BeginningAfter more than ten years of making music with turntables, tapes and loops the swiss based musician, artist, performer and architect Christoph Hess started in 1998 the project Strotter Inst. to concentrate just on the manipulation of turntables not using any records or sounds made by someone or something else. 
 
 NameThe „Strotter“ in the decade before World War II were fishing in the canalisation for stocked fat to sell it to soapcompanies. As they were standing on the edge of society today Strotter Inst. stands on the edge of art and music, working with stuff thrown away by others. 
 
 Strotter Inst.rumentThe anacronistic machineries have dual roles as objects and as instruments. The first live impact is as installations, then the sounds start to grab the listeners' attention. The auditive level surpasses the visual one. Therefore, the optical comprehension of how the sound is generated plays an important role. Hardly using sounds from LP's - if so, they are cut or scotched – the main source of sound are the prepared pick-ups (i.e. sewing needles or strings instead of the diamond or the extended use of rubber bands). The treatment involves the unclean nature of the sounds as part of the music. Besides the work as a musician, Strotter Inst. is creating sound objects and installations out of turntables. The abbreviation "Inst." can both mean "instrument" or "installation".  
 
 Strotter Inst.allationThe anacronistic machineries have dual roles as instruments and as objects. The abbreviation "Inst." can both mean "instrument" or "installation". The objects and installations are putting the focal point on the static presence of the turntables. Not the playing them, but their own movement and their kind of operating define the object. A second theme is creating sounds out of the conditions of the turntables and the material or shape of the records. The optical comprehension of how the sound is generated gets more and more important. The turntable is not just moving, it’s in movement itself. (The turntable gets his honour, not the dj!) If used in the insatllations, the records do not just reproduce, they are the source themselves (The wholesales article is reborn as an original)  
 
 Strotter Inst LiveLive, Strotter Inst. is generating dense sound- and rhythmstructures by using five modified and manipulated lenco-turntables and various cut or scotched records. The music ranges from a low-fi rumble changing into concrete clicks and scrapes, followed by epic drones and multilayered broken beats to fall back into tricky bass-meditations. The anacronistic machineries have dual roles as objects and as instruments. The first live impact is as installations, then the sounds start to grab the listeners' attention. The auditive level surpasses the visual one. Therefore, the optical comprehension of how the sound is generated plays an important role. In spite or probably because of the analogue creation the structures produce a contemporary and accurate athmosphere in space and time. Strotter Inst. prefers to play in the middle of the audience. The installation is set up especially for each room. Except for the PA, Strotter Inst. brings along all the material he uses. The basic structures for every gig are noted. The set is adapted for each rooms conditions and depends upon the uncertain behaviour of the machines. So each live appearence becomes an acoustic original.  
 
 IdeaThe work is based on the „Strategie des Zurückbleibens“: which means observe the ideas of avantgarde, find out what is contemporary, what is relevant, what is redundant and what is just ridiculous. Finally try to do the same by anachronistic techniques while people are blended by hipness and the possibilities of new tools. 
 
 SoundWith five old manipulated Lenco turntables Strotter Inst. creats polymorph sound- and rhythmstructures. Inspite or probably because of the analogue sources the structures produce a contemporary and accurate athmosphere in space and time – somewhere between noise, bruitism, beat and meditative soundscapes. 
 
 VisualLive or in turntable installations the work of Strotter Inst. is extended with the visual aspect of recognising the polytrhythmic change of sound by eye. The anachronistic objects, thrown away from others, and their installational use extend the acoustic level with a visual aspect, so „Inst.“ is the abbriviation either for instrument or for installation. In the installational work the Lenco turntable are combined with light and other relicts of plastic, film and so on. But all movements and sounds results through the turntable itself or by the manipulated needle.  
 
