ANTOINE CHESSEX – DUST for 3 Violins, Backtape and Electronics CD Cave12
BROKEN.HEART.COLLECTOR – Broken.Heart.Collector CD Discorporate
CINDYTALK – Hold Everything Dear 2LP/CD Editions Mego
DJ DIAMOND – Flight Muzik 2LP/CD Planet Mu
FENNESZ – Seven Stars 10″ Touch
MOHA! – Meiningslaust Oppgulp CD Rune Grammofon
MONOBLOCK B – Teatime in Medellin A/B EPs Spezialmaterial
PHILIPP QUEHENBERGER – Uffuff 12″ Editions Mego
RAOUL SINIER – Guilty Cloaks CD Ad Noiseam
SCHNAAK – Wake up Colossus LP/CD Discorporate
TEHO TEARDO – JG THIRLWELL – Santarcangelo 7″ Specula
THOMAS LEHN / MARCUS SCHMICKLER – Live Double Séance [Antaa Kalojen Uida] LP+DVD Editions Mego
V.A. – SM 4 Compilation 2CD Spezialmaterial

DUST for 3 Violins, Backtape and Electronics
CD Cave12

Composed by Antoine Chessex / Performed by: Elfa Rún Kristinsdóttir: Violin, Ekkehard Windrich: Violin. Steffen Tast: Violin, Valerio Tricoli: reel to reel tape recorder, electronics / Recorded at Berghain in Berlin by Kassian Troyer (January 2010) / Mixed and edited by Antoine Chessex & Valerio Tricoli in Berlin / Mastered by Rashad Becker at Clunk Studio, Berlin (December 2010) / Produced by Cave12, Geneva. / Cover Design by Eva Rittmeyer & Xavier Robel.

DUST is a piece by Swiss composer & sound artist Antoine Chessex. A slow metaphysic development, the combination of stretched violins and revoxed sound traces, extanding, overlapping, diminishing before exploding in a compelling and final catharsis. Heading for the infinite, images of before and after the big bang, an achievement as mysterious as the unknown … perhaps the music of a spaceship departing for the confines of the universe, this is what it could sound like to our simple terrestrial ears. A superb piece, expertly orchestrated and powerfully executed by musicians who are completely in their element .
“When it comes to the impact of a statement, I’m all for conciseness. This piece by Antoine Chessex, which lasts 29 minutes, is a perfect specimen of how an essential concept can be entirely developed across a short time span if lucidity is there from the beginning. The Swiss artist is better known for his noisier improvisational work (in that field, he belongs among my recent favourites); however, Dust is another kind of beast, a veritable composition for three violins (Elfa Rún Kristinsdóttir, Ekkehard Windrich, Steffen Tast) plus tape and electronics (Valerio Tricoli). On a superficial listen, the images that linger in the mind are those of string clusters and variously distributed glissandos depicting something halfway through the slow spreading of a toxic gas and the rotary motion of a falling meteorite. But with headphones on, one realizes that there’s more, and that ‘more’ largely depends on Tricoli’s machines, which generate bottomless subsonics and inexpressible amassments of sonic matters from different dimensions. Although the electronic treatments modify the voices of the violins quite radically at various times, the overall feel is that of a Ligeti-esque suspension culminating in progressively stronger jarring heaps replete with wavering high pitches.” – Massimo Ricci, Touching Extremes

Antoine Chessex is a composer and sound artist born in 1980 in Vevey, Switzerland, with a background as a saxophone player and performer. His sonic researches include compositions for ensembles, solo works and sound installations. Chessex’s works are based on the exploration of the physicality of sounds and spaces and deal with acoustic as much as electronic and electroacoustic mediums.He presents his works worldwide and appears at numerous international festivals and venues in the U.S.A, Russia, Japan, China and all around Europe.
Recent compositional works include “DUST” for 3 violins and electronics, “Resonant Water” a site specific piece for acoustic ensemble, “Metakatharsis” commissioned by the Phoenix Ensemble in Basel (2011) and “SPUR” commissioned by the Kammerensemble Neue Musik Berlin (2011) as well as numerous electronic music pieces.
His solo works feature dense layers of sustained pitches reacting with the architecture of the space or massive clouds of amplified sax resulting in intense live actions in total immersion in the sound.
Collaborations with musicians like Jérôme Noetinger, Lasse Marhaug, Zbigniew Karkowski, Maja Ratkje, Chris Corsano, Ilios, Valerio Tricoli, C. Spencer Yeh, Axel Dörner, Hans Koch, Robin Hayward, Thomas Ankersmit, Lucio Capece, Dave Phillips, Kasper Toeplitz, Burkhard Beins, Monno, Didi Bruckmayr, architect Christian Waldvogel and media artist Ulrike Gabriel.
Chessex gave lectures and workshops at the Goldsmiths College, London University, New Music foundation in Oslo, Hochschule für Gestaltung in Offenbach/Frankfurt, University of California in Davis, the Academy of the Arts in Riga and the department of electronic music of the Conservatory in Krakow.

