Search results for "knistern"
"knistern" 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 |
"What's your exclamation mark about?
Back from the dead with a grave-robbed guitar of Johnny Flash and the thunder-flute of Guybrush Threepwood!
Sounding like a wooden box full of moths wrapped around a tree in Turkey - now with the voice of lurid lechers! And the lyrics of precocious parrots!
After leaving with the monkey in 2006 with #36, now "Swine wash in the mire, and barnyard fowls in dust" is the rule, you know. Coming in your house to calm down broken hearts, or just to break healthy ones, with some lovely songs and sounds from the center of Twin Peaks' woods." [label info]
"Mirko Uhlig behaucht und beatmet sein Aalfangpseudonym neu und legt mit »Is It Possible To Be At War With You?« ein würdiges Nachfolgewerk zur vier Jahre zurückliegenden Aalfang-Dronesingle vor. Ein ganzes Aalfangalbum, schnörkellose Songminiaturen zwischen Folk und experimenteller Dronalität, eingehüllt in Wanderfolkbluesgitarrenschnipsel und knisternder Timestretchmechanika. Current 93 schreit man hier besser nicht, wenngleich David Tibet in allen Folkgenres DIE Reverenz darstellt, aber Mirko Uhlig verfolgt mit seiner seltsam aus dem Kontext gerissenen Songsoundstruktur eine gänzlich andere Richtung. Bisweilen melancholisch, bisweilen kraftvoll packend geht »Is It Possible To Be At War With You?« in eine vollkommen neue Richtung. Während auf den vorigen Aalfang-Alben noch der klassische Tonschnitt nebst surrealer Tapestrie zwischen den Konkretklängen herrschte, weilt das neue Werk mehr als je zuvor in der Folkwelt, allerdings um ein vielfaches pervertiert und dekontextualisiert. Drones schnarren als Bett für emotional veranlagte Gitarrenfolks, digital hochgezogene Vokale kreisen durch das Stereofeld, Cut, herübergeleitet aus dem letzten Gitarrenstrumm taucht Uhlig ab, wie ein Aal durchkämmt er die gleichförmigen Wellentäler seiner reichlich sattsamen Fließendmusik, abgestimmt mittels moderner Feldrekorderthematik und dem trunken machenden Einsatz feingestimmter Tapedelays.
Während Uhligs Aal-Imprint in vergangenen Zeiten feines Artwork bot, erscheint »Is It Possible To Be At War With You?« als professionell gedruckte CDR in Vierfarbschuber, plus Sticker auf der Vorderseite. Ein geradezu elegantes, zeitgemäßes Studiowerk, dass mir durchaus als Vinyl gefallen könnte. Eine wahre Bereicherung für 2010, eine wahre Bereicherung für all jene, die Crossovermusik im experimentellen Rahmen vermisst haben. Groß.
5/5 " [Thorsten Soltau]
http://dyingforbadmusic.com
|
2010 |
€9.00 |
 |
| COLLEY, JOE |
Hive |
mCD |
Aufnahmen eines Bienenschwarms, die nachträglich elektronisch bearbeitet wurden.... eine granular-knisternde, auf vielen Ebenen rauschende Klangwelt eröffnet sich dem staunenden Hörer - multiples, fast polyphones Summen & Knirschen, eine tausendfacher Bienen-Drone-Chor ertönt... HIVE beweist, dass die "Natur" der beste Komponist sein kann, wenn man nur Ohren hat zum hören...
"Source sounds from beehive, recorded 2003 Placer County, California using condenser, stereo contact and hive embedded contact microphones. Raw unprocessed recordings, equalization, playback trough cymbals, metal surface and Korg MS20 analog synthetiser. Dedicated to my father, the beekeeper." [joe colley]
|
2006 |
€8.00 |
|
| DI SCIPIO, AGOSTINO |
Hörbare Ökosysteme |
CD |
" “Das komplexe Gefüge von Einflüssen, denen Schall auf seinem Weg von der Quelle zum Ohr unterworfen ist (...) ist das Aktionsfeld der Musik von Agostino Di Scipio.“ (Linernotes) Seine Kompositionen entstehen auf der Basis sich selbst steuernder und regulierender Systeme. In den live-elektronischen Studien „Hörbare Ökosysteme“ „dienen einfachste Schallsignale oder gar nur der Geräuschhintergrund des die Mikrophone beherbergenden Raumes als Input für autopoietische Prozesse, in deren Verlauf die Parameter der digitalen Signalverarbeitung sich stets weiter den resultierenden Klangformen anpassen (...).“ Zwischen knisternden Inseln Ryoji Ikedaischer Digitalsounds entstehen punktuell oder fließend gesetzte
Rückkopplungen, die kontrolliert tastenden Erkundungen der Klangmöglichkeiten durchführen. Ebenso arbeiten die Interpreten in den gemischt Instrumental/live-elektronischen Stücken. Sie lauschen ihren, von der Elektronik zurückgeworfenen Klängen und passen ihr weiteres Spiel den veränderten Sounds an. In steter Umarmung mit der signalverarbeitenden Software und in Abhängigkeit vom Raumverhalten setzen Bassflöte, Bassklarinette, Violine, Violoncello, Klavier und Vibraphon forschende Instrumentalbewegungen, welche die Konzentration der Zuhörerin/ des Zuhörers reichlich belohnen.
„Sounds making ist way from the source to the ear is subjected to a complex nexus of influences. This is the operation field for the music of Agostino Di Scipio.“ (linernotes) His compositions are built up on the basis of complicated cybernetic procedures. The newer studies „Hörbare Ökosysteme“ are purely live-electronic. „In these works the most simple sound signals, or even the background noise of the space housing the microphones, provide input for autopoetic processes which continously adjust the parameters of their digital sound synthesis and transforming processes to the resulting sound shapes.“ Between crackling islands of Ryoji Ikeda-like digital sounds you hear particular pointed or flowing feedbacks carrying out the possibilities of sound in a controlled tentativ research. Also the players of the combined instrumental/ live-electronic pieces are working in this way. Listening very closely to the transformed sounds resounding from back
from the sound system, they adjust their actual sound production to those transformations. Caught up in the system of sound processing software and the spaces aural signature, bass flute, bass clarinet, violin, cello, piano and vibraphone searchable put together instrumental movements which amply reward the listeners concentration.” [Peter Schlewinski for Drone Records]
|
2005 |
€15.50 |
|
| EVAPORI |
Rehearsals for Objects |
CD |
"1000füsslers industriell gefertigte Releases erreichen einen neuen Maßstab. Neben Tietchens und der sehr schön angelegten Heizungs-CD ist Evaporis Beitrag zum CD-Labelkatalog ein weiteres ungewohnt klingendes Zeugnis Neuer Musik. Völlig losgelöst vom Digitalkrach oder jedweder PlugIn-Klangmasse erscheinen die hier versammelten Stücke wie alte Schneidetischexzesse eines digital aufgemöbelten Walter Ruttmanns. Die raumklangtechnisch ausgesteuerten Klänge und Geräusche werden mittels ihrer Aufnahmeposition verfremdet und steuern damit gegen den sonst allgegenwärtigen digitalen Verfremdungsprozess. Klanglich angesiedelt zwischen einer ausziselierten Kapotte Muziek Komposition und einer Esseiva Etude passiert im zeitlichen Rahmen dieser CD anfangs eine Menge: feine Schleifklänge wechseln teils in rapiden Wechseln ihre Soundzustände, lösen sich auf und bilden feine Schnittkanten, an deren teils gratfreien Oberflächen allerlei konkretes Material sich ansammelt, ehe es mit einem schnellen Schnitt in andere Ebenen gehoben wird. Der zweite Satz zeigt die stärkste Dekonstruktion mittels Audioschnitt und Collaging, weicht doch der geschickte Einsatz der Stille teilweise radikalen Rückwärtsrichtungen des Quellmaterials, ehe der letzte Akt der CD in teilweise recht droniges Basisbrummen gleitet und etwas schlüpfrig den Weg aus der Komposition weist. Evaporis Ansatz einer völlig raumklangbezogenen Kompositionsweise macht vor allem dann Sinn, wenn die ohnehin sehr liquiden und scharf gestellten (Rest)geräusche in teilweise verzweifelt wirkender Flucht ihre Plätze suchen. Die in endloser Rotation wiederholten Brummschleifen unter den gestreuten Sounds macht es fast schon wieder interessant, mal selber die Lautsprecher um einige Zoll im Raum zu verschieben und den damit verbundenen Akustiksituationen zu lauschen. Ganz schön interaktives Material." [Thorsten Soltau, AEMAG]
"The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.
Recordings were made at Rauchhaus / Berlin, Fundbureau and Christianskirche / Hamburg
Mastering by Guy Saldanha
Artwork by Nicolas Wiese
Thanks to Celia Herrero and Christoph Lohse"
[label info / credits]
www.tausend-fuessler.de
"Das nenn ich doch mal eine Produktinformation: „Die größtenteils aus dem Alltag stammenden Klänge wurden am Computer ausschließlich durch Schnitttechnik verfremdet, um die Erkennbarkeit der Klangquellen offen zu halten, Spannung aufzubauen und durch verschiedene Stimmungsbögen bei dem Hörer Neugier zu wecken.“ Das hat man nicht oft, dass ein Geräuschkunstmacher auch mal an seine (potentiellen) Hörer denkt und dass er das Ziel seiner Bemühungen angibt - Stimmung, Spannung, Neugier. Oliver Peters ist in BA schon bekannt als AIC-Macher und, obwohl in Berlin aktiv, für seine guten Verbindungen zur Hamburger Szene, zur Hörbar, zu Guy Saldanha (Knistern), der hier das Mastering besorgte, zu Uli Rehbergs Walter Ulbricht Schallfolien, wo zuletzt seine LP Fumes (2007) herauskam, zu Gregory Büttner, der ihm auf 1000füssler bereits zum zweiten Mal ein Forum bietet. Was hier die Neugier weckt, sind Übungen, Turn- oder Tanzübungen von Gegenständen in einem menschenleeren Raum. Nur die vermeintliche Abwesenheit von Beobachtern oder Lauschern ermöglicht diese leicht gespenstischen, zumindest ominösen und odradekhaften Verspieltheiten. Es huscht, trappelt, kullert, von ganz feinen Drones umspielt. Vielgliedrig tockt, ratscht, schabt und klickt Holz an Holz, Metall an Metall, Was? an Was? -kreuz und quer durch den Raum, an Wänden und an der Decke. Odradek-Hockey? Odradek-Mikado oder -Kampfsport? Ein ‚interlude‘ zwischen ‚rehearsal I & II‘ lässt keine Atempause, sondern verdichtet sogar die Aktionen, mit fast menschlichen Zischlauten. Das hat nichts ‚Ambientes‘, sondern eine spielerische Dramaturgie, die allerdings ihr Geheimnis - wer sind die Spieler und was proben sie? - nicht Preis gibt, denn wir sehen nichts, wir können nur lauschen und rätseln." [Bad Alchemy]
