Search results for "Uhlig"
"Uhlig" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| AALFANG MIT PFERDEKOPF |
Kindspechleber |
LP + CD |
six years after the 7" on Drone Rec. here's the first LP for this german experimental / electro-acoustic drone project (by MIRKO UHLIG), wo loves to work with obscure / surprising / dadaistic found sounds & delicate drones, creating disturbing & dark'n'beautiful atmospheres at almost the same time; quite unique stuff, a droney mind- & earplay.... comes with bonus CD & appropriate artwork from ROBERT SCHALINSKI (COLUMN ONE)
|
2012 |
€20.00 |
 |
| SUNEATERS |
Cosmic Insight, Baby (Part 1) |
10inch |
project of TOBIAS FISCHER (FEU FOLLET) and MIRKO UHLIG (AALFANG MIT PFERDEKOPF), a great retro-trip into soundrealms of the "Berliner Schule" of the 70's.. - "References are plentiful, ranging from the great pioneers Tangerine Dream and Klaus Schulze as well as Kluster and Eno to the magical musical territories of Coil, Robert Fripp and Mirror.. " - golden vinyl, great special designed die-cut sleeves, numbered ed. of 347 copies
|
2007 |
€7.50 |
|
| AALFANG MIT PFERDEKOPF |
 Fragment 36 (SOLD OUT) |
7inch |
Hinter dem Projekt mit dem seltsamen Namen steckt MIRKO UHLIG aus Bonn, der sich auf seiner Drone-7“ auf HERAKLITs „alles fliesst“ bezieht und entsprechende Dronescapes mit hoher Dynamik erschaffen hat.....zerfliessende-handbemalte Covers & multi-colour Vinyl !
“You never cross the same river twice! PANTA RHEI!” Behind this project with the strange name (german for “eel-catch with horse-head”) is one Mirko Uhlig from Germany, who had few CDR-releases so far, most of them standing out through their weird surrealistic coloration. In the meantime he also build his own label EX OVO. “Fragment 36” relates to a quote from Heraclites showing that ‘everything deliquesces” at any moment and can never be the same as one moment before. According to that, AALFANG MIT PFERDEKOPFs first and last ever 7” creates two drone-minimal pieces with very high dynamics, using water-sounds and Glockenspiel, drenched into overtune-feedback-resonances & dark deep drones... Filed under: fleetingmelting drones
LIGHT GREEN / YELLOW SPRINKLED VINYL. HANDPAINTED COVERS USING WATER-COLOURS IN GREEN, RED, VIOLET.” [press release] RELEASE DATE: 30. April 2006 !
|
2006 |
€6.50 |
|
|
Mutatis Mutandis |
MC |
"The three tracks are based on sound material by Frans de Waard published on a tape compilation for the 25th anniversary of the Korm Plastics label, which can be heard at the beginning of the album. As Frans de Waard explains in a spoken introduction to this album, listeners were invited to remix the material, preferably with 4-track cassette recorder. The music on “Mutatis Mutandis” is Mirko Uhlig’s response to this invitation, so it is a fitting gesture that the album is also released as a cassette in tribute to the important role that 4-track machines and the tape distribution scene have played in the development of experimental musics. Thanks to Frans de Waard’s guest vocal intro, the cassette is a “tape with the sound of its own making” similar to Robert Morris’s seminal sound sculpture “Box with the Sound of its Own Making”, but the music also makes for very pleasant listening on the CD version." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
|
2012 |
€10.00 |
|
| |
Mutatis Mutandis |
CD-R |
"The three tracks are based on sound material by Frans de Waard published on a tape compilation for the 25th anniversary of the Korm Plastics label, which can be heard at the beginning of the album. As Frans de Waard explains in a spoken introduction to this album, listeners were invited to remix the material, preferably with 4-track cassette recorder. The music on “Mutatis Mutandis” is Mirko Uhlig’s response to this invitation, so it is a fitting gesture that the album is also released as a cassette in tribute to the important role that 4-track machines and the tape distribution scene have played in the development of experimental musics. Thanks to Frans de Waard’s guest vocal intro, the cassette is a “tape with the sound of its own making” similar to Robert Morris’s seminal sound sculpture “Box with the Sound of its Own Making”, but the music also makes for very pleasant listening on the CD version." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