CD Discorporate Records DISREC18
Release date: September 16

For BROKEN.HEART.COLLECTOR five champions of undefined paths join forces, having found what was meant to be found – each other: Slovenian vocal artist and bass flutist MAJA OSOJNIK, well versed in traditional Slovenian folk songs, pop & avantgarde, as well as black metal grunting, performs in various different outfits (Rde?a Raketa, Maja Osojnik Band, FruFru, Subshrubs); Bass clarinetist SUSANNA GARTMAYER known from the manifold domestic improvisation scene; and there is also BULBUL – the Austrian superband, for years utilizing the classic rock line-up and pushing it beyond its boundaries, releasing conceptual field-recordings and blowing up the most profound pig-rock-smasher in the spheres of the impossible.

Upon the instrumental fundament, Maja Osojnik wails hypnotizing passwords that hold the reoccurring subtext of “I control you”. Her voice now floating frigidly, then hissing like a mad child raised up amongst wolves and finally closing up around the group snake-like. “Broken.Heart.Collector” is an intoxicating stream of lava, guides along The Cabinet of Dr. Caligari, unnoticably passing owls whistling ‘good-night’s’ and wobbling shadow-realms dragging into disco beats. Suddenly you are on an overwhelming trip in the desert with Alejandro Jodorowsky, gliding through agravic spaces and oversized soundscapes above which rattling chains and twittering iron can be heard. Drifting far without getting lost: The album always reclaims its pupils and cracks the whip when it’s necessary.

Their instruments – often prepared like John Cage used to enhance the interest of a piano with palette knifes, rubber bands and other utensils – lead from strictly reduced passages to excessive shamanic space-trips with field-recordings. There’s squeaking and rattling until steel string guitar, driving bass, tricky drums and a hell of a clarinet trim it all into bruitistic layers finally mutating into an undertow-like groove.

BROKEN.HEART.COLLECTOR take your hand into unknown territory where you’ll meet pulsating heart-shaped jelly-puddings, drifting speaking pyramids, slowly rotating satellites, light beam transmissions from far dimensions and tongue in cheek grinning organists whos’ cylinders have eyes blinking mechanically through the bizarre orbit.


– Artwork & Layout by Mackie Osborne (Melvins, Tool, Fantomas)
– Recorded at Goon Studios, Linz
– Mixed by Ollmann at Feedback Studio, Vienna
– Mastered by Bo Kondren at Calyx, Berlin
– For fans of Evangelista, Chrome Hoof, Bulbul, ZU, Melvins, Sleepytime Gorilla Museum, Zorn

Hold Everything Dear
2LP/CD Editions Mego eMEGO 122

All tracks written and recorded by Gordon Sharp and Matt Kinnison between 2006-2011 at Roi Vert, Okamoto (Japan), 13th Floor and Space Eko (London), Southend (Essex)
Mastered at Piethopraxis, June 2011
Cut by Rashad Becker at Dubplates & Mastering, Berlin, June 2011
Design/images: David Coppenhall
Assembled at Sixism (Maggi Smith/David Coppenhall)
For Matt Kinnison and John Berger

Hold Everything Dear is the third installment in the new Cindytalk sound which started with 2007’s The Crackle Of My Soul, and then last years Up Here in The Clouds. It’s the Þrst in the trilogy to feature musicians other than GORDON SHARP namely the late MATT KINNISON, to whom the album is dedicated.

Inspired by the John Berger book of the same name, this latest release is whole new set of parameters which push the sound on the previous two works to an extreme point of abstraction, and in some places near silent passages and haunted melodic segments.