"Oliver Peters, the man behind the AIC label and the musical project Evapori, likes his sounds to be free of computer plug ins. Take an object, place a microphone and record the object. The placing of the microphone is essential as it alters the sound. Take a whole bunch of objects, record them and then make a CD out of these recordings. The computer is merely a recording device, where, in good musique concrete tradition, cuts can be made, stereo adjustment and balancing the various sounds. That is most commendable, I think, as most computer plug ins do tend to sound too similar. What Peters does here, is not done a lot. Using natural space to create reverb, he carefully touches his objects and makes a very intense sound collage out of it. One that requires full attention. At times I was reminded of the live sound of Kapotte Muziek, but then multi-layered and with more concentration - but then of course the computer here can cut out all the unwanted sounds, which live is more difficult. By adding machine hum towards the end of 'Rehearsal 1', he manages to sound like drone music too. I think this is a great CD, but there is one thing I don't understand: why call this rehearsals? Rehearsal for what? It gives the impression that this is unfinished business, unless Peters wants us to cut further in this material, but somehow I don't think that this the case here. Why not go full on and state that these are 'compositions'? " [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
| FREIBAND |
Replicas |
CD |
"Wenn ich das recht verstehe, dann entstand FREIBAND, eines der Soloprojekte des umtriebigen Frans de Waard, aus einem per Scrollrad erzeugten Geräusch, das ihn an Asmus Tietchens‘ Daseinsverfehlung (Stille Andacht, 1993) erinnerte. Der Hamburger hatte dieses Album aus den kratzenden Klängen fabriziert, die entstehen, wenn man eine Tonbandspule über den Tonkopf zieht, und die 13 Tracks allesamt ‚Freiband‘ getauft. De Waard wollte als einmaliges Projekt etwas Ähnliches probieren, woraus dann Microbes (Ritornell, 2001) entstand. Wie das bei FdW so ist, wurde daraus ein Fass ohne Boden, in das nun nach dem Gesetz der Unvermeidlichkeit auch Replicas (Monochrome Vision, mv19) eintaucht, das tatsächlich den Ausgangspunkt, nämlich Tietchens‘ Freiband-Tracks, als 13-faches ‚Re‘ remixt. Selbst das Cover ist eine Revision des Originals, jenem Haus mit Fenstern wie zwei aufgerissenene Augen und ein großes Maul. Inzwischen ist es eine Ruine mit eingeworfenen Fensterscheiben, herbstlich gesäumt von Ahorn. Wenn hier etwas einschlägig ist, dann A.C. Dantos Begriff ‚Aboutness‘ - Kunst ist immer ein Über-Etwas - , gesteigert, aber gleichzeitig auch implodiert, zu: Kunst ist Über-Kunst. But what is it all about? Schleifende, knisternde, pulsierende, blasende, kristallin funklende Geräusche, dazu - mit etwas Phantasie - aber auch paranormal, d.h. verhuscht und verzerrt ‚singende‘ oder ‚sprechende‘. Das leerstehende Haus wird da zum Geisterhaus, auch wenn de Waards nüchterne und spröde Akribie diesen hauntologischen Schluss selbst nicht nahelegt." [Bad Alchemy]
"Highly conceptual project that combines features of remix, recycling and plagiarism - the re-interpretation of classic album by Asmus Tietchens “Daseinsverfehlung”. All what can be heard on this CD, as always in case of Frans de Waard framework, is made from music that already existed: every sound, word in titles and even the cover picture - all is just processing and manipulation techniques. Freiband is one of solo projects by Frans de Waard. Besides Kapotte Muziek, Frans currently also plays in Beequeen duo with Freek Kinkelaar, runs Plinkity Plonk and other small labels, writes tons of reviews for the Vital Weekly newsletter. When just get some free time, he becomes active with various side-projects like Goem (minimal techno), Quest (ambient), Shifts (post-rock), Captain Black (remixes) etc." [label notes ]
"... Without getting too trippy or spacey, I would like to propose that this is the kind of music that alters your state of mind and being. Not the kind of album that you'll play in the background, 'cause it wants your full attention. It freezes your body and at same time makes you experience it from head to toe. In this way it has the same effect as most of Francisco Lopez' work has on me: it grabs you by the ears and sucks you right in." [SdT, Vital Weekly]
label-website:
www.monochromevision.ru
|
2008 |
€13.00 |
|
| KIRKEGAARD, JACOB |
01.02 |
CD |
Sehr varientenreichen Experimentalmusk des Dänen JACOB KIRKEGAARD auf seiner ersten Solo-CD. Ungewöhnliche Sounds & Kompositionen, für die kaum Worte zu finden sind, z.T. scheinen field recordings (z.B. Zugfahrt) die Basis zu bilden, aber es sind auch Gong-Klänge, Piano-Fetzen, Vinyl-Knistern, ein Blasinstrument, etc. etc. alles kunstvoll digitalisiert, zerschnippelt, verfremdet und so arrangiert, dass auf 9 Stücken keine Langeweile auftauchen kann!