 SpaceSpace is not an architectural phenomenon, it is the compulsion to define yourself. That’s what Strotter Inst. wants to withdraw while art - tired and bloated - is dancing with the successors of Officiers Dances. 
 
 the first LPIn 2001 the first LP by Strotter Inst. called „Schlepper“ came out . The 180 gr. vinyl with engravings and writings in an embossed cover is a „Bauer im Anzug Produktion“. The three tracks were recorded at Wassergasse with the technical help of Sürü aka Vision Torn Apart and mastered at combat shock by STR aka DJ Killroy and finally cut at Vinylium in Grenchen (CH). The engravings were made by legendary Anja Sitter. 
 
 the first cd - the first full lenght Strotter Inst. CD is called „Monstranz“. The concept album offers a journey through the audible world of Strotter Inst. All sounds are again generated by manipulated and modifed Lenco-turntables without the use of any repared samples. The CD starts with a low-fi-rumple to change into concrete clicks and scrapes followed by epic drones, multilayered broken beats to fall back in tricky bass-meditations. The bridge between the archaic and the contemporary is also represented in the concept of the CD cover: The first track is embossed in the digipack – only playable on a turntable and the last track can only be downloaded from the net. Inbetween the aforementioned two tracks, eleven tracks are arranged around a central 33-minutes long polyrhythmic Strotter Inst. composition. recorded at the Stalden by the help of Sürü, mixed and mastered together with deadbrain Adi, cd-covertrack was done under th ehelp of Flo, artwork by Mich/Hess, the CD came out at everestrecords.ch  
 
 the first 7"the tracks on "Anna/Anna" are more atmospheric than past works and at times resemble field recordings of "lurching" frogs. The listener is met with a single black 7" record(with no labels) in a clear sleeve. Once the record has been removed, the artwork and liner notes(which double as a map to instruct the listener on how to play the record) are revealed and can only be read though the clear sleeve. The tracks (two per side) play inside out and outside in ending in the center of the record in the same locked groove. recorded at the Stalden by the help of Sürü, mixed and mastered together with caliberclub Adi, cover artwork by Hess, the single came out at publicguilt.com run by cool quy J.R. Fritsch. 
 
 the second CD"Minenhund" (which loosely translates as "Miner Dogs" is the latest work from Strotter Inst. (aka Switzerland’s Christoph Hess.) Hess creates music through the use of old, modified, Lenco turntables. Rubber bands are stretched and plucked by the stylus, dubplates have tape affixed in patterns to create textural rhythms, electrical current is sent via live wires to the needle to create pulsing feedback. These sounds are then manipulated by Hess through effects pedals to create dense sound structures, looping rhythms and multilayered broken beats. For "Minenhund," Hess also introduced and manipulated sounds from other records, primarily spoken-word records purchased cheaply from second-hand stores. The music of Strotter Inst. has more in common with the anti-electronica of Pan Sonic or the early minimalism of Steve Reich, than to other experimental turntablists like eRikm, Philip Jeck or Christian Marclay. Hess’ roots are not in improvised music, but in industrial culture, the electronic avantgarde and electro-acoustic composition. The packaging for this release features black and white ink on recycled chipbard (printed by Portland's Stumptown Printers.) The two inner pockets contain the disc on one side and a foldout poster on the opposite side. "Minenhund" is co.release between PublicGuilt (US) and Hinterzimmern (CH). 
 
 the first 10"Bolzplatz – a green field, a place somewhere behind an old industrial building, beside an acher, in the backyard of an agglo. No-man’s-land for kids skipping school, to kick, move, run, play and foul. Near darkness for dealers, bored teenagers, village-youth with their mopeds. Everything is in its own rhythm – in the grass, the puddles, on broken asphalt, under clear sky. Some cranes in the background, fences, a cornfield. On the new release “Bolzplatz” at Everstrecords Strotter Inst. is generating his typical dense rhythm-structures. This time a little bit quicker, more complex and multilayered. Dry klicks, scratchy noises underlayed by broken basses. Pictures of a construction-place or is it a green field on a rainy day? Four tracks on a 10”, one track each side at 33rpm and two others in a different groove at 45rpm. Or are there eight tracks in various speed? The sound in the head of a street-worker.  
 
 Titel-Archive2015
#136 „Schleimer“
#135 „Muckefuck“
#134 „Vorschuss“
#133 „Talschaft“
#132 „Kleinvieh“
#131 „Umschluss“
#130 „Innereien“
#129 „Zwingburg“
#128 „Windhauch“
#127 „Bleikolik"
2014
#126 „Bannbulle“
#125 „Pfropfung“
#124 „Pottasche“
#123 „Mahlstrom“
#122 „Hanswurst“
#121 „Schnaufer"
#120 „Qualzucht“
#119 „Blaupause“
#118 „Drillinge“
#117 „Scheintot“
#116 „Altrausch“
#115 „Zwillinge“
2013
#114 „Missernte“
#113 „Schaubude“
#112 „Treibholz“
#111 „Trossbube“
#110 „Turmrater“
#109 „Sparadrap“
#108 „Nachtmahr“
#107 „Aufhocker“
#106 „Kienspahn“
#105 „Waberlohe“
#104 „Erbschaft“
#103 „Schrapper“
#102 „Abendlohe“
#101 „Trappgang“
#100 „Brachland“
#99 „Halsgeige“
#98 „Parkinson“
2012
#97 „Tontauben“
#96 „Selbander“
#95 „Widerling“
#94 „Tieflader“
#93 „Ackergaul“
#92 „Anomalien“
#91 „Keimserie“
#90 „Kuhreigen“
#89 „Tafelzier“
#88 „Nachnahme“
#87 „Sandstatt“
#86 „Wendehals“
2011
#85 „Kasematte“
#84 „Omophagen“
#83 „Oegishelm“
#82 „Ahasveros“
#81 „Brachland“
#80 „Hasardeur“
#79 „Spleisser“
#78 „Passopfer“
#77 „Hagestolz“
2010
#76 „Klageweib“
#75 „Flotzmaul“
#74 „Leibeigen“
#73 „Katafalck”
#72 „Quaksalbe”
#71 „Lustmolch“
2009
#70 „Fangfalle“
#69 „Bolzplatz“
#68 „Querulant“
#67 „Minenhund“
#66 „Huntslauf“
#65 „Wallfahrt“
#64 „Pellerine“
#63 „Windhunde“
2008
#62 „Nacktmull“
#61“Flachmann“
#60„Potlatsch“
#59„Essentzug“
2007
#58„Fangfalle“
#57 „Samenperl“
#56 „Rutengang“
#55 „Reiseflor“
#54 „Landnahme“
#53 „Geissbock“
#52 „Leerstand“
#51 „Spaltpilz“
#50 „Kuhhandel“
#49 „Prahlhans“
#48 „Kapuziner“
#47 „Nebochant“
#46 „Schwarten“
#45 „Unschlitt“
#44 „Nachbrand“
#43 „Wendehals“
#42 „¿Cabaret?“
#41 „Schultern“
2006
#40 „Kraftwerk“
#39 „Kaschemme“
#38 „Schatulle“
#37 „Sauerampf“
#36 „Bodensatz“
#35 „Tafelzier“
#34 „Partisane“
#33 „Volkerfe“
#32 „Verhehler“
#31 „Ausserdir“
#30 „Botschaft“
#29 „Halimasch“
#28 „Leitbache“
2005
#27 „Schredder“
#26 „Leckstein“
#25 „Krakeeler“
#24 „Schrammer“
#23 „Gebresten“
#22 „Scherbett“
#21 „Fallsucht“
#20 „Am_Un_Ort“
#19 „Monstranz“
2004
#18 „Bruchfeld“
#17 „Widerbart“
#16 „Unterflur“
#15 „Schlehmil“
#14 „Waschkaue“
2003
#13 „Scharbock“
2002
#12 „Schrobben“
#11 „Urballett“
#10 „Knechtung“
#09 „Mischpoke“
2001
#08 „Gratwaten“
#07 „Schrubben“
2000
#06 „Schlepper“
#05 „Moderamen“
#04 „Rumpfteil“
1999
#03 „Vergessen“
#02 „Kanalgeck“
#01 „Schrobben“