{"id":71,"date":"2010-10-24T13:50:21","date_gmt":"2010-10-24T13:50:21","guid":{"rendered":"http:\/\/www.wenzelvoice.de\/mumbai\/?p=71"},"modified":"2026-01-13T14:49:05","modified_gmt":"2026-01-13T14:49:05","slug":"cd-reviews","status":"publish","type":"post","link":"http:\/\/www.wenzelvoice.de\/mumbai\/?p=71","title":{"rendered":"REVIEWS"},"content":{"rendered":"\n
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Label\/Mailorder <\/strong>in Kent Ohio United States established 2000<\/p>\n

www.experimedia.net<\/a><\/div>\n
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————————————
<\/strong>Andreas Fellinger
freiStil<\/a><\/strong><\/p>\n

\u201eMumbai ist wie zwei Pole eines Magneten: anziehend und absto\u00dfend zugleich\u201c, erinnert sich die K\u00f6lner Vokalistin Bettina Wenzel an ihr halbes Jahr in der indischen 18-Millionen-Einwohner-Stadt, genauer in deren Stadtviertel Bandra. Die Kunststiftung Nordrhein-Westfalen und das Goethe-Institut hatten ihr dieses Arbeitsstipendium erm\u00f6glicht. Wenzel revanchiert sich f\u00fcr die Einladung mit einem akustischen Tagebuch. Einem Tagebuch, das allerdings nicht linear erz\u00e4hlt, sondern punktuelle Impressionen festh\u00e4lt, sie mit Fantasie dokumentiert, interpretiert und f\u00fcr vokale Assoziationen verwendet. So finden sich neben ihrer Stimmkunst diverse field recordings, von Stra\u00dfenszenen, \u00f6ffentlich gespielter Musik und verschiedenen Klangobjekten. Dar\u00fcber und dazwischen regiert Wenzels einf\u00fchlsame, in aller Einf\u00fchlsamkeit pr\u00e4gnante Stimme, die sie ab und zu, aber ohne technische Hilfsmittel, ins Unkenntliche moduliert. Tja, und dann finden wir endliche wieder einmal ein Poster einer CD beigelegt, darauf sehen wir eine gezeichnete Skizze der ersten zehn Tage von Bettina Wenzel in Mumbai.<\/p>\n

————————————<\/strong>
Aurelio Cianciotta
Neural<\/a><\/strong><\/p>\n

of city traffic. Glimpses of a background with exotic music and citations that emerge alienated from their original context reassemble during atonal passages into extended audio emergencies that include metallic sounds, squeaks, gloomy lullabies and sighs. In „Mumbai Diary“ Bettina Wenzel shares with us an intimate universe, a deliberately fragmented and „gibberish“ narration, characterized by a precise geographical connotation, yet still very personal in the eccentricity of musical forms, intentionally ever-changing and sharpened by the possibility of intrusive meanings that always lurk in the delicate interweaving of stylistic connections. Here are iterations that, despite the many recordings made by the artist, have been largely rebuilt in a home setting \u2013 Wenzel\u2019s Indian apartment \u2013 as part of the search for a sound quality that in the „road catches“ was merely hinted at. Finally we arrive at an intense sound, with nasal voices in harmony with the equally loud and evocative sounds of the eastern metropolis.<\/p>\n

endliche wieder einmal ein Poster einer CD beigelegt, darauf sehen wir eine gezeichnete Skizze der ersten zehn Tage von Bettina Wenzel in Mumbai.<\/p>\n

————————————<\/strong>
<\/strong>Loop\/Chile<\/strong>
www.loop.cl<\/a><\/p>\n

This is the work of German vocal artist, composer and improviser sound artist Bettina Wenzel which consists in nine pieces created while she was attending as an artist-in-residence in Mumbai, India in 2009. She has studied vocal techniques, contemporary dance and dancetherapy in Europe and has performed her vocal works in Europe, USA and South Asia. On top of the field recordings of street sounds, found objects and religious musical ceremonies Wenzel makes guttural and breathing noises, high tones but also there is space for vocals that reach silence. The vocal sounds are neither composed nor improvised, is the own language of an artist that takes its own risk in her avant-garde proposal. www.gruenrekorder.de<\/a> and www.wenzelvoice.de<\/a><\/div>\n
Guillermo Escudero, January 2011<\/div>\n

————————————<\/strong>
<\/strong>Interview Bettina Wenzel | By Guillermo Escudero
LOOP<\/a><\/strong><\/p>\n

German vocal artist, composer and improviser sound artist Bettina Wenzel works in different fields like performances combining voice, video and objects. Furthermore vocal compositions only and as improviser and performer she has been through out Europe, USA, and India. On \u201cMumbai Diary\u201d, her most recent audio work she has recorded a wide range of sounds that the city give: car engines, people talking and screaming, birds, religious chants, objects and of top of this Wenzel added her vocals works expressed by the different emotions she felt in relation with the sounds. A very deep work indeed.
www.gruenrekorder.de<\/a> and www.wenzelvoice.de<\/a><\/p>\n

Which relation has your vocals with the street sounds on „Mumbai Diary“?<\/em><\/p>\n

\u201cIt\u2019s not so easy to give an answer, because the relation is created in a very intuitive way. By listening to my Mumbai field recordings as manifestations of the outside world, I listen in same time to the sounds of my inside world. Mumbai city was basically an unknown surrounding for me, where I didn\u2019t grow up or where I don\u2019t live normally. That makes that the sounds I hear are sometimes remaining without cognitive explanation. For example the bird sound you can hear in \u2018Mumbai Diary\u2019 is the sound of a bird I\u2019ve never seen. But for me, the sounds that bird makes are more interesting than to know how it looks like. Because it confronts me to a new and fascinating world that makes me act and react. My vocal sounds are a kind of answer to what I hear. All vocal sounds are based on the emotions that I have at the moment I\u2019m listening to the street sounds. They are recorded separately from the field recordings and consequently based on remembered emotions.\u201d<\/p>\n

Which was the criterion to choose the street sounds during your stay in Mumbai?<\/em><\/p>\n

\u201cI enjoy myself to be in a surrounding, where I can hear very spare and small sounds, getting my ears very sharpened, especially listening to noises coming from the street when I find myself inside a building. i made a lot of recordings of the city from inside my apartment, but those recording where not usable for the CD because they where to distant to represent the listening quality I had in reality. So I decided to produce some typical sounds inside of the apartment itself. I smashed empty plastic bottles \u2013 as I had to do every day \u2013 and recorded the sound, then added the vocal sound. Besides listening to small sounds I like to be overwhelmed by a big street sounds with high intensity as well. In Mumbai I could find and record those full and complex sounds during religious street feasts. Corresponding to this intense sound, I choose during the voice recording session a powerful nasal vocal sound and felt virtually being part of this joyful noise making street. In Mumbai diary you\u2019ll find very in time and small sounds and very powerful sounds as well. The criterion was to give the most diversity of sounds; this diversity is corresponding diversity of the city.\u201d<\/p>\n

How the different places where you have been influenced your vocal works\/performances?<\/em><\/p>\n

\u201cEverywhere I go, I go there with my body and my emotions. All sounds I listen to, provoke a reaction in my body and my mind. This reaction is in my case transformed into vocal sounds. most of the places I went in Mumbai did trigger those reactions in an very intense way. So I recorded the sounds of those places by remembering my emotion later on. In a next step, I recorded the voice in a studio by choosing how to respond to the different sounds from Mumbai places and their special characters. During my 6-month residency in Mumbai, I also developed a vocal performance piece using four fans called \u2018black_fan_quartett.\u2019 in many places -almost everywhere- even in trains; I could listen to sounds of fans. Their shapes. Age and speed where influencing the sound in many ways and inspired me using this diversity for a composition.\u201d<\/p>\n

Which is the vocal work challenge the most?<\/em><\/p>\n

\u201cI think, to get another idea of beauty. For me, vocal sounds have a special beauty- even the \u2018broken\u2019 ones. But only if they are related to an emotion and if that emotional power is then transformed into alternative vocal expression. The most challenging is to continue to search for this quality of voice beyond singing techniques or purely traditional criterions.\u201d Guillermo Escudero \/ January 2011<\/p>\n

————————————<\/strong>
<\/strong>Brian Olewnick
Just outside<\/a><\/strong><\/p>\n

In which Wenzel deploys site recordings from Mumbai which are perfectly enjoyable, ranging from street sounds to musical ceremonies, but insists on threading them with her vocals which, generally speaking, are somewhere in Shelley Hirsch territory, admittedly not a destination I find very appealing. She\u2019s good at what she does, her vocal pyrotechnics impressive I guess (sometimes sounding eerily like a shenai) but the question lingers: why? Why place oneself so prominently into the mix? What have you really added? I could imagine something more along the lines of Pisaro\u2019s „Transparent City“ where the composer\u2019s contributions are deferential to the recorded sounds, in this case, Wenzel\u2019s vocals being just another element in the mix. But here, it\u2019s far too much her, and what she does isn\u2019t all that interesting. Where\u2019s Ami Yoshida when you need her?<\/p>\n

————————————<\/strong>
<\/strong><\/p>\n

Oreshkin Sergey
maeror3.livejournal<\/a><\/strong><\/p>\n

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link<\/a><\/p>\n

————————————<\/strong>
<\/strong>Frans de Waard
VITAL WEEKLY<\/a><\/strong><\/p>\n

[…] The third release using voice is by Bettina Wenzel. She was in Mumbai where she did some field recordings and played some sounds. These are a quite alright, but it eludes me why she wanted to add her abstract use of the voice to these, other than perhaps that just the field recordings and played sounds aren\u2019t the strongest in the world. But the addition of voice however adds an odd ball to these recordings, and doesn\u2019t say much about Mumbai itself. Or maybe after a double CD and a DVD I am just a bit tired of abstract long voice material. Even then it would probably not be thumbs up, but not really down either. […]<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

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