"first solo cd from the former aeter member after his collaboration with philip jeck on touch. kirkegaard creates a very personal style where found sound, quiet beats and abstractions come together." (label info)
“This is the first solo CD by Danish artist Jacob Kirkegaard who recently worked with Philip Jeck and his own group Aeter. While listening to this cd Raymond Scott’s abstract soundscapes at times come to mind, but Kirkegaard employs a different sensibility. Here the sounds try to recall forgotten memories, recreating the sensation of events past. Delicate sonic patterns-sounds are reduced to the outline of structure rather than a direct representation. These very well can be aural memories, as the titles are city names and dates. Kirkegaard uses field recordings (perhaps from the cities listed in the titles) as instruments, integrating them into the rest of the sounds. A pensive melody, trying to move forward is overtaken by the crackle of vinyl and digital streams. Song constructions reflect Kirkegaard’s sensitive touch with fragile lines floating by heading in some unknown direction. The 9 tracks move seamlessly into each other without pause. Sounds thin as gossamer hover through the speaker. Towards the end of the CD does the fragility give way too a more aggressive sound of sine pulses and oscillations rendering an unsettling climax.” [Jeff Surak /Zeromoon]
|
2003 |
€13.00 |
|
| MACHINEFABRIEK |
Dauw |
CD |
"Rutger Zuydervelt nennt sich zwar weiterhin MACHINEFABRIEK, entwirft aber zunehmend Szenerien mit einem pastoralen Ambiente. Auch Dauw (Dekorder 029) suggeriert mit zartem Gitarrengepicke oder nostalgisch knisternden und dröhnenden Vinylrillen stadtflüchtige Soundscapes. Zuydervelt ist mehr Fotograf als Ingenieur. Wenn bei ‚Engineer‘ Drähte harfen und Metall schleift, dann klingt das als würde der Wind auf dem Schrottplatz spielen. Das Titelstück träumen Gitarrenpicking und Pianotupfer gemeinsam. ‚Singel‘, mit 25 Min. der Schwerpunkt dieser von Giuseppe Ielasi gemasterten Dreiviertelstunde, spielt alle Tugenden des Niederländers noch einmal besonders geduldig und zart aus. Eine stillgelegte ‚Fabrik‘ dröhnt in leichtem Nieselregen, bis sich aus melodiös schwingenden, dann auch knarrig verzerrten Gitarrensounds und flirrendem Cymbal eine Klangglocke aufwölbt zu einem Mausoleum des Industriezeitalters. Wenn es das Wort ‚Dreamscape‘ nicht schon gäbe, müsste ich es genau dafür erfinden." [Bad Alchemy]
"Machinefabriek is the alias for Rutger Zuydervelt currently residing in Rotterdam, The Netherlands. Since 2004 Zuydervelt has unleashed an uncountable number of self-released 3"CD's (his format of choice) in lovingly designed sleeves (all made by himself). In the past years some of these releases have been compiled into amazing albums such as "Slaapzucht" on the Root Strata label, "Weleer" on Lampse, the "Cello Recycling" 10"/CD on Type Records and "Bijeen" on Kning Disk. Recent collaborations with Stephen Vietiello (on the 12K label), Freiband, Steinbrüchel and other likeminded artists have expanded the horizon veritably. Machinefabriek's music has been remixed by the likes of Xela, Lesser, Svarte Greiner, Alva Noto, Pita, Kim Cascone, Ben Frost, Black To Comm and others.
Only few Machinefabriek material has been recorded specifically for an album release but these have always been stand-outs in the vast catalogue. Both "Marijn" on Lampse and "Ranonkel" on Burning World Records were classic recordings, squeezing a large amount of what people love about Zuydervelt's music into one album, at the same time giving him the space to expand on new ideas. Likewise "Dauw" is one of Zuydervelt's most subtle & quiet yet refined works. Mainly built around small but gorgeous melodies of piano and guitar playing and the crackling sound of dusty vinyl samples, these songs slowly build into intensive hymn-like angel choirs of sheer heavenly beauty.
Zuydervelt's output often has drawn comparisons to the likes of Fennesz, Godspeed, Arvo Pärt, Basinski, Tim Hecker, Phillip Jeck, Mogwai and Earth, which is certainly not all wrong and some of these have been influences in the early stages of his career but he has since developed a strong and individual language all of his own.
Mastered by Guiseppe Ielasi with elegant artwork by Zuydervelt himself; metallic print on grey cardboard stock." [label notes]
www.dekorder.com
|
2008 |
€13.00 |
|
| MEELKOP, ROEL |
Liar |
mCD |
"Geräuschmusik pur. Knistern, Knacken, und digitales Rauschen, in pulsierenden Mustern sich ergiessend, Frequenzen bei denen sich der Magen umdreht, Stimmen aus weiter Entfernung, maschinelle Geräusche, metallische subdrones... all das und noch viel mehr bietet ROEL MEELKOP auf dieser schönen neuen mCD mit plexiglass Cover.. Dritte mCD in der feinen KLING FILM-Reihe." [Drone Rec. 2003]
“ In this abstract journey of subtle click, cuts & processed recordings, Roel Meelkop brings one of his most captivating and intense works. Pure minimal sounds and noises start leading their own lives. Roel created a very personal and brilliant composition. "Captivating stuff, as usual." (Vital Weekly). This is the third release of a 3"cd series. The cd is bolted on a transparent plexi-plate with artwork.In this abstract journy of subtile click, cuts & processed recordings, Roel Meelkop brings one of his mosts captivating and intense works. Pure minimal sounds and noises start leading their own lives and create a very personal and brilliant composition.
Is packed according to the KLING FILM-fourplay, with minimal white print on white sticker artwork.” [press release]
|
2003 |
€9.00 |
|
| NORTHAM, MICHAEL |
 Suhina |
10" |
Brilliant new recordings by the prolific cosmopolitan (currently residing in Berlin) MICHAEL NORTHAM. "Suhina" is a notion for the sound of the wind moving through the trees. Instead of doing field recordings of wind MICHAEL NORTHAM tried to capture this feeling & the essence of this process through instrumental recordings from Indonesian flute & keyboard. Nature phenomena seen as the true manifestation of the Unknown. Stunning full colour artwork by Indian artist ROHINI DEVASHER. White vinyl, edition of 500 copies, incl. inlay with text by M. NORTHAM.
