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  1. Cover of Cover of Adele Rolling in the Deep Nichole 337

                       Video installation, 2016

                       

     

    The work; Cover of Adele Rolling in The Deep Nichole337, is an installation that includes a video on a screen and handwritten music sheets on a stand. The installation refers to a video of a girl on YouTube that goes by the name; Nichole 337, and in particular to a video in where she does an acapella cover of ‘Rolling in the deep’ by Adele. The melody she sings is different from the original, because she sings out of tune and the rhythm is not stable but differentiates within the bars. I perceived her version of the song as an authentic production, because the original song was transformed while it was executed incorrectly. I notated 40 seconds of her by ear in a new score.

    The one of a kind score of Nichole 337, has the title; cover of Adele Rolling In The Deep Acapella Nichole 337, with my name on the place where the name of the composer should be. The score only contains 40 seconds of the cover and is notated with black ink on see through Japanese paper. The notes are cramped in some bars and on some places they are smudged. The same is the case when looking at the lines of text. 

    In the video the artist rehearses the notated lines repeatedly. First with a webcam in a white room, later on the background, glasses, hairdo and movements of the original video are added to the sequence of rehearsals. 

    The video format changes according to the order in which the series is recorded, this means that every time a prior performance ends, another one will be added on in the column below. So the total sum of video’s moves up when there is no space left.  First the cover of Nichole 337 is practiced, but at one point the original score of Adele is practiced to investigate the influence on the way it is sung when returning to the source material.  

    An important component in the process of translating any sounds is that the sound goes from body to body and mutates within every step. The appropriation of any work composed musically can therefore be considered as a new production instead of an uncreative action, on condition that the outcome of this differs sonically and visually.