Search results for "klanggold"
"klanggold" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| HÖFER, SASCHA ROSEMARIE |
Music for Video Art & Sound Installations |
MC |
All instruments and arrangements by Sascha Rosemarie Höfer
except »Orpheus, vor mir die Flut« Bass Clarinet by Carola Schaal.
Cover photography by Melanie Schoenmakers.
Artwork by Andreas Usenbenz. Mastering and cassette duplication by Studio Sechzehn.
sascha-r-hoefer.de
https://www.klanggold.net/releases/sascha-rosemarie-hofer-music-for-video-art-sound-installations/
|
2020 |
€9.00 |
 |
| LAMMERS / USENBENZ |
Drawing in Sound |
LP |
Drawing In Sound is a live improvisation, created by sound artist Andreas Usenbenz and illustrator Christoph Lammers for the exhibition opening of "Wiese" ("meadow") by artist and curator Andreas Pytlik at Städtische Galerie Rosenheim in the spring of 2018.
Prior to the performance, the artists exchanged ideas, drawings and sound improvisations to find a way of approaching the topic of 'meadow' in the context of contemporary drawing and contemplative soundscapes. During the performance, illustrator and sound artist entered a dialogue: Usenbenz created subtle sound textures and phonographic collages of rustling hay, records, guitar sounds, field recordings, tapes and effect devices.
Lammers opened all senses to both space and sound. Reacting intuitively, focussing on the moment and with great physical effort he composed his images, formed structures from lines and shapes. Using charcoal, ink, brushes and his bare hands, he filled the 7 by 4 metre canvas, vigorously at times, then almost delicately, providing stimuli in turn picked up by Usenbenz. Ultimately, this "conversation" between the two artists gave rise to a different interpretation: Everything grows of its own accord.
Played and improvised by Andreas Usenbenz, using objects, lo-fi microphones, contact microphones, field recordings, guitar, ebow, looper, ipad, dictaphone, cassettes, tape loops, op 1, field kit. Drawn and performed on a 7 x 4 m canvas by Christoph Lammers, using different objects, ink, charcoal, brushes and his bare hands. Recorded live at Städtische Galerie Rosenheim. Additional sounds recorded and edited at home.
For this release, Lammers and Usenbenz extracted a small part of the huge artwork and carefully screenprinted every single copy by hand to the B-Side of the record. The A-Side contains the 21 miunte performance in full. The Title is handstamped on the label.
https://klanggold.bandcamp.com/album/drawing-in-sound-2
"Our regular readers may remember Ulm’s Andreas Usenbenz from Bells Breath, a lovely time-stretched recording that was also an installation. Last spring he teamed up with Munich illustrator Christoph Lammers for Drawing in Sound, a live performance during which the artists improvised with sound and brush. Now this performance has found its way to vinyl, each copy screenprinted with a segment of the original art.
The video causes one to reflect on the process of inspiration, especially one’s reaction to sound. Music can aid the focus of artists in other disciplines, from the obvious (yet often ignored) dancer in a nightclub to a choreographer to an author to a sculptor. Lammers is literally drawing in sound. Yet the feedback loop also contains Usenbenz, who reacts to Lammers’ art with additional nuances of his own: not just guitar, but tape and “rustling hay.” On the surface, one might ask, “Is this what the sound looks like?” or “Is this what the painting sounds like?” But the release offers only one interpretation; play it at home, and one may paint a different picture.
The title of the exhibition opening was “Wiese (Meadow),” which seems apt given the nature of the collaboration. Something grew out of (a seeming) nothing: curves on a white canvas, notes in a quiet room. But the value of the vinyl goes far beyond mere souvenir or objet d’art. Usenbenz’ piece is gentle and intimate, a perfect score for a new morning or a new year, a snow-covered landscape or the genesis of an artistic project. Flowing water implies life; birds the promise of spring; rustling hay the seeds of inspiration. Soft pings twinkle like stars on a clear night. As a single piece, the music allows listeners to sink into the undulations, providing deep rest or deep focus depending on the setting. When the notes eventually dissipate, the recording ends, but the creative fire has been lit." [Richard Allen/A Closer Picture] |
2018 |
€25.00 |
|
| SRH |
Telomer[e] |
LP |
listen: https://klanggold.bandcamp.com/album/telomer-e
Sascha Rosemarie Höfer — telomer[e]
Höfer uses different sound sources and recording processes. One of his focus points is the collection of sounds and noises, which he predominantly records analogue and very rudimentary on tape, various voice recorders and microphones he holds dear. Höfer is collecting sounds indoors or in the field. Usually en passant.
“I like to listen if something interesting catches my ear, but not obsessively. I collect sounds, when I feel like it, not because a certain sound may be extraordinarily exquisite, making me want to trace it. I would regard that as a disruption of the moment, something I generally want to avoid.” says Höfer.
Sascha Rosemarie Höfer’s album telomere[e] breaks with his works of previous years. It took longer to complete, is devoid of conceptual and artistically developed ideas. Rather, it presents the process of metamorphosis: dieback, segmentation, recombination, exploration, ageing and rejuvenation, thus mimicking the language of biology.
telomer[e] took three years to complete, a time during which the different pieces underwent various ecdyses, during which ideas developed and unravelled, explored different stylistic directions and once again dissolved, until first fusions emerged. Fusions Höfer picked up to shape the musical segments into something larger than themselves, finally developing pieces for piano he later merged with the different sounds. The result: telomer[e] as presented on this album.