"Das Thema der Platte hätte auch von der K Foundation stammen können. Michael Northam vertont hier den Wind zwischen den Bäumen, auf finnisch suhina genannt. Was sich als schöngeistiges Ambientexperiment versteigen möchte, ist in der Endsumme erstaunlich unesotherisch geworden. Northam zieht alle Register seines musikalischen Könnens und scheint zu den wenigen zu gehören , die eine Komposition über den Zeitraum mehrerer Jahre gedeihen lassen können ohne der Verlegenheit zu verfallen, nach wenigen Wochen den Abschluss herbeizuzerren.
Beide Vinylseiten wirken dabei sehr transluzent und klar abgegrenzt. Bisweilen hat man das Gefühl, die leisen Zwischentöne der Feedbacks und trudelnden Dronecluster reichern sich mit dem Knistern des Vinyls an, so fragil erscheinen die Zwischenbrücken der jeweiligen Komposition. Wie GAS ohne Beats, wohl aber um das 10fache am Pitchregler hochgeschraubt und mit einer majestätischen Würde, die man sonst nur in den leiseren Backgroundklangarien der frühen Tortoise und ihren »Millions Now…« wieder findet. Orgelähnliche Töne wechseln in malströmartigen Verschiebungen ihren Standort und verwischen auf diese Art und Weise Gefühl für Zeit und Raum, bilden auf diese Art und Weise den Soundtrack für den einsamen Spaziergänger im Wald ohne ein Klischee zu bedienen.
Das Northam sein Stück im Sommer für das Vinyl editierte kommt auch tiefenpsychologisch dem Material zugute. Selten hat eine so ausufernde Komposition eine so hohe Ereignisdichte aufgewiesen, ohne dabei zum Sturm zu mutieren. Auf diese Weise hört man den Wind weniger im Gebälk, dafür mehr im Gemüt." [Thorsten Soltau / AEMAG]
"Every once in a while you bump into a masterpiece, Suhina is one of those times.
The cover has amazing artwork by the Indian artist: Rohini Devasher. Bizarre beautiful flower lifeforms in full color on the front, and in black and white on the back. The vinyl itself is white and nice sturdy and thick.
The 10” is a Drone Records release and is part of the substantia-innominata series.
A concept that deals with concepts like” unknown / unthinkable / unidentifiable / unspeakable etc.
The story behind this record is very interesting. Michael Northam was camping in Finland in 2005 and a friend told him that the sound of the wind moving through the trees was called “suhina” in their language. From that moment Michael wanted to capture that feeling in sound.
Starting with field recordings what was difficult to do, and then moving to blowing on Indian flutes and the use of keyboards. While working on these two tracks Michael has been traveling through Belgium, Slovenia, India and France through 2006 and 2007. The final result was constructed in Berlin in the summer of 2008.
The record has two tracks, called “Through” and “Within”. Both are beautiful very carefully constructed pieces that run over ten minutes of playing time. Side A“Through” is distorted and blissful, full of harmony and truly uplifting and carrying you away with the wind, through forests and plains. It feels like there is lots of wind, gray skies and rain, but also lots of sun rays and rainbows. And total melancholic euphoria. The B side “Within” is a nice continuation. All i can say is that this release is a beautiful, carefully constructed emotional masterpiece." [Nil Pavlov / Hourglass Drops]
"These two tracks of hypnotizing dronemusik from the wandering sound artist Michael Northam originated from a night camping in the Finnish hinterlands, where he became fascinated with the sound of wind whipping through the trees. Field recordings have long been central to
Northam's work dating back to his tactile compositions of corroded ambience and titanic drone arcing; and even the aspects of wind had
featured heavily in work through the Aeolian harps he built in a bunker on a desolate Finnish island. Where those recordings were
attempting to harness to power of wind as something of an intersection between technology and the landscape, these two beautiful recordings of brightly shimmering ambience are more of a poetic response to the dynamics of wind. So those whispings and scatterings of summertime arctic winds introduce the first side of this 10" and quickly subside amidst Northam's billowing drones from his Indonesian flute and an overblown Casio keyboard. The resulting waving tones flicker with the
lingering glow of the sun arching toward the horizon at twilight, with golds, oranges, and reds radiating through each timbre. So striking are the colors that Northam gets through these tones, it can almost distract from his conceptual anchor. No matter, as he's creating one of his finest pieces in a long time. Nice!" [Aquarius Rec.]
|
2009 |
€12.00 |
|
| RAPOSO, PAULO & CARLOS SANTOS |
Insula Dulcamara |
CD |
Organischer Microsound vom SIRR Records-Betreiber PAULO RAPOSO in Zusammenarbeit mit CARLOS SANTOS: digitale Urwaldgeräusche, Cyber-Knistern, small sounds, obscure drones, sehr ruhig und besinnlich und mit viele Liebe zum Detail.
“ Insula Dulcamara" departs from a series of field-recordings that were progressively transformed and shifted over the period of two years. Small snapshots captured during vacations in the north of Portugal, travelling notes, reverberating spaces, particular gestures embroided in and against very different materials. Sources were manipulated using max/msp software and co-habiting with high-pitch sounds taken from a "no-input amplifier". The sounds move quietly through the fragmented. multiplied and juxtaposed landscapes of field recordings to create a highly intricate evershifting but detailed sonic flow.” [label description]
|
2003 |
€15.00 |
|
| RODEN, STEVE |
One Stone and Arcs and Ears |
7 |
Neben der LINES AND SPACES do-LP noch ein teures, aber äusserst delikates Vinyl-Sammlerstück des kalifornischen Klang- und Konzeptkünstlers: Die 7" wurde zu einer Ausstellung in Portland, OR, herausgegeben, basierend auf dem Film "Der Prozess der Jeanne d'Arc" von ROBERT BRESSON (1962), bei dem RODEN sämtliche Sprachpassagen der Hauptcharaktere herausschnitt... so entsteht ein neuer Kontext, eine neue "Geschichte", aus dem 'Unsichtbaren' heraus... fragmentierte Musik- & Geräuschpassagen & das Vinylknistern der Originalplatte schaffen atmosphärische Dichte..
