Jacques Gaspard Biberkopf works within the paradoxical relationship between club music and art music. Assembling a collage spanning a vast range of influenses from dark ecology, sound studies, architecture, media theory, existentialist movements, post-dramatic theatre, the work of Ryan Trecartin, grime, musique concrète and more, Biberkopf doesn’t miss a chance to provoke.
J. G. Biberkopf’s music spans club, theatre and digital radio contexts. His recent first EP, titled Ecology, launched the new Knives label created by Kuedo and Joe Shakespeare of Berlin's Motto Books. From cyber ambience and slamming rhythmic constructions, to instant trails of web-filtered grime and beatless studies of net phenomenology, Biberkopf's first release was intended as a field trip into the representations of nature that emerge from the social media scape. The resulting experience is oddly romantic, stripped of its tangibility yet with a synthetic vitality. In his own words, Biberkopf was intrigued by an oddly “naïve idea of nature that seemed strikingly prevalent in my social environment. I was curious to know how these simulations of Nature work in digital media, how do we do experience these simulated materials”.
The chosen title of his first EP reflects more broadly Biberkopf’s overall musical practice, namely the urge to make music sound as a “self-sufficient” ecology that cannot be traced back to him as a creator, but that rather seems to originate from an actual landscape. In this vein, he works intensively with aural signifiers, taking sounds that are eminent in certain collective consciousness, and noises that work as signs or memes, to explore the semiotics of sound.