“It is important for me to create a musical representation of the space where I am recording the music. Not least because it carries a central momentum, which I consider as a fundamental element that may not be excluded. The result often sounds rough and lo-fi-esque.” says Höfer.
telomer[e] is captivating due to its contrasts, it is playful, harmonic and atonal, creating a glamorous homogeneity, despite — or because of — these musically antagonistic efforts. Höfer brings the sounds to life, he nudges them into a conversation until they are fusing, but without losing their immediacy. If you are expecting it to be easy on your ears, you’re out of luck.
Written and produced by srh. Recorded, arranged and mixed by srh.
Instruments: piano, modulated guitars, drones, fieldrecordings, dictaphones, glockenspiel, analogue synths, digital and analogue processing.
Trumpet on “TTACCC” arranged by srh, played by Marco Stubbemann; voicesample on “TAAACC” and clattering on various tracks by Mathilde Schoenmakers.
Cover photography by Melanie Schoenmakers; design: Andreas Usenbenz; mastered by Fabian Tormin [plätlin mastering].
translated by www.tommibrem.de
|
2018 |
€15.00 |
|
| USENBENZ, ANDREAS |
Bells Breath |
CD |
All field recordings, sound design & compositions by Andreas Usenbenz, between march 2015 and may 2016
The music is based on field recordings of 10 different church bells installed in the Minster of Ulm. Usenbenz recorded the bells using a wide spaced A - B pair with omni directional DPA microphones,
a Sennheiser ORTF setup and contact microphones mounted directly to the bells or their direct environment.
The Bells where rung by the Sacristan. Additionally, Usenbenz played them with different props to tease very specific sounds out of the bells. No additional sounds were used in these compositions.
https://klanggold.bandcamp.com/album/bells-breath-lp
|
2017 |
€10.00 |
|
| USENBENZ, ANDREAS & PETER SCHUBERT |
Plaque |
CD |
Sound art. In an essay for the Goethe Institute dated 2009, Carsten Seiffarth (of Singuhr gallery, Berlin), called sound art a “new art form”. An art form that is now established but still only plays a marginal role in the art world and in exhibitions. Everybody who visits galleries and art fairs regularly will concur.
Why is that?
For one, many sound artworks are intricately connected with the locations they are presented in, which is usually not where art fairs and exhibitions take place, but locations whose atmosphere and history are to be amplified or to be communicated. Or the locations have been specifically constructed, like the Philips pavilion at the world expo in Brussels in 1958, for which Edgard Varese created his Poème électronique.
So, works of sound art are often tied to a specific event as well, like “Plaqué”, which has spacial as well as historic roots. When the event is over, the relevance of many sound artworks may fade away to a certain degree. In addition, the presentation of sound art often proves difficult in traditional galleries or art fairs. These are usually not designed to adequately present live performances or sound art in general, because of sound art’s predominant element, sound, is usually not part of the art presented there. In fact, there are only very few galleries that specifically deal with sound art.
While sound installations and more classically laid out compositions may come with a certain potential for longevity (or repeated resurrection), a lot of artists are producing works that are very ephemeral, except for archival recordings, of course. Performed works are often placed on the side stages of music festivals, or they may emerge within a tightly set frame of time and context, outside of which only a documentary shadow remains.
Collectors are struggling with sound art as well. Like with video art, it is not easy to get used to the idea that you may be purchasing a work which can be copied in unlimited numbers at no costs. That’s precisely what a recorded piece of sound art is. This parameter, as well as the performance aspect of sound art, seems to put it on a level with music. But is that appropriate?
A question that could be asked in the case of “Plaqué”. Is it “just” an archival recording of a long gone performance? Like Varese’s Poème électronique, “Plaqué” was created for a specific event, the 200th birthday of Daniel Straub, whose endeavors in Geislingen shaped the small German town for decades to come. He was involved in the construction of the railroad line and founded a company called WMF, which produces kitchenware and cutlery to this date.
Usenbenz and Schubert traced Straub’s history in the Geislingen of our present. The collected field recordings were presented as a live performance, which served as a preliminary work and a basis for the work now published. “Plaqué” is not just a recorded performance, it is an advanced work, a new composition containing additionally recorded material. It gently loosens its spacial and temporal roots without losing its contextual base. The result is strangely fascinating and universally relevant. It is an independent piece of sound art, which deserves the same form of attention and appreciation as a painting or a sculpture. Even if it’s not a unique piece, entering one art collection, but an edition that will be enjoyed by 200 collectors.
peter schubert • field recordings • electronics • microgranny analog fx • ableton live • fieldscaper • no-input mixer
andreas usenbenz • field recordings • borderlands • samplr • ableton live
dubplates • cassettes • microkorg • patchblocks
recording • editing • mastering • klangmanufaktur ulm
photography • artwork • andreas usenbenz
www.klanggold.net
|
2017 |
€10.00 |
|
|
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