"Of course I am not the right person to say anything about Aalfang Mit Pferdekopf's 'Mutatis Mutandis', since a little silly thing from me as Freiband was the basis of this. An one minute piece released on a cassette, which people could use to remix, preferably using a four track cassette. There is an unreleased piece by Z'EV, but only Mirko Uhlig has spend a lot of time with it. He's back to using his old bandname, Aalfang Mit Pferdekopf, and there are three pieces here. One seems a straight remix of the original, followed by the title piece, which takes up thirty eight minutes. Here Uhlig takes the hiss of the original apart, adds sound effects, time stretches bits into long form drones, making an absolute great piece, ending a nice up in your face drone bit and even a short noise bit at the end - but hey of course I am not the right person to write such things. Close to the fire and such things. But to know such a short and hissy piece of loosely formed sounds can make such a great piece, I didn't know. Excellent, but of course I am not etc. And, best coup about it, its also released on cassette. Now there is something to bring to your four track machine. I know I will!" [FdW/Vital Weekly] |
2012 |
€8.00 |
|
| AALFANG MIT PFERDEKOPF & DRONAEMENT |
Hermit Haven |
CD-R |
"Even a bit long, almost eighty minutes, is the release which I understand is some sort of collaboration between Mirko Uhlig's Aalfang Mit Pferdekopf and Marcus Obst's Droneament, both representatives of Germany's more 'softer' drone scene and often incorporating field recordings. Each mixed three tracks and are placed on the equal and unequal numbers here. In Uhlig's opening piece already a lot is happening. In these twenty-four minutes more than on the entire Tainted Corrosive Mist release. Field recordings, accordion, cello playing and electronics. These are also used in the rest of the pieces, which form an excellent example of 'extended drone music', for the lack of a better word, and both artists are setting out excellent examples of that kind of music. This is simply one of the best pieces of drone music I encountered in some time. Acoustic, electronic, musique concrete, improvisation: its all mixed here together, crafting some excellent music together." [FdW / Vital Weekly]
www.tosom.de
|
2010 |
€10.00 |
|
| BRANT, JACOB |
Rainmaking |
mCD-R |
"ACM 1019: 3“ CD-R in mini DVD-style case
Drone ambient at its lushest, most densely harmonic, is how best to describe the music of British artist Jacob Brant. Using sampled acoustic instruments and especially voices to create sonics vaguely akin to Ligeti’s ‘Lux aeterna’, this two-part composition shows his capability of colouring his dronescapes both in serene and ominous colours.
“This piece of music is dedicated to those who protect us,” the sleeve notes say, and while the first part of the piece, ‘Rainmaker,’ seems to refer this to a sort of religious context, the title of the second part, ‘Whistleblower,’ proves that for all the blissful otherworldliness of his music, Brant is not blind to the ugliness of our world that needs whistleblowers in evil organisations to protect the rest of us from the worst. Jacob Brant certainly shares a lot of compositional methodology (use of acoustic sound sources etc.) with drone composers like Niblock and If, Bwana, but the structure of pieces like “Rainmaking” is more akin to artists like Mirko Uhlig and Tim Hecker and their more song-like, melody-oriented approaches." [label info]
www.attenuationcircuit.de
|
2013 |
€6.00 |
|
| COLUMN ONE |
Boiling Pool |
LP |
"BOILING POOL consists of 953 fragments, 722 situations, 952 interruptions & countless Sources, intensions & beings.
BOILING POOL was recorded at various places between 1971 & 2016.
..edited, mixed & produced at Polly´s Home, 23rd of may 2016 by robert schalinski. mastered by polly sinclair 2016.
collage “the king ape feeds at dawn“ by robert schalinski .
limited edition of 245 numbered copies .
source donation ...derek holzer, antoin chessex, konrad schalinski, paul viebeg, nada & rasmus, leo solter, remo lamp, zeitkratzer,
hilke schalinski, jürgen ploog, mirko uhlig, nocturne, herbert brauer, nam, nora below, joachim schönfeld …
“Time is a human affliction; not a human invention but a prison. So what is the meaning of one hundred sixty million years without time? ...“ WSB
90%WASSER records WVINYL 023 / PLUS 086
side A: POOLING 444 fragments
side B: BOILING 509 fragments
CO were:
jürgen eckloff
rashad becker
robert schalinski
+
rené lamp
tom platt
andrew loadman
stea andreasson"
www.90-prozent-wasser.de
|
2016 |
€19.00 |
|
| LAINHART, RICHARD |
White Night |
CD |
minimal ambience recorded 1974 ! Edition of 500
Ein wunderschön schimmernder, fast 30minütiger Drone von 1974 offenbart sich auf WHITE NIGHT, der aus vier sich umtänzelnden, schwingenden Tönen besteht. Obwohl hierzu Sinus-Töne auf einem MOOG-Synthesizer kreiert wurden, ergeben sich Obertöne und eine "wavende" Räumlichkeit, die das ganze eher nach Gitarrendrones klingen lassen, wie ihn heutzutage STARS OF THE LID oder ULTRASOUND machen...
Erschienen auf dem Label von TOBIAS FISCHER (FEU FOLLET) und MIRKO UHLIG (ex AALFANG MIT PFERDEKOPF).
"Back in 1974, one year before Brian Eno’s first landmark in Ambient-music, some young musician from New York wrote down a fragment of beauty’s hidden story with the minimal vocabulary of sine waves on the young black skin of a Moog synthesizer. The first release on CD features Richard Lainhart’s masterpiece in its original 29-minutes-version. There’s no single second to add, after this time everything is told though nothing has been said. Richard Lainhart about the work’s origin: "White Night" was composed and recorded in the late fall of 1974 at the State University of New York at Albany in the Coordinated Electronic Music Studio (CEMS). CEMS was created by my composition teacher Joel Chadabe with design and custom fabrication by Robert Moog and was, at the time, the largest integrated Moog modular synthesizer studio in the world. The piece consists of a dense, continuous four-note chord, each note in the chord recorded in a separate pass to one track on a Scully 4-track studio recorder. Each track consists of a single sine wave oscillator which is frequency modulated by a group of eight additional sine wave oscillators. Those oscillators are all tuned to different tones, each harmonically related to the fundamental chord tone. The amplitude of each harmonic oscillator is continuously varied under the control of an individual sequencer, and each sequencer is free-running - that is, the sequencers are not synchronized to each other, but rather running in their own independent timebases.The result is a continuously-changing complex harmonic waveform which modulates the frequency of the chord tone oscillator, generating a continuously-changing complex timbre based on the fundamental pitch of the note.
The center tone of "White Night" is 212 Hz, slightly higher than the G below Middle C. The other notes create a chord consisting of a perfect fifth below the center tone, a major seventh just below the center tone, and a major second above the center tone. "White Night" was composed without reference to the standard A-440 tuning system, as we had no such pitch reference in the studio; I just picked a center tone that felt right, and went from there. As such, "White Night" lives in its own pitch world.
The title "White Night" came about so: it was late December in upstate New York when I was finishing the piece, and a blizzard passed through town the night of the final mix. As I sat in the glow of the sequencers and tape decks in the University studio listening to the final version, I looked out the window and saw a security light on a building opposite the studio illuminating the blowing snow as it drifted off the roof. All I could see was the snow swirling in the light against the blackness; a moving painting continually drawn, erased, and redrawn, always changing, but always the same. It may sound bleak, but it wasn't - it was beautiful. It seemed to me that the image of the dancing whiteness perfectly matched the sound of the piece, and so I called it "White Night" to commemorate that evening of wind and snow." [label info]
www.exovo.org
|
2007 |
€12.00 |
|
| MCDOUGALL, JAMES |
Between no Ground and the Bay Leaf Tree |
mCD-R |
"after a bunch of releases under the entia non alias on respected labels like u-cover, dataobscura, test tube, resting bell or sentient recognition archive, australian sound artist james mcdougall has recently decided to use his real name for his musical output, maybe to denote a small departure from his first releases who were a bit more on the glitch side. more focused on field recordings, these two tracks are a perfect example of the captivating soundscapes mcdougall creates..." [label info]
www.taalem.com
"James McDougall used to work as Entia Non and had releases on U-Cover, Dataobscura, Test Tube, Resting Bell and Sentient Recognition Archive but since some time he works under his own name. Here he has two lengthy pieces made from 'process bowed bass guitar and field recordings'. He moves out of the more collage like works of field recordings into more stretched out fields of mood music. Highly drone based - say the territory formerly inhabited by Uhlig - where the bass provides the drones - en masse - and where the field recordings seems to be a bit buried beneath and below. Slight crackles of leaves, that kind of work. Quite pleasant stuff really, if nothing really new under this particular drone sun. Crafted with some intelligence and with great care, that's for sure." [FdW / Vital Weekly]
|
2010 |
€5.00 |
|
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