And what a mysterious journey this ends up being with increased use of piano and found/Þeld recordings giving all the tracks a blurry soundtrack appeal to the point where the deÞnitions between the tracks are no longer clearly deÞned. It harks back to the odder parts of In This World and The Wind Is Strong albums from the early 1990s.

Superbly packaged with new David Coppenhall artwork in a 4-panel digipack and gatefold vinyl sleeve.

Flight Muzik
2LP/CD Planet Mu Records ZIQ302

DJ Diamond is 24 year old KARLIS GRIFFIN from the West Side of Chicago. He has been producing music since the age of 13 and DJing since 20, heading the ‘Flight Muzik’ clique of footwork producers.

You might recall his two tracks from our ‘Bangs & Works Vol.1’ footwork compilation of last year. In addition he’s also released several mix cds in Chicago, but this, his first international album showcases his unique style of footwork music.

DJ Diamond is a unique producer with his own distinct style and an unusual ear for unexpected sonic and rhythmic combinations within the footwork template. Often he thoroughly edits samples into tiny trance-inducing, techno-like stabs. Combining this with a penchant for neon synths and loose, broken drums (that are often more effect-laden and freeform than those of of his peers) and you have a sound which has an intriguing, deeper, dreamlike feel.

The breadth and quality of his production is clear when you listen to this album. Take opener ‘Rep Yo Clique’s woozy drawling synths and tribal tom patterns next to ‘Speakerz n Tonguez’ with it’s snapping snares, minimal, repetitive voice samples and martial, detailed drum work. Then a track like ‘Torture Rack’ which is like grime in outer space: a minimal bassline and some samples from a computer game, while a bass kick stumbles at half time, swarms of percussive detail giving it drama. It’s a brilliant exercise in wonky tension. The extraordinary ‘Decoded’ comes across like a kind of amalgam of trance and prog rock bombast at 160bpm while ‘Wreckage’s’ high pitch saw noise is like a strange metallic bird-call, over light cymbals, gabba-like kicks and metallic claps. ‘Digimon’s’ harmonic microedits could even be an SND track transported to Chicago. Finally the album’s closer ‘I Choose You’ rolls out over a heavily edited and processed soul sample, it’s drums rolling off at odd angles to almost seasick effect.

Seven Stars
10″ Touch # Tone44V

Printer inner and outer colour sleeve
Design & photography by Jon Wozencroft
Recorded at Studio b at Amannstudios in Vienna
Acoustic and electric guitars, bass, synths, computers
Side A
1. Liminal 3:07
2. July 5:06
Side B
3. Shift 6:47
4. Seven Stars* 3:01
*Seven Stars features Steven Hess on drums, recorded at Amannstudios by Christoph Amann

Fennesz’s first solo release since Black Sea [Touch # TO:76, 2008] is a 4 track 10″ vinyl, with a CD version due in September 2011. It will also be available as a digital download. Using acoustic and electric guitars, bass, synths, computers, Fennesz continues to engage and entrance us in equal measure.

Fennesz writes: “Seven Stars was recorded in Vienna in January 2011. I recorded and mixed the album within 3 weeks. Liminal and July were existing pieces which I have reworked. (I wrote an early version of Liminal in a hotel room in Bali in 2010). There is also a version of Liminal that I have been playing live for some time. My friend Steven Hess, with whom I have worked before, happened to be in Vienna at the time of the sessions, so I invited him to join me in the studio. Christoph Amann recorded the drums using a selection of his great microphones including his amazing new Josephson. I wanted to make a record that has a certain lightness about it and at the same time explore new territory using drums on one track. This might be something I will continue with in the future.”

Fennesz’s third collaboration with Ryuichi Sakamoto, Flumina, is due out this summer on Touch.

Repas Froid
LP PAN 17édalia_Tazartès

An extraordinary combination of culled found and taped fragments juxtaposed against drums, field recordings and mystery noises, sound loops, birdsong, keyboards and emanations of his own throaty drones and voice propelled by hypnotic, ritualistic rhythms balanced on a razor sharp edge.
This is the complete work of Repas Froid; previously released on cd as brief tracks of source material and palette of various sounds. It includes archival and as of yet previously unreleased recordings from the late 1970s and early 1980s, strung together to form two long compositions.

