From NoiseWiki
Jump to navigationJump to search



"ORiFiCE" (formerly „Atmen im Atom“) is a noise project driven by Burkhard Jaeger from Germany. He releases his works on different sublabels of HERBAL INTERNATIONAL in Malaysia (Kuala Lumpur) and on ATTENUATION CIRCUIT in Germany (Augsburg): in the majority of cases synthesizer and analog gear improvisations done by hand without any post-production.


Burkhard Jaeger


synthesizer and analog gear


- ATOM HEART NOISE III (2009, as „Atmen im Atom“, Why Not Ltd No. 21 (Sublabel of HERBAL INTERNATIONAL))

Vital Weekly No. 678 to it:

"The art work for this is an A4 photocopied sheet wrapped around a CDR. If you folded the sheet so as to insert it in a jewel case then the cover would be the wrong way around. Doris Boeker gets the credit for this, the text also has the caution that the CDr contains extreme Frequencies and unexpected Dynamic Processes. Well it (Track 1) starts in the bass - with a bubbling sounds (custard?) then slowly and predictably moves up the spectrum. Track two is whistles and hisses and crashes with reverb - as opposed to rhubarb. The other tracks continue in this industrial vein - with the occasional high pitched noises but never more than 22khz (which would be something?) Not that its particularly relevant but the worst/best thing on Audio CDs is fairly fixed high DC offsets - which can in some cases burn out speakers."

Website of Label: www.herbalinternational.tk


- DARING MAUNDER (2010, Theme Park No. 19 (Sublabel of HERBAL INTERNATIONAL))


- FASHIONWEEK (2011, Digital Daylight Distribution on Bandcamp (Sublabel of HERBAL INTERNATIONAL))

Download: www.digitaldaylightdistribution.bandcamp.com/album/fashionweek


- SIGNAL KITCHEN (2011, Attenuation Circuit ACR-1002)

"After several releases on international noise labels, German noisician Orifice introduces fully-fledged noise art to the Attenuation Circuit roster. Two lo-fi improvisation tracks generated March/April 2011 with the only help of analog gear (mainly semi-modular synth-knobbing) on a kitchen table boil sawtooth signals down to noise. No editing, no overdubs, no mastering or any post-production result in a sound that has a very tangible quality, especially on the first track. The direct impact of energy and intensity remains palpable in the colliding textures of noise and signals.

Coming in a delicately water-coloured package reminiscent of Japanese calligraphy, the sound on this short (28-minute) album does not, however, share the negativist philosophy of Japanese noise music, but rather celebrates noise as a joyous form of expression, a vital playfulness articulated through high volume and ecstatic human-machine interfacing: Orifice’s credo “Without signal, no noise” sums up the fundamental listening experience that, beyond a certain threshold level of intensity, the boundaries between musical signal and musical noise become meaningless, and this experience is not restricted to the genre explicitly referred to as ‘noise’, but can be encountered in musics as different as The Stooges’ ‘Fun House’ or free jazz powerplay. Orifice’s approach to improvisation seems related to all of these."

Website of Label: www.wix.com/attenuationcircuit/attenuation-circuit#!__orifice

Vital Weekly No. 800 to it:

"If something has 'no editing, no overdubs, no mastering or any post-production' and is labelled 'noise', then I certainly raise an eyebrow. Two tracks, sixteen and twelve minutes, which perhaps explains my suspicion further. German noise maker Orifice uses analog gear ('mainly semi-modular synth-knobbing') and its sounds like grinding teeth. There is something about the recording which is odd, like it has been recorded with some cheap microphones in front of speakers, rather than using the line out of the mixing board. He apparently doesn't share 'the negativist philosophy of Japanese noise music' (who said it was negative?). The first, longest, piece didn't anything at all for me, but the second was alright, not great either, but it comes without the overall distortion at the beginning, and has a spacious cosmic like sound to it, before leaping back into distortion. Now editing, overdubbing and post-producing could have made a difference, I thought."

kulturterrorismus.de to it:

"Orifice – Signal Kitchen

8. November 2011 | Autor: RaF

In­ten­si­ver Kü­chen­ti­sch­noi­se!

VÖ: 2011 Label: At­te­nua­ti­on Cir­cuit

Genre: Noise For­mat: CD-R

"Auf der Augs­bur­ger Ton­schmie­de At­te­nua­ti­on Cir­cuit tum­meln sich eine Menge in­ter­es­san­ter Künst­ler, wozu auch das Deut­sche Noi­se­pro­jekt Ori­fice zählt, des­sen Sounds auf dem Credo “Wi­thout si­gnal, no noise” ba­sie­ren und an ja­pa­ni­sche Noi­se­he­ro­en wie Merz­bow, Ma­son­na usw. ge­mah­nen.

“Si­gnal Kit­chen” pu­bli­zier­te At­te­nua­ti­on Cir­cuit la­bel­ty­pisch als CD-R, wofür Doris Böker das Co­ver­art­work (in Aqua­rell) ge­stal­te­te, das für der­ar­ti­ge Re­lea­ses sehr far­ben­froh aus­fällt. Bei “Si­gnal Kit­chen” han­delt es sich of­fen­sicht­lich um eine Kon­zeptar­beit, wel­che am Kü­chen­tisch ent­stand, ohne Post-Pro­duk­ti­on aus­kommt und dem Grund­stoff des Noise hul­digt – den Si­gna­len, die Burk­hard Jäger hin­ter Ori­fice haupt­säch­lich mit Reg­ler­ge­schrau­be an se­mi-mo­du­la­ren Syn­ths er­zeug­te. Im Ge­gen­satz zu den de­struk­ti­ven Ver­tre­tern aus Japan ver­steht Ori­fice Noise als freu­di­ge Aus­drucks­form ohne dabei etwas an Dich­te ein­zu­bü­ßen, wes­halb Fans von Ge­sel­len wie Merz­bow, Ma­son­na & Co, aber auch von HNW Ar­tis­ten wie Ptoa­min, Fukte usw. hier un­be­küm­mert zu­grei­fen dür­fen. Wer nach der gro­ben Oh­ren­klat­sche ver­langt, je­doch nicht nach to­ta­ler Mo­no­to­nie, soll­te “Si­gnal Kit­chen” an­tes­ten, das 2 über­lan­ge Krach­col­la­gen of­fe­riert, die auf­grund ihrer In­ten­si­tät über­zeu­gen.


“Si­gnal Kit­chen” von Ori­fice ge­winnt auf kei­nen Fall einen In­no­va­ti­ons­preis, bie­tet aber har­sche Kost, wel­che Kon­su­men­ten von obig ge­nann­ten In­ter­pre­ten de­fi­ni­tiv ver­zückt – meine Emp­feh­lung!"

Bad Alchemy No. 71 to it:

"Burkhard Jaeger feiert als ORIFICE auf 'Signal Kitchen' (ACR 1002,CD-R) in der Gnade seiner späten Geburt noch einmal eine Hochzeitsnacht von Mensch und Maschine, als wär's das erste Mal. Ohne Kondom, Overdubs oder Editing, im lustvoll vibrierenden Übereifer direkt auf dem Küchentisch, knirscht er noiseorgasmisch mit den Zähnen... seines seinerseits erregt bratzelnden, stammelnden, allerkakophonst jaulenden Semimodularsynthies. Die Maschine nimmt's gelassen, sie ist solche Liebhaber gewohnt. Zur allem Nihilismus abholden Attitüde gehört ein freundlich aquarelliertes Cover in Rot und Blau."


- PINKK LLULLABIES (2012, Attenuation Circuit ACR-1015)

"At twice the lenght of its 30-minute predecessor 'Signal Kitchen' (ACR 1002), this latest album by noise artist Orifice offers some surprisingly gentle moments amangst its 13 tracks of wavetable-synth improvisations. Orifice frequently indulges in classical harmonies with a friendly analogue synth sound, only to crush them between grainy shards of oscillators in overdrive. The resulting tensions make it possible to listen out for interesting details instead of just enjoying the sheer sonic force of the noisier parts.

Given the fact that only one instrument is used, the improvisations span a surprising variety of timbres. The sinewave-flavoured sounds of the synthesizer, recorded in a way that deliberately preserves some imperfections of the signal, sometimes resembles guitar feedback, while the repeated use of sounds with a very short attack suggests the idea of a garage-style glockenspiel. Another interesting aspect is the use of repetitive structures, noisy loops that only change rather gradually. Track 9, sounding somewhat like Darth Vader in mortual combat with a heavy-duty vacuum cleaner, is a wonderful example of this rather minimalist approch.

Das neue Album des Noise-Künstlers Orifice ist doppelt so lang wie sein Vorgänger “Signal Kitchen” (ACR 1002), und unter den 13 Tracks dieser 60 Minuten an Improvisationen auf dem Wavetable-Synthesizer verstecken sich einige überraschend zarte Momente. Nicht selten badet Orifice in klassischer Harmonie, nur um sie gleich wieder mit herumfliegenden Krachschrapnellen aus durchdrehenden Oszillatoren zu pulverisieren. Das Spannungsfeld, das dadurch entsteht, erlaubt dem Hörer das konzentrierte Lauschen auf interessante Details ebenso wie die Hingabe an die schiere Energie des Sounds in den krachigeren Passagen."

Website of label: www.wix.com/attenuationcircuit/attenuation-circuit#!__orifice-pinkk

Vital Weekly No. 825 to it:

"Expanding twice in length to its predecessor 'Signal Kitchen' (see Vital Weekly 800), 'Pinkk Llullabies' offers again 'wavetable-synth improvisation' by Burkhard Jaeger. This time there is no mentioning of 'no editing, no overdubs, no mastering or any post-production', but surely that's the case too here. At least it sounds like it. Quite noisy stuff here again, and while the sound is better than on the previous release, the actual content, which is of course what its all about is not better. Thirteen pieces here, shorter than before, but still feedback like noise like stuff. Editing, dubbing and producing are all sadly missed here again."


Radio broadcast:

2011/11/21: "Pulsing Feeder" on FREIES SENDER KOMBINAT, Hamburg (Germany), Program: "Difficult Music to diffucult People" - this Track has been exclusively released only there!!!

2012/01/30: "Signal Kitchen", Track No. 1 on FREIES SENDER KOMBINAT, Hamburg (Germany), Program: "Difficult Music to difficult People".

2012/03/26: 2 Tracks of "Pinkk Llulabies" on FREIES SENDER KOMBINAT, Hamburg (Germany), Program: "Difficult Music to difficult People".


Website of Label: https://www.discogs.com/label/94808-Herbal-International


Website of Label: https://www.discogs.com/label/94808-Herbal-International