, “Einsam” is more than ten minutes of infinitesimal squeaking motions that include distant whistles. There are points where the transparent tone almost dissolves into stasis, but minute chirps pulled from string partials near the tuning pegs provide timbre.  Additional secondary overtones come from vibrating a horizontal bow between the strings and from woody echoes of the belly and ribs of the instrument itself. Sometimes pulsation even appears to be emanating from the wood itself.
...
Ken Waxman

................................................................................ Blowup Magazine .............................................................................................................
...
E con questa caparbietà e insistenza su un singolo momento/oggetto sonoro Noid ci inchioda all’ascolto nonostante la lunghezza dell’album: riesce a farlo perché, dopo la prima
manciata di brani, non sappiamo davvero cosa aspettarci oltre. [...] Il tutto esaltato e
ridimensionato grazie a una buona dose di sense of humour, e a una fortissima vitalità che porta Noid ad accanirsi instancabile sullo stesso suono come per eroderlo. E ancora suoni-girandola, giostre accelerate, nenie-giocattolo incantate, vibrazioni insostenibili e ripetute fino a rasentare la nausea, addirittura una strizzatina d’occhio al glitch con il violoncello che sembra mimare il suono dei cd che saltano. Album così ricchi d’idee e – soprattutto - di musica non se ne trovano spesso.

Daniela Cascella, Blow Up #77, October 2004

............. bagatellen ...........................................................................................................................................................................................

Cellist Noid (Arnold Haberl) takes an interesting approach to his solo improvisations here, combing a kind of minimalist-derived structure to a very rough and visceral attack, resulting in what might be thought of as a cellistic (!) equivalent to music like that of Charlemagne Palestine where mirage-like details emerge from the melding of repetition with chaos. [...] “Monodigmen”, I found, grew on me the more I listened and repays close attention. Its range may be limited, but Noid teases out some pretty fascinating tufts of ideas from his obsession.

Brian Olewnick

................................................................................Evolver..................................................................................................................................
...
Selten hat jemand solch unterschiedliche Klänge aus einem einzigen Instrument herausgeholt, selten sich so intensiv mit seinem Handwerkszeug beschäftigt.
...
Walter Robotka

................................................................................................................................................................Metamkine .............................................

Noid - Arnold Haberl, violoncelle solo. Un jeu sur la répétition, la prise de son où le micro est à même l'instrument Séquences de drone ou de bouclage sonnant parfois comme un disque rayé ou en fin de plage. On rentre dans la matière de l'instrument et cela reste purement acoustique.

Jerome Noetinger

...................................Jazzlive................................................................................................................................................................................

Noid (Arnold Haberl) erzählte in seinen "monodigmen" die schöne Geschichte von der Kunst der Wiederholung, von sich verändernder Wahrnehmung und unausweichlicher Abweichung, ganz in der Tradition von Thomas Bernhard, Morton Feldman und The Necks. ...

felix (25. Nickelsdorfer Konfrontationen 23.-25.7.2004)

....................................................................................... paristransatlantic ...........................................................................................................
...
Monodigmen is the work of Austrian cellist Arnold Haberl, aka Noid, and continues a line of research into extreme minimalism. [...] you get as much out of this album as you're prepared to put in: as musique d'ameublement this will drive you crazy, but concentrate intently and it will fascinate and reward.

Dan Warburton

..................................................................................................................................Der Standard.......................................................................
...
Der Wiener Cellist Arnold Haberl hingegen zwirbelte ein "Hummelflug"-nahes Initialmotiv eine Viertelstunde lang in den Raum - ohne jede Entwicklung, allein jene Veränderungen in Rhythmik und Obertonspektrum zulassend, die die Imperfektion der menschlichen Physis - etwa in der krampfenden Hand - erzwang: eine faszinierende Reise in den Mikrokosmos unter der Oberfläche des scheinbar Immergleichen.
....
Andreas Felber (DER STANDARD, Printausgabe, 27.7.2004)

...........................................................Skug ...........................................................................................................................................................
...
Spielfehler und Hörfehler sind somit Teil der Komposition, deren Arbeit vor allem in der Auswahl des Loops liegt, die sich zwischen halluzinierenden Sinustönen, Melodiepartikeln und geräuschreichem Scheppern bewegen. Somit entsteht zwischen Hörer und Spieler der ständig verhandelbare Raum, was jetzt eigentlich zu hören ist.

skug - 59 | Christian König

........ Brainwashed.................................................................................................................................................................................................
...
Part of what makes Arnold Haberl's output as Noid so fascinating is the way the Austrian cellist moves beyond a banal, deconstructivist treatment of his playing and into ideas for composition.
...
Andrew Culler

......................................................................................................................SPLENDIDMAGAZINE.................................................................
...
Most sections feature a workmanlike repetition of the same few notes, pounded out in test lab fashion; I presume the intended effect is to deconstruct the notes, or even the sounds themselves, although the idea could also be to put the listener into a kind of heightened audio coma.
...
Justin Kownacki

...........................................................Kindamuzik.................................................................................................................................................
...
Het loop-karakter, dat zijn voorlopige hoogtepunt kent in hedendaagse electronische muziek, wordt hier als compositie- en performance-strategie voor de cello gebruikt. Patronen en zich schijnbaar eeuwig herhalende bewegingen. Tot je er als luisteraar bij neervalt en je afvraagt waarom de cellist niet hetzelfde lot heeft ondergaan - een vraag zowel uit ergernis als fascinatie.
...
Bas van Heur

............................music unlimited konzertankündigung .....................................................................................................................................
...
am ziel ist noid, auf bürgerlich: arnold haberl, oft schon nach sekundenbruchteilen angelangt. ereignisse nennt er diese mikrostücke, und sie spielen für noid in derselben gewichtsklasse wie die langen, von wiederholungen gekennzeichneten.
...