A French musician of Turkish parentage, Ghédalia Tazartès is an uncompromising character who defies categorization. Born 1947 in Paris, is one of France’s most idiosyncratic talents. He has spent over 30 years within musical practice and experimentation, letting his musical work wander from chant to rhythm, from one voice to another. Utilising magnetic tape recorders into a rough collage and loose ethno-instrumental mulch, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian anhydride collide into polyphonic ceremonies.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

Twenty Ten
3CD 12k 1066


Twenty Ten is the latest epic from Brooklyn-based composer Kenneth Kirschner, who is known for his decayed, dark and usually long-form takes on modern classical and found-sound composition. With only 4 pieces spanning a 3-CD set, and nearly 3 hours of music, Twenty Ten takes Kirschner’s study of space and sonic focus to new lengths.

Following 2008’s critically acclaimed double-CD Filaments & Voids, Twenty Ten sees Kirschner’s use of real-world instruments become even more accomplished while still remaining steeped in conceptual outlines, meticulously married with computerized processes that emphasize the natural instruments’ flaws. Like most of Kirschner’s work, he starts the listener off easily, introducing the instrument or set of instruments for a particular piece
with relative pragmatism. However, things don’t remain so simple for very long, as the works’ harmonic balance gives way to microtonal relationships and beautifully crafted computerized decay. By the end of his long compositions, you find yourself wondering how you got where you were, having been completely drawn into Kirschner’s sound-world and thrown out the other side as if tossed into a churning sea.

Disc One starts off with the shortest piece of the set (a mere 23:40), “January 4, 2011” (all of Kirschner’s compositions are titled for the date on which they were started). This piece, created with metallophones and xylophones from a local school, is perhaps the most chaotic, and the most natural, we’ve ever heard Kirschner’s music, as two simultaneous layers of subtly microtuned percussive bells roll and skip, sped up, slowed down and playing off of
one another. Natural, because there was no computer trickery, only hours of playing and recording edited down to this “short” length. As almost the polar opposite, the second track on Disc One (the only disc with more than one piece), “November 7, 2010”, takes piano, strings and celeste into severely microtonal territory – at first perhaps a difficult listen, but at the end of the 42-minute piece it somehow all makes sense. It’s a dynamic recording whose
high-pitched bowed sounds whisper across low piano notes, leaving the listener sometimes holding their breath, afraid to disturb the delicacy.

Disc Two’s “September 25, 2010” (47:00) is a composition for strings, woodwinds and horns in which 142 different chords float in a sea of silence with no repetitions and no recurrences. Every chord was composed so that each instrumental combination only happened once throughout the piece, and the sparse approach evokes “October 19, 2006” on Filaments & Voids, where Kirschner spent as much time composing the silences between chords as he did
the notes themselves.

The final work on Twenty Ten is the 51-minute “January 18, 2011”, which takes up the third disc. This piece sees Kirschner return to the instrument he is most often associated with: the aging piano. Two pairs of equal-tempered layers are microtuned against each other, with occasionally jarring edits and unexpected cuts and stops breaking the moody atmosphere created by Kirschner’s use of noise and exploited lo-fi recording artifacts.

Taken in its entirety, and realizing the amount of work that went into the creation of this set, Kirschner’s Twenty Ten comes off as one highly impressive accomplishment that assures his place among the top artists of our time creating thoroughly original music free of most current classifications.

Meiningslaust Oppgulp (A Singles Compilation)
CD Rune Grammofon RACD106
Vertrieb: Cargo

Meiningslaust Oppgulp is a limited edition compilation of rare, limited and hard to find tracks from vinyl singles released between 2008 and 2011.

Out of Norway’s super-fertile impro scene, MoHa! have boldly been leading the way with a sound that encompasses the best of rock, free jazz and electronic music. Despite the enormity and broad spectrum of sounds that constitute their unique style, it is the work of just two talented young men, ANDERS HANA on guitar, obsolete electronics, a pallete of effects pedals and now also a synth, and MORTEN J. OLSEN on drums, triggering a multitude of noises from each skin and cymbal using custom built software. Having played together in various projects for around 12 years, they have developed a high level of control and understanding in their musical communication. As anyone who has seen them live during one of many tours in Europe and USA can testify, they compliment and confront each other with sharp and mechanical movements on one hand, free flowing and loose gestures on the other.

