ANDREA BELFI & IGNAZ SCHICK The Myth of Persistence… CD Zarek
BILL ORCUTT A New Way To Pay Old Debts CD Editions Mego
GINTAS K – So On DL Crónica
MARCUS FISCHER – Monocoastal CD 12k
MARCUS SCHMICKLER – Palace Of Marvels 2LP/CD Editions Mego
MARK FELL – Multistability CD Raster-Noton
MARK FELL – UL8 CD Editions Mego
NICOLAS BERNIER – strings.lines CD Crónica
NICOLAS BERNIER – usure.paysage LP hrönir
PIIPTSJILLING – Wurdskrieme CD/LP Experimedia
SKY BURIAL – Kiehtan CD Lens
SOHRAB – A Hidden Place LP Touch
V.A. – A Tasty Swarm of Small Signals DVD Störung
YUI ONODERA + CELER – Genric City CD Two Acorns

The Myth of Persistence of Vision Revisited
CD Zarek 15
Release date: December 2010
Andrea Belfi (drums, percussion, gongs, nord modular, looper, feedback)
Ignaz Schick (turntable, objects, gongs, bows, looper/pitcher, percussion)
Recorded by Andrea Belfi & Ignaz Schick in Verona, May 2009
Roughmix by Andrea Belfi & Ignaz Schick at P4C Studios Berlin, June 2009
Finalmix by  Attila Faravelli, September 2009
Mastering by Giuseppe Ielasi, December 2009
Coverdesign by Andreas Töpfer, 2010
Belfi & Schick have met in Berlin & Bruxelles and after a few conversations found that a collaboration, due to their entirely different backgrounds, could be quite interesting. A small Berlin venue commissioned their first concert & so they just met a day before rehearsing for only one afternoon before the concert. The meeting was sort of a blind date but it turned out to be of such magic that they decided to intensify and continue the collaboration.
All this happened back in 2008. Meanwhile the duo has performed a few very successfull tours & shows in Germany, Switzerland & Italy and in 2009 they met for an intense week of recordings in Belfi’s house in Verona. They recorded a pool of different pieces (which they usually develop on the spot during soundcheck & concerts) – from more abstract textures to very melodic pieces and songs, and in that particular situation using a lot of found and left behind percussion instruments which they spontaneously incorporated into their usual set-up of gongs, objects, drums and electronica. In a second and third meeting in Berlin and Milano they mixed and edited the material down to a very colorful and loose album with material ranging from simple gong melodies, stripped down postrock beats, rythmical musique concrete and abstract sonic landscapes of a very pure and honest beauty. The mastering of the material was finalyzed by Guiseppe Iealasi in late 2009/early 2010.
Belfi is mainly using his minimal set up of snare drum, bass drum, cymbal & electronics while Schick is limiting his rotating surfaces mainly to bows & gongs and some sparse use objects all manipulated with of a looper/pitch shifter. The music comes as a nice blend of different things ranging from Belfi’s postrock and electronica to Schick’s electro-acoustic improv and drone.
A New Way To Pay Old Debts
CD Editions Mego eMEGO 119
Release date: January 15
And now for something completly different…..
Editions Mego is suitably chuffed announce a CD reissue of  Bill Orcutt’s acoustic hardcore
blues stormer ‘A New Way To Pay Old Debts’, previously released on Palilalia in 2009. For
many one of the highlight of recent years with its unique visionary take of solo guitar playing.
At the heart of Orcutt’s sound is a vintage acoustic Kay guitar equipped with a DeArmond
pickup. After the neck was broken and subsequently repaired, the guitar was downtuned so as
to withstand the tension of the strings, and played with the A and D strings removed.
This all lends itsellf to an intense set of raw, blues-inþuenced songs that sound heavier than
most of the guitar records in your collection put together!!
In addtion to the orginal album this CD reissue contain 2 tracks from the High Waisted 7″ (also previously relased on Palialia), as well as 4 unreleassed tracks.
Tracks 1-8 were orginally released as a 12″ LP record A New Way To Pay Old Debts (PAL-
002. