Search results for "Uhlig"
"Uhlig" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| AALFANG MIT PFERDEKOPF |
Is it possible to be at War with You? |
CD-R |
resurrection of MIRKO UHLIGs first project, linking surrealistic psych folk & experimental drone ambience to a highly obscure result; full colour fold out cover & sticker; on a new label by DRONAEMENTs Marcus Obst !!
|
2010 |
€9.00 |
 |
| FEU FOLLET |
Nuages sur la Nuit |
do-CDR |
epic work by the project of TOBIAS FISCHER; comes in DVD box, numbered ed. of 150 copies, artwork by MIRKO UHLIG (ex AALFANG MIT PFERDEKOPF)
|
2009 |
€13.00 |
|
| SUNEATERS |
Cosmic Insight, Baby (Part 1) |
10" |
project of TOBIAS FISCHER (FEU FOLLET) and Drone Rec-artist MIRKO UHLIG (AALFANG MIT PFERDEKOPF). Golden Vinyl, great special designed sleeves, numbered ed. of 347 copies!!!
|
2007 |
€16.00 |
|
| V.A. |
Mandala Volume 1 |
mCD-R |
... performed by MIRKO UHLIG, TOBIAS FISCHER, KEITH BERRY & JÖRG EGER (mixed down to a one-tracker of 19+ minutes)
|
2007 |
€5.50 |
|
| |
The Year 25 - 25 years of Korm Plastics |
MC |
lovely 25 year anniversary release on MC (the format it all began with), with previously unreleased material by ILLUSION OF SAFETY, RICHARD FRANCIS (ESO STEEL), MIRKO UHLIG, ASMUS TIETCHENS, Z'EV, IDEA FIRE COMPANY, FREIBAND, THE HATERS, FRANCISCO LOPEZ, BIG CITY ORCHESTRA, EDWARD KA-SPEL, MACHINEFABRIEK, JOS SMOLDERS, PETER DUIMELINKS, HOWARD STELZER, RAYMON DIJKSTRA; etc. each track is 2:50 min, lim. 250 copies!!!
|
2010 |
€8.00 |
|
| AALFANG MIT PFERDEKOPF |
 Fragment 36 |
7 |
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 |
|
| |
Genmaicha: At The Opal Seashore |
CD-R |
« Gewidmet allen Stille-Suchern » .....In der Tat erscheint es kaum vorstellbar, etwas softer wallenderes als GENMAICHA zu kreieren....
MIRKO UHLIGs Projekt, sonst eher für weirden Surrealism bekannt, hier voll im Unterwasser-Drone abgetaucht.. ..extrem fliessend und sich stets neu verwandelnd..
“Aalfang Mit Pferdekopf is the somewhat strange name of german eclectic Mirko Uhlig's surreal exploring solo project... Mirko usually surrounds himself with a line-up of collaborators for his varied sound excursions... In the wake of a strong experimental legacy in his own country, and based upon a sort book of "no rules", these soundscapes mostly drift from loose improvisations using an array of different instruments, sometimes even incongruous, & field recordings...
This could suggest an heterogeneous, shambolic ambience, but the resulting pieces are often surprisingly focused & intense...
So far, Aalfang Mit Pferdekopf has a discography of several self-released discs, as well as MP3s (notably, an EMERGE remix...) and a recent release on EINZELEINHEIT... but also scheduled are already a 7" for DRONE, and a 3" cd-r on the ever tasteful TAÂLEM...
On "Genmaicha...", an halo of vapours float above a sea green basin, and opening up the thick silence, a rain song rises, circling,
humming like a soundtrack to a nocturnal "Aguirre"... a ghost in the moist air... meshes of alluvium bringing you back to a place of deep calm... "Genmaicha..." ceaseless churns, filtering its own echoes, exuding the murmurs of bamboo fountains, drawing an exotic postcard from neverland where shrouded in mist and oblivion, we inhale celestial magnitude, a glimpse of a Whole... "Genmaicha..." is like an audio-ceremonial to get rid of the superfluous... a digest of essential fluid... “ [label info]
|
2005 |
€12.00 |
|
| FEU FOLLET |
Toi et le son |
CD-R |
"Zwei sehr feine ambient-drone Stücke von diesem neuen deutschen Projekt (aus Münster), erinnert an sanftere Drone-Acts wie MIRROR, COLECLOUGH, BRADLEY, sehr wellend-loopig und phaser-effektiert.... To discover!
“Debut album by the Einzeleinheit-founder. Tobias Fischer and Mirko Uhlig met for the first time while preparing for two live performances of Mirko’s project Aalfang mit Pferdekopf. During these sessions, Tobias was introduced to the works of Mirror and Nurse with Wound for the first time, flipping a switch in him. Shortly after, he started his own journey into the cosmos of dulcet electronics and the magic of overtones – always on the outlook of creating something entirely his own. “toi et le son” is the first result of his work: Two long drones take listeners into a world, where there is no more understanding in an intellectual sense, but only wave after wave of gentle sound softly engulfing you. While the title track floats by like a warm wind that opens up the cloudy sky to let the sun shine through, “Larme d’Heike” moves from a cold and frozen opening to an ascendig and strangely consoling finale. On tranqulity’s eternal ocean, this is a ripple on the surface.” [Label info]
|
2006 |
€8.00 |
|
| LAINHART, RICHARD |
White Night |
CD |
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 |
€11.00 |
|
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