Teatime in Medellin A
Teatime in Medellin B
Limited Silkprint CD (500) Spezialmaterial SM032CD017

Teatime In Medellin A
You come round, in a dark grotto, in the middle of the dancefloor and it is announced that due to construction the electronic superhighway will be closed until further notice. So no escape; the candles are lit, a neon sign saying «sick and sonic» is flickering above the bar, where Absinth is served. The dance may begin. Pleasant shivers of a déja-vu runs down your spine as Monoblock B’s first crisp beats come over the speakers, the God of the Night rises. Complete immersion into melancholic melodies, delivered over uncompromisingly broken, gripping and dirty beats right at the pain threshold.


Teatime In Medellin B
After the nocturnal odyssey, the original Zurich electropunk invites his dancers to a cruise through the dark catacombs far below the city. The echoes of faceless voices from the past, the present and the future recoil from the cold walls, you feel their breath on your neck, while the beat forces the gondola forward. It glides by secret gardens, you visit the museum of lost art, have tea at Café Medellin while listening to Monoblock’s stories. Of how he and his music had been lost, queried, found and lost again, found again, was stolen and eventually destroyed in the past seven years. But it all ends well, in Room 63, where after a crazy trip, you peacefully fall asleep.

Born 1973 in Singapore and raised in Basel, SILVIO TOMMASINI alias Monoblock B becomes a music activist (Goth, Pnk and EBM) and passionate Musicians in his teens. It is no coincidence that his first band, in which he sang and played guitar, is called “l’amour sauvage”. At the end of the Nineties he moves to Zurich and co-founds Spezialmaterial. With his dark, wild and spectacular shows he is an underground star in no time at all and before long, he plays the big clubs of the town and specialists call him a “phenomenon” on national television. Off stage he creates music for theatre productions, performances and art installations. To date, he has released six solo records and was featured on 16 compilations. Monoblock b creates a powerful one-man live-electronica performance, merging punkwave elements from the eighties with modern technologies. His contact with the crowd is like sex – electro-bleeps are skilfully mixed with his raw and di- rect vocoder voice. All this and his charismatic showmanship is known to tear up every dance floor time and time again in hundreds of shows in clubs and at festivals all over the world.

12″ Editions Mego DeMEGO 020
Release date: August 16

Mastered & cut by Rashad Becker at D+M, Berlin, June 2011
Pre-master by Falm
New gear from the PQ corner!

12″ with one new Quehenberger orginal (Uffuff) and a trio of near remixes from his lastest album Hazard (released as LATON 047 in 2009).

Patrick Pulsinger tackles “New Beat”, in his unique future funk sound. A welcome return of Elin (who hasn’t been on a Mego record since 1995, check MEGO 003). He slurps out a version of “Hey Gert”, making it into an slamming slowed down twister of a track. This leaves the pumping exccess of Altroy’s (Minimal Sould) “Keep Talking” remix.

Uffuff (5:33)
New Beat (Patrick Pulsinger “Out of the Box” Remix) (7:31)
Hey Gert (Elin Remix) (4:57)
Keep Talking (Altroy Remix) (7:13)


Archival release documenting the 2009 USA tour of Peter Rehberg and Marcus Schmickler under the R/S moniker. Real time extreme music improvisations recorded at Lampo in Chicago and No Fun Fest in New York City. ‘USA’ is the second full length release by the leading electronic music duo, follow up to their 2007 ‘One (Snow Mud Rain)’ on Erstwhile Records.

Peter Rehberg (a.k.a. Pita) was a founder of the influential Editions Mego label based in Vienna in 1995 (formerly Mego). He performs throughout the world and has participated in many of the major festivals associated with electronic music, such as Sonar, Ars Electronica and All Tomorrows Parties. In addition to his role as mentor to many artists and label curator, Peter has published work on numerous labels such as Häpna, Mosz, Asphodel, Moikai, Ash International, Source, Touch. He has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Denis Cooper (Kindertotenlieder; I Apologize), and has recorded and performed with many other electronic music performers including General Magic; Jim O’Rourke, Kevin Drumm; Stephen O’Malley (as KTL); Christian Fennesz; Matmos; Sunn O))); Mika Vainio and Tina Frank to name but a few. In 1999 he received the Prix Ars Electronica Distinction Award for Digital Music.

