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by Olaf Rupp

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outer-limits Olaf, Having to re-buy some of the items I've already purchased in the past. Unfortunately I cannot get into my old account. However I cannot live without them. Happy to support you regardless.
I'm doing much better these days having been housed now for just over two years. Have a large studio on the top floor of my building with a fantastic view.
Hope you are well. Peace & Love from Oakland, California,
Philip ( JAMES WOOD ) ruff
PS. Cannot access my Facebook account either, working on it.
Andreas Willers
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Andreas Willers Olaf is strong and commited as always!!! Favorite track: NOWHERE.
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jeffplatz Hi Olaf, really great stuff here! We've never met but I do play in Germany from time to time, hopefully we can have a coffee sometime?!! Anyway, all the best and thanks for the inspiration! JP
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NONO 07:16


released December 4, 2020

played and recorded November 2020 by Olaf Rupp
photography by Gérard Boisnel

„Olaf Rupp rettet die Akustikgitarre“ – so könnte die Schlagzeile anlässlich der aktuellsten Solo-Veröffentlichung des deutschen Flitzefingers gerechterweise postulieren. Der wackere Saitentänzer gibt sich in dieser Nahaufnahme als mit allen Wassern gewaschener, aber beileibe nicht abgespülter Fels zeitgenössischer Klangmalerei. Ultrafein, durchwegs dynamisch und voller Entropie tänzelt Rupp durch vier ausladende Versatzstücke tonaler Murmurationen (Eigendefinition des Künstlers) und Beinahe-Liedgut-Seitenhieben, die durch ihre Stimmungsdichte und Fragilität auch dem hartgesottensten Freistilisten eine Träne aus dem Knopfloch der Freude zu zaubern vermögen. Olaf Rupps hochemotionale Auseinandersetzung mit seinem Instrument manifestiert in ihrer rohen authentischen Kraft den einen, selten so gelungenen Versuch, die geplagte akustische Gitarre aus der Reputations-Endstation als Haushaltsgegenstand und Lagerfeuer-Zeitvertreib herauszumanövrieren. Unprätentiöse Virtuosität ohne Angst vor Schönheit. Danke, Olaf!
FREISTIL, (dr. wu)

"For Olaf Rupp, playing solo is an ensemble form like any other. As to his musical philosophy social and musical interaction is an interesting part of improvised music, but nothing more. It’s primarily about the music itself and the spontaneous development of musical ideas, which is just as complex in solo improvisation as in other forms of playing. In an interview with the Austrian magazine Freistil, Rupp said that in solo performance he knew what he had to play, that he only needed his hands and that everything then runs by itself. In groups, the music depended on many factors, he continued. For him the chemistry between the musicians is difficult to assess because the interplay doesn't always work. The larger the group, the greater the share of concepts, rhetoric and dominance. He thinks that it’s not the best ideas that prevail, but those that are presented most skilfully. He himself is rather interested in the spontaneous development of musical ideas, which is why he prefers trios, duos and especially solos.

His latest solo release, NOBEACH, is Olaf Rupp’s bow to Hans Reichel, the late great German guitarist, especially to his albums Bonobo Beach and Coco Bolo Nights (which can also be seen in the titles of the individual pieces). But while Reichel always had a smorgasbord of his often self-made instruments at hand, Rupp limits himself to the electric guitar and effects units. Similar to Reichel, Rupp doesn't care about stylistic boundaries. You can hear wide spatial sound surfaces, percussive tone chains rich in overtones, arpeggios and whistling harmonics, major and minor tones, echoes of Tortoise and Sonic Youth, scraping and scratching noises. It’s like bringing together a philosophy of sonic condensation and piling up sounds in the style of Cecil Taylor and Ornette Coleman with the more open, spacious approach of - say - Bill Frisell and Kenny Wheeler. On the one hand, this is absolutely avant-garde (as in “NOWHERE“) and on the other hand, it’s reminiscent of post rock or Jimi Hendrix’s sound garden, because Rupp does not shy away from tonal harmony and subtle melodies, even if they are strangely alienated (“NOKOKOBOLO“) or buried in noise (“NOVEMBER“). Some of the music does have a disorienting effect, but there’s even a weird ambient music feel to some of the tracks, which has the effect of crawling into the ear almost casually. It’s music that follows the sounds and lets the notes unfold in space.

Rupp’s idea of playing is rich, deep and mysterious; it’s diverse and complex without being “off the wall“. However, it has nothing ordinary about it since it’s interwoven with a supernatural beauty. It seems as if the sounds are carried like a feather in the wind - light and supple they glide up and down. Besides the unpredictability of form, his music is characterised by tenderness, care and clear-sighted passion. And by uncompromising authenticity. Olaf Rupp simply plays life."

Non seulement Olaf Rupp a un grand talent de virtuose de la guitare, mais sa capacité à concevoir et développer des projets et des aventures différentes et pointues mettant en valeur une approche lucide et engagée est surprenante. Je viens de chroniquer une superbe rencontre en trio avec Paul Rogers et Frank Paul Schubert dans Three Stories About Rain Sunlight and the Hidden Soil (Relative Pitch) où sa guitare électrique et les notes finissent par se démantibuler soniquement. Il est capable de tenir un postulat musicalement risqué en fascinant l’auditeur comme dans ses Weird Weapons faussement répétitifs et tournoyants en compagnie du bassiste Joe Williamson et du batteur Tony Buck (Weird Weapons / Emanem – Weird Weapons 2 / Creative Sources CS197cd). Il a plusieurs albums solos à son actif dont deux chez FMP, c’est tout dire. Cet intéressant Close Upsmet en lumière les nuances de ses doigtés – battements aériens propulsant les notes dans l’espace. On entend une architecture approfondie de l’art de la spirale, en tuilages, escaliers, croisements de voutes, effets de perspectives dans ce qui ressemble à un nouveau folklore imaginaire. Ailleurs, l’instrument devient rythme, répétitions obsessionnelles de notes, pulsations arrêtées subitement, crescendos d’accords abstrus, vagues de frappes d’ongles, acrobaties giratoires d’intervalles. Oscillations sinusoïdales d’accords distendus réglées au micron. Comment recycler les bases techniques de la guitare classique espagnole pour faire naître un nouveau lyrisme, un univers personnel et requérant avec une réelle exigence. Un travail de compositeur et de soliste de haut niveau dont le territoire situerait à égale distance des guitaristes de jazz d’avant-garde (James Emery, Joe Diorio, Joe Morris), de compositeurs / interprètes comme Leo Brouwer et de la défriche radicale post Bailey - Chadbourne - Boni. Pour les fans de guitare à écouter absolument.
Van Schouwburg, orynx-improvandsounds


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Olaf Rupp Berlin, Germany

Olaf Rupp
Improvised Music acoustic and electric guitar

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