'The 7' was originally made for the exhibition 'invisible other' at the new american art union in Portland Oregon. In the original installation the 7 sat on a turntable that could be activated by viewers. here are some notes that accompanied the work... I began with the soundtrack LP of Robert Bresson's film 'Proces de Jeanne d'Arc', and edited out all of the talking of the main characters. In many cases my edits were not perfectly clean so whispered beginnings or endings of words can still be heard. i wanted the trajectory to lose its sense of narrative - to shake all of the specificity out of something. I wanted to turn it into a path of ambivalence, fragmentation, pauses, and abstraction. Here is no music on the original soundtrack, only talking and incidental sounds. on side one of the LP, a single musical instrument is heard for a few seconds (a horn playing a kind of fanfare in the middle of side one). Through sampling, i extended the horn sounds, and used them to create a tonal field for the existing edited sounds from the original soundtrack to rest upon. The title of side one (one stone.) was made from taking some of the letters in Robert Bresson's name and using them to generate new words (Robert has the letters to make words such as 'robe', 'bore', 'robot', 'tree', etc. ). One stone also refers to the rock thrown through Jeanne's window in the film. The title of side two (and Arcs and Ears.) was made from taking some of the letters in the film title 'Proces de Jeanne d'Arc' and using them to generate new words. and Arcs and Ears. Also refers to the circular motion of the spinning record and the activity of listening... These titles, as well as the images-design on this record cover, came from a kind of visual sampling of the original cover of the Bresson LP. Simlar to the sound, the images were mainly created by editing and subtraction, rather than addition. I had been thinking about this kind of erasure, absence, and invisibility for a long time; wondering if a new story without the presence of the main characters, could be born of the pauses found within an existing story. I wanted to wait for the idea to be less fresh for me; so that instead of being enamored of the conceptual part of the project; i could use it to fuel something that could grow into it's final form more organically. My relationship to conceptual art and the kind of purity of production that comes from making objects in the service of an idea is awkward, and sometimes in conflict with the unknown potentials the concepts might otherwise be able to generate... I'm interested in the creation of works that do not have to refer to the ideas that generated them for their meanings. I am interested in a place where things fit together uncomfortably. For me, purity doesn't necessarily come from a minimal aesthetic, nor from an idea simply realized. it comes from a kind of honesty that allows things that might not fit together perfectly to remain connected, even if the connective tissue is thin, frayed, and somewhat invisible. I like very much how the crackling sounds of the original vinyl sometimes sound like the crackling of a very small fire. I hope the activity of the audience physically activating the piece will suggest one stand and listen for the duration of the work. since i used a somewhat worn LP to generate the piece, I am also interested in the idea that repeated listenings and handlings will generate more noise, more history, and perhaps more sound images within the work; so that the whole thing might change over the duration of the show. perhaps just as the actors in the film became less visible in my own work, my own composition will become less visible as the piece is changed by the handling of others through their physical experience with this small record. and Arcs and Ears. Is humbly dedicated to Pavel Buchler. If he hasn't already made a similar work, he has certainly already planted a similar flag in the territory this piece occupies." [Steve Roden]
|
2007 |
€15.50 |
|
| SHIFTS |
Vertonen 10 |
CD-R |
Sehr schönes neues Material von diesem Projekt des immer noch hyperaktiven FRANS DE WAARD, der bei SHIFTS nur Saiteninstrumente einsetzt.. ein fast 60minütiger, mikrosound-artiger multipler Drone ertönt hier, der sich vom knisternden Anfang zu dunkel-bedächtige Flächen mit infiniten Effekten in verschiedenen Phasen und Ebenen bewegt. Grossartig !! Das ganze kommt in einer kunstvoll gefalteten blauen Hülle, lim. & nummeriert 60 Exemplare.
“Exquisitely packed comes this new work by Frans de Waard's string based project Shifts. And the question that immediately rises upon listening is: where are the strings? But as said before, Shifts is based on strings, so one may assume that the origins of these wide, drony and shimmering sounds are indeed strings. This short rant is meant only to mark a shift in Shift's appraoch to sound: this is definitely digitalised material, whereas his earlier works were obviously analog. OK, having said that, the work on this disc is an almost one hour piece of drony arctic sound, with small rattlesnakes moving about in the snow. I know this doesn't make sense but that's exactly the point: these sounds have the same incongruity and don't seem to belong together, but they go together very well. Further into the piece we are taken away from the desert snowfields and seem to be hovering at some height above them. And at a certain altitude the winds are taking over the sound scenery, adding resonance to the original drones. This is basically how the piece develops. A classic ambient drone piece that makes the mind go on its own trip and makes time seem to originate from another universe.” (MR, Vital Weekly) Address: http://www.verato-project.de
|
2004 |
€10.00 |
|
| TOY BIZARRE |
kdi dctb 039 |
mCD |
"Der Code kdi dctb ist bei Cédric Peyronnets Fieldrecordings so obligatorisch wie in gewissen Parallelwelten das BWV oder dergl. ‚kdi dctb 039‘ speziell ist der Mittelteil einer Trilogie, die mit ’kdi dctb 151’ auf dem Split mit Dale Lloyd auf Bremsstrahlung in San Diego begann. Dass Peyronnet auf puren Naturklang (keine Synthesizer, Sampler etc.) pocht, wurde schon als bewusste Abkehr aufgefasst von der erzfranzösischen Pariser Musique- Concrète-Schule. Aber die Lauschangriffe auf die akustische Umwelt, hier nur deklariert mit ‚made in various places from 1994 to 2007‘, sind nicht weniger ‚typisch
französisch‘. Oben propellert ein Flieger, unten knistern Laub und Ästchen, dazwischen ein Hüsteln, Klackern und Knurschen, ein Zwitschern, Bitzeln und Zirpen, wie ein Glas prall gefüllt mit ‚Wald & Wiese‘. Duchamp hat 1919 in einer Apothekenambulle ‚Pariser Luft‘ als Readymade-Gastgeschenk mit in die USA genommen. Peyronnet könnte entsprechend 20 Minuten ‚Heimatklang‘ verschenken, so komprimiert, dass er explosiv verpufft, dass es wie ein Percussionorchester aufrauscht und dann minutenlang nachbebt, als synästhetisches Konzentrat von ‚Natur‘, über die hinweg erneut
Flugzeuge ihre Bahn ziehen" [Bad Alchemy]
"kdi dctb 039 is a part of a trilogy made up of 'kdi dctb 151' (See bremsstrahlung recordings), 'kdi dctb 039' & 'kdi dctb 180' (TBR).
Another piece about childhood memories composed only with field recordings made in various places visited from 1994 to 2007 : acoustic spaces, sound objects, sound auscultations, bits of soundscapes... Microphone and recorder as the primary tools. It's sometimes good to make a pause, seat and take a look at the
past - then, some sound fragments may appear... our sound memory. toy.bizarre (Cédric Peyronnet / ingeos) - sometimes qualified as "rural headphone electro(acoustro)nic music" - works on field recordings, phonography, soundscapes, sound art, since 1985. He has released more than 40 works on CDs, tapes, videos, compilations...Contact : http://www.ingeos.org" [label info]
"Throughout the '90s, Cedric Peyronnet would boldy announce that none of his Toy Bizarre recordings were made with synthesizers
or samplers, instead with field recordings and collage techniques as his twin media. It has been speculated that this notion comes from a
punk attitude against France's institutional avant-garde which evolved out of the work of Pierre Schaefer and Pierre Henri; but at the same time, Peyronnet's recordings focus on the specificity of sound locations, and the technology of samplers and synthesizers didn't have the ability to reflect the unpredictability that Peyronnet witnessed in environmental sound. While Peyronnet doesn't
mentioned his aversion to technology on this 3" from Ferns, he's retained the same adventurous sensibility for dynamic edits coupled with nocturnal, slippery ambience. From the jump-start opening of crackling twigs and grasses with an airplane's Doppler-effected
engine roaring in the distance, Peyronnet's 20 minute composition dissolves into elegantly fluid timbres weaving out of tactile sounds
from sand, grit, gravel, and other bits of detritus. Once all of the sounds have all settled into a drift of stasis, a quick jump to another set of textures and abrasions begins with a corresponding set of sympathetic drones. Fans of Loren Chasse's field recording work,
Tarab, and Steve Roden should all take note of this exceptional release." [Aquarius Records]
|
2007 |
€6.50 |
|
| TSUNODA, TOSHIYA / JUSTIN BENNETT |
Cleavage of Acoustics / Cacerolada |
LP |
Nr. 3 in der Mixer Split LP Reihe ! JUSTIN BENNETT hat einem Protestmarsch in Barcelona gegen den Irak-Krieg im März 2003 beigewohnt, eine unglaubliche detailreicher Soundkulissensumpf aus Sirenen, Autohupen, Perkussion, Pfeifen & Gegröhl. T. TSUNODA arbeitet diesmal nicht mit reinen field recordings, sondern lässt Sinuswellen auf konkretes Material treffen, was zu knisternd-resonanzbildenden Effekten und merkwürdigen „small sounds“ führt.
Tolle Geräuschmusikplatte !
“Both Justin Bennett and Toshiya Tsunoda have gained a reputation when it comes to fieldrecording-based soundworks. Using their sonic surroundings as the startingpoint for their work, both are unique in approach and result. "Cacerolada" is based on a noise-protest against the Iraq-war, recorded in Barcelona. It wakes up and dies out as any day does, gradually moving along all kinds of sonic occurrences in between. Compared to Tsunoda's, Bennett's work comes from a more contemplative approach, outlining to his listener the beauty, absurdness or musicality of the everyday soundtrack he's living in. Originally these protests served a highly political goal, to record them and treat these recordings as a piece, is what made "Cacerolada" into a sound-object, to be listened to with different ears. This is the core of Bennett's work. Using hardly any processing-tools (Bennett composes with the raw building-blocks he records), these environmental-pieces are very much like documents, with specific artistic or aesthetical qualities. He hunts for certain scenes or situations and captures moments in time that contain a specific type of gesture he is looking for. The reference to daily life might be very much upfront, though Bennett's work is much more than a highly associative collection of recorded sounds. His recordings easily keep up as complete compositions with a strong musical form, taking the listener beyond what is heard at first sight and this is exactly where the strength in Bennett's work as a composer and sound-artist lies. These works show a delicate timespam, organically interpolating from scene to scene. The so familiar sounding material constructs and underlines compositional shape and development, adding a rare compositional richness to environmental-soundworks.