Marcus Schmickler is a key figure in German contemporary experimental music. While rooted in electronic music, Schmickler has a background in contemporary composition, having studied under the prominent Stockhausen collaborator Johannes Fritsch. Schmickler has created solo in a variety of different styles under the Wabi Sabi, Sator Rotas, and Param pseudonyms, as well as five techno-oriented CDs as Pluramon. In addition, he has long-standing collaborative projects, most notably with synth wiz Thomas Lehn, guitarist Keith Rowe, and pianist John Tilbury.

The Lp is mastered and cut by Rashad Becker at D&M, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

Guilty Cloaks
CD Ad Noiseam ADN146

Raoul Sinier’s fifth full length album sees this musician surprise us again, and tap on his experience to offer an album in which tracks have become songs, tricky arrangements leave room for melodies, and, most of all, vocals are brought to the front stage. A seductive work, “Guilty Cloaks” stays deeply rooter in this artist’s twisted and falsely naïve imagery, but approaches its listener in a much more humane and communicative way, mixing electronic composition with subtle song-writing, maturity and excitement.

A man of surprises and an ever-evolving musician, Raoul Sinier is somebody who has been blurring paths and defying any pigeonholing. Over the course of four albums in half a decade, the music of this Paris-based multitalented artist has taken many forms, from the complex electronica of his first full-length album (“Raoul Loves You, Coredump 2004) to the hip hop beats and sensibilities of “Wxfsswxc2” (Sublight, 2007) and his Ad Noiseam debut (“Brain Kitchen”, 2008). It’s the case again with “Guilty Cloaks”, both a sequel of sorts and a step forward from his previous “Tremens Industry” tour de force (Ad Noiseam, 2009).

Fans and attentive listeners will have noticed how, over the recent years, Raoul Sinier started to include more guitars, longer melodies and, above all, more vocals to his music. The ten songs on “Guilty Cloaks” are the apex of this evolution. Moving strongly away from the intricate beat arrangements of some of his past works, Raoul Sinier managed here to lay down some deeply humane tunes, in which he takes more time to seduce the listener and drag him into his partly naïve, partly twisted universe.

Don’t be fooled by the soft voice on such pieces as “Summer Days” or “Over The Table”, Raoul Sinier’s world is still this cute but somber assemblage of robots and polymorphic beings, masks and smoke. While “Guilty Cloaks” doesn’t come with a DVD (as “Tremens Industry” and ” Wxfsswxc2″ did), Raoul Sinier’s video work hasn’t been put on hold. Several new example of this artist’s impressive film and animation talent have been released online since his last album, and a few are set to coincide with the coming of “Guilty Cloaks”.

“Guilty Cloaks” can be heard as a strong stylistic statement from Raoul Sinier, in which he sums up his experience to create something new, original and step beyond the boundaries which people might have thought he had. It’s up to the listener to decide whether who the masked figure is who sits on the chair shown as empty on the album’s cover but, may it be Raoul Sinier himself or his listener, it all stands in a new room, full of surprises and discoveries.

Wake up Colossus
LP/CD Discorporate Records DISREC17

Two tip-toe sounds from afar in the dark, where everything springs to life, into light and day… whilst smashing buckets, beeping mouths.

It’s been a while now for SchnAAk to evolve from furry factory noise sessions of songs they smashed in the faces of bewildered people for one year solid while releasing two acclaimed EP’s. Initially they rubbed faces in persistence that said “Get used to it!”

After several excursions through Europe, Africa and the United States SchnAAk has lived up and loves weird hip-hop beats, parallel comic-art universes and stylish African rhythms, though still working deep down in a factory of cosmic noise, but adjusting their machines nicely to sing along. You’ve heard right: Sing along! Wake up Colossus!

The bucket has been proper band member since the first day, comfortably embedded amongst the two. The two with the four arms: two that stroke the wire, the other holding the wood. They make fire from amplifiers. They know how to do that, because they are smartŠ and they cook human flesh over it, nicely. It’s just two guys from Berlin who are connecting this gathering of frequencies and toys with impressive musicality – heartfelt musicality that never slips over the song itself or the naive joy of this music.

On Wake up Colossus remodeled instruments and weird sounds blend together in super- organic new pop music with focus on songwriting, way-out grooves and odd hooks. If we were to invent genres we might call this “transcendentally fertilized new machinery pop”. Gabbling guitar sounds and infantile voice rapidly transforms into a humming train squeaking all along its tracks. Spot on percussion articulated on buckets, various metal pieces, plastic clappers, xylophones, congas, bells as well as ‘regular drums’. They perfectly groove on, off, lean, bearing with the estranged guitar and the buttons connected to it. SchnAAk walk in new territory and they make it completely their own.

