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Label & Cat.Number: Auf Abwegen aatp 36
Release Year: 2012
Note: first time collaboration by these two long standing experimental projects from Germany - the purest form of unclassifiable Anti-Muzak, not noisy at all but full of concrete sounding mysterions, both CDs (one finalized by RLW, the other by DSM) are just excellent:; lim. 300 in 12 x 12" cover
Price (incl. 19% VAT): €17.50
More Info"The idea for this project was in the air since the late 1980´s. There was an intense, though short-lived, (snail) mail contact between DSM and P16.D4, RLW´s group in those days, which fell into sleep for reasons unknown today.
20 years later the contact lived up again. After getting themselves informed about the actual respective state of work, methods and techniques and sounds, the recordings for the project started.
RLW cd: The basic recordings were done by rlw from early to mid 2009, sound sources are instrumental (piano, trombone) and household objects. First detailed sketches of the compositions (autumn 2009) include heavily treated versions of these recordings, cross-modulations with sounds supplied by DSM and with DSM-variations of the RLW sounds sent to Caen. Fine-tuning of the compositions took until fall 2010.
DSM cd: With very few exceptions I used only the original sound recordings of RLW, discarding most of his own processing that he provided me with as I wished for treatments only what would be conceived to be already into the realm of the compositional strategies I fancied for these works. So up to which degree a processing of a sound turns it into an autonomous new one is a question without answer. In consequence resulted a collaboration starting with extremely few basic recordings. However as they had been particularly distinctive by their material character as well as the audible space of the recordings and the variation of their physical intensity as they all resulted from manual efforts they provided me with what was needed. Besides dynamical treatments and cleaning up, my sound processing is not only mostly analogue or equivalent too, but mostly even mechanic. Playing back recordings through 'no-fi equipment' and recording them again, while manipulating mechanically reproduction and recording devices is what I employ most." [label info]
"Now here's two guys whose history goes back at least thirty years. Both from Germany and both from the world of cassettes and industrial music, but both having grown into something else, the world of academic music, musique concrete. Ralf Wehowsky was the main man behind P16.D4, but left that name behind to become RLW, while Guido Hubner always remained Das Synthetische Mischgewebe. Especially that is perhaps a bit odd. Hubner's work is more than Wehowsky's connected to the world of serious composing, yet he maintains his old 'band' name. Both of these men also know each other for a long period and there has always been talk of doing something together, so after much discussion, this double CD 'Die Eisenbuglerin' is the result of an extensive 'music by mail' collaboration. They both use conceptual angles to work from. 'Ah, DSM is always very fragmented, maybe I should work opposite', 'let's use mainly analogue, mechanical techniques to transform this material'. Also in the final execution the results are not widely apart, which is fine. It would be hard to say whose CD is who, if you didn't look at the label. Lots of microscopic detailed sounds - sometimes isolated, sometimes like mass - are the very foundation of this music. A fascinating ride, this is. Some close to fifty minutes by RLW and close to sixty by DSM. As said differences are in the details with this. Maybe DSM is at times a bit more fragmented and RLW a bit more 'full' at times. None of the sound sources mentioned on the cover (piano, trombone by RLW) can be easily traced, if at all, in these pieces. Excellent electro-acoustic music in the best tradition of both microsound and serious academia." [FdW/Vital Weekly]
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