Tsunoda's "Cleavage of Acoustics" stands in close relation to previous works in which he tries to integrate somewhat technical concepts into the everyday beauty of singing birds and chirping crickets. Tsunoda adds to the body of these compositions of the public domain, as Justin Bennett does, but takes a different route to get there. He experiments to find out the musical relevance of technicality for natural sounds and forces a symbiosis between the two. The results still contain the associative character and organic development so typical for environmental recordings, but have a new, more abstract, mimicry. The sometime subtle, sometimes clashing, but always interesting interference between these two worlds, is what gives Tsunoda's work a very unique twist. It can exist as a completely autonomous entity while grafted upon the soundmaterial we all know so well. Tsunoda, like Bennett, makes us hear our surrounding acoustic reality in a different way. Not by fencing off certain parts of it, as Bennett does, but through simple yet very effective technical interventions, making it's appearance shift a bit or two.
"When listening to field recordings, I am always surprised by the richness of it's acoustics. Vibrations echoe from various places, in mixed complexity, changing constantly over time. In some way, it looks like stratum. I would like to sharply cleave the stratum to see the surface of the crevice. This work shows the audibility of sound vibrations through an uncommon process. I tried to cut off the source (field recording) material using a gate device and sine-waves. In each track, specific sine-waves have been mixed with the source-material.
In this work, I regard the sine-wave as the standard speed signal for the source. This has made any alternation within the audio signal detectable for the gate device. The linear audio signal (monoral) is cut horizontally into the advance direction, turning it into two signals. The amplitude of the alternating current has a separated + and - side, with 0 volt as base for the gate device. This split signal is simultaneously reproduced through the right- and left- channel of stereophonic audio equipment. Try mixing these 2 channels. The waveform is almost restored to it's original form, giving a peculiar result compared to the separated signal playback." [press release]
|
2004 |
€11.00 |
|
| V.A. |
Au Clair de la Lune |
do-CD |
Fantastische Compilation, sowohl konzeptuell als auch klanglich. Neun Beiträge verarbeiten die allererste bekannte Aufnahme einer menschlichen Stimme von 1860, eine Frau die "Au Clair de la Lune" singt... meist sehr sanft & sphärisch und von unfassbarer Nostalgie durchzogen (Vinylknistern, etc..).
"Nine internationally acclaimed sound artists create new compositions based on the earliest known recording of the human voice.
The original recording was made by Édouard-Léon Scott de Martinville on April 9, 1860 using his own invention, the phonautograph, and consists of a series of scratches on a roll of blackened paper. Scott had never developed a way to play back his recordings and they went unheard for 148 years. In 2008, scientists at the Lawrence Berkeley National Laboratory converted the thin lines back into audio, allowing us to hear a woman singing a segment of the folk song “Au Clair de la Lune”.
The two CD compilation is a conceptual extension of breathing life back into this document through modern technology; deciphering a voice that was etched into a thin layer of oil lamp smoke, and featuring a diverse group of international contemporary composers, creating new works from this ten second piece of history.
Additional credits: Our sincere thanks to historians David Giovannoni & Patrick Feaster for their assistance in this project. The Édouard-Léon Scott recording is licensed by Firstsounds.org
CD1
STEVE RODEN - AUCLA IRDE LALU NE
LIONEL MARCHETTI & YÔKO HIGASHI - A SHORT STORY
SLEEP RESEARCH FACILITY - DARK SIDE OF THE LUNE
LANCE OLSEN - THE CREATURE THAT DRANK SOUND
STEPHEN VITIELLO & MOLLY BERG - CLAIRE SONG SUNG
CHRISTOPHE CHARLES - BREATHE
CD2
JAMIE DROUIN - SOOT AND PAPER
BERNHARD GUNTER - LES VOIX DU PASSE / CHANTENT L'AVENIR / CLAIR DE LUNE
YANN NOVAK - TIME FORGOT
[label info]
www.infrequency.org
|
2009 |
€15.00 |
|
| VERTONEN |
The ocean is gone, the ship is next |
CD |
VERTONEN aus Chicago vertont hier seine Turntable-Experimente und betört den willigen Hörer mit knisternd-knarzigen Rauschdrones, bizarren Vinyl–loops, noisigen Pulsations-mustern und ganz konkreten Metall-Geräuschtupfern.
* Vertonen is Chicago experimental music veteran Blake Edwards and this CD continues an ongoing exploration of turntable-fueled drones. The opening track's title is self-explanatory: "untitled for air organ and turntable motor". Recorded live on the radio in Chicago, this piece is a fourteen minute long deep and dense mix of beautiful bass tones and thick breathy hums playing endless phase games with each other. On the second piece, a very heavy speaker-rattling bass tone loops through the beginning as metal-percussion sounds slowly cycle in the background. Scratchy vinyl sounds and dense ambient tones continue throughout as some recognizable vinyl-sourced sounds emerge- like a looped horn-line perhaps. the regular sound of the loop disturbs the drone atmosphere a little, adding some humor to a track that doesn't seem to need any. The next piece, "Four chambers plus their various fluids" kicks out the noise from the get go- fast and loud cycling noise whirring and flanging endlessly. Hissy field recorded sounds predominate as the track fades out to silence. "Soma Trio Study (2)" is the shortest cut one here at 5 minutes and could have used a little more time to develop. The sounds at play are delicate and melodic slowly evolving loops drifting in and out of phase- a bit like Philip Jeck, perhaps and much more romantic than the claustrophobic sounds on the previous pieces. Final track begins with warbly locked groove piano sounds eventually overtaken by a darker, machine loop that slowly fades in as the piano plays on. The mix of endless drone frequencies and more loopish vinyl sounds works wonderfully throughout this disc.” [Angbase]
|
2003 |
€8.00 |
|
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