Here in this bizarre world of Wake up Colossus the experimental development that happens in contemporary electronic and instrumental music, folds together embedding infantile sounds, modern composition, electronica, soul, avantrock and odd R’n’B… Both grey-haired new music fetishists and their three year old kids may dance together and sing along to SchnAAk’s Wake up Colossus.

MATHIAS JÄHNIG (voc/git/keys/fx) and JOHANNES DÖPPING (dr/perc/xyl/toys/voc)

– Mathias Jähnig was mastermind of the German Jazzcore band The Season Standard
– Drummer Johannes Döpping plays in US-avantgarde band Kayo Dot and Tarentatec
– Recorded in the Boom Boom Room; Strings and woodwinds recorded at Festspielhaus
– For fans of Deerhoof, Lightning Bolt, The Flaming Lips, Jaga Jazzist, Aphex Twin
– File under: New pop, Afronoise, Indie Rock, Avantrock, Weird Soul Music

7″ Specula Records
Release date: August 15

A split single to document the work of Teho Teardo and JG Thirlwell at the Santarcangelo dei Teatri Festival, a really important festival that takes place in the wonderful town of Santarcangelo (Italy). Underneath the town there are several ancient grottos, like a subterranean beehive where both Teho and JG performed several times for 3 days, each one into his grotto. This record marks also the beginning of Specula records, Teho Teardo’s label. Specula means an observation point.

Teho Teardo – Oh Hook
When I first saw the grotto where I was supposed to play I realized that just playing wouldn’t have been enough in there. That long hole under the town of Santarcangelo required a special interaction, its shape suggested a similarity with a polygon so I decided to act musically like if I were about to shoot a target in a rifle-range. The bottom of the cave became the target I hit with sounds thrown from two amplifiers placed on the opposite side. Sounds bounced back on a long and natural reverb and were captured by several microphones placed all along the grotto and processed in real time. The backlash created always different sonic paths I played with, adding guitars and other instruments.I threw several kinds of sounds: cello and strings, guitar, vocals. This is an extract from the various recordings I did during the three days I spent down there.
Teho Teardo – baritone guitar, electronics. Martina Bertoni – cello. Chiara Guidi – voice. Written, produced and performed by Teho Teardo at Grotta Teodorani for Santarcangelo 39, Festival Internazionale del Teatro curated by Chiara Guidi/Socìetas Raffaello Sanzio, July 2009. Mixed and mastered by Teho at Basement recordings, Roma.

JG Thirlwell – Ecclesiophobia
I was invited to make a site-specific “sound action” in the historical center of Santarcangelo in Italy. The location was in a cavern which is tunneled into the side of the mountain. The hill of Santarcangelo is riddled with these caverns that burrow deeply down. The air inside is dank and damp, the walls and floor are dirt. The room at the end of the cavern’s corridor had a vaulted ceiling and a dirt floor. From the centre of the vault I hung a water bottle upside down with an intravenous drip. The water dripped onto the clear head of a bass drum which was lying on its back. The bass drum had a light beneath it which shone up into the curve of the vaulted ceiling. As the water dripped into the pool which was collecting on the bass drum head, it caused a ripple which was reflected into the vault above. I had a contact mike attached to the inside of the bass drum head, which sent a signal into my computer. This signal triggered a low frequency via a side chain of a noise gate, which I sent into a subwoofer in the next room . This subwoofer was positioned beneath another bass drum, which was also positioned horizontally with a pool of water collected on the head of the drum. This drum also had a light beneath it. As the low frequency vibrated the drum head, this also made the water ripple, which was reflected onto the ceiling. This created a visual magnification and representation of a sonic event from the small gesture of a drop of water. In the main room I also had four speakers positioned around the perimeter. During the installation I performed and improvised around a composition consisting of bell like tones, and churchbell recordings I made in the courtyard outside the grotto. I had brought the church underground. This piece was entitled Ecclesiophobia, which means fear of churches. The place seemed like some kind of consecrated environment . It’s not too much of a stretch of the imagination to think that this place was once a dungeon, or harbored some kind of nefarious operations. The version on this record is not a live recording of the installation, but a distallation of some of the audio elements in the piece edited and created for the seven-inch medium.  Composed, produced, performed and recorded by JG Thirlwell.
Composed at La Grotta Balducci in Santarcangelo and re-configured at Self Immolation Studios, Brooklyn NY. Mastered by Fred Kevorkian.

Live Double Séance [Antaa Kalojen Uida]
LP+DVD Editions Mego eMEGO 121
Release date: August 16

Thomas Lehn: Analogue Synthesizer
Marcus Schmickler: Computer

Live recording of a 6 channel loudspeaker concert of improvised eledtronic music., November 14th 2010 at Äänen Lumo Festival for New Sounds at Myllysali, Suomenlinna Island, Helsinki.
No editing, no mixing has been applied to this recording.
All spatialization was part of the live perforamnce.
Contains stereo vinyl LP and DTS 5.1 Surround Sound DVD (audio only)
DVD playable on standard DVD Players and Home Computers.
Artwork: SOMA
Recorded by Teemu Korpipää
Mastered at Piethopraxis Tonstudio, Köln, March 26th 2011
DVD authoring at GOP, Köln
Vinyl cut at Dubplates & Mastering, Berlin, June 2011
The analogue-digital electronic duo of Marcus Schmickler and Thomas Lehn has been working since its Þrst meeting in December 1998 during the German premiere of the Music in Movement Electronic Orchestra (aka MIMEO) in Cologne. Since they have been extensively touring in Europe, the USA and Japan and performed at Experimental Intermedia/NYC, Mills/Oakland, Bard College, Lampo/Chicago, Princeton University, Festival Wittener Tage fuer Neue Kammermusik, AMPLIFY/Tokyo, CCA/Glasgow, Darmstadt and many other known presenters of contemporary and electronic music. They released several highly acclaimed productions on labels such as erstwhile records and a-Musik. Editions Mego is thrilled to release their fourth duo album “Live Double Séance [Antaa Kalojen Uida]”, a LP vinyl with an attached DTS 5.1 surround sound DVD. Its the Þrst ‘live’ recording of a concert that took place in Helsinki’s Äänen Lumo Festival for New Sounds on November 14th 2010. The concert was projected on a six channel system. A stunning, well paced and concentrated performance in which modern computer techniques collide with complex ananlogue synth playing. A dynamic tour de force from these legends of modern electronic music housed in a dazzling Stephen O’Malley cover.

15/10 AT – Kontraste, Krems; 32 channel live diffusion
Cologne Electronic Music meets Diffusion acousmatique Parisienne

V.A. SM 4 Compilation 2CD Spezialmaterial
Silkprint Double-CD Limited Edition (500) Spezialmaterial SM028CD015

An Oeuvre of more than 30 records featuring 50 national and international acts since 2000 is impressive evidence of an incorruptible sense for quality and unstoppable will to innovate. With unique sound aesthetics and technical savvy, Spezialmaterial’s artists have not only won numerous prizes but also the respect the specialized media.
Spezialmaterial is a whole package: With their acoustically and visually stunning products and live performances, distinctive design and visionary booking, the label has become an international seal of quality for the sophisticated.
“Consistently excellent.” Warp about Spezialmaterial

SM4 Compilation
Its fourth compilation SM4 documents the label’s widened spectrum. Genre crossing, acoustic song projects, funky, dark, eccentric and narcissistic and self-loathing at the same time. This double CD featuring 22 projects shows do-it-yourself in the next dimension.

Macuso Vikovsky – Back from Central Asia
Softland – Heist
Person feat. MS. Why K. – Heart of Bass Part. 1
Monoblock B – Odissey
Gleiter – Drumboy and Bassboy
Hard coming Love – Starship
Sissikontest – Bosa
King of the Remote – Xantesys
Cooptrol – Back in Line
Air Afrique – Randompercussion
Drei Stuck Braun – Blumen
Intricate – Suffix
Staubsauger – Kitiminnidak
Solotempo – RingRing
D. Brun del Re – Mattes Glas
Einoma – LF
Hepp – No.One
Feldermelder – King Whistle
HP. Stonji – Aphasic Top Hat
Solarium – Turgutha
Superdefekt – 8Beat
Traject – Metropolis

Thanks for reading & best wishes

Dense Promotion
Ed Benndorf
Weserstr. 165
12045 Berlin

+49 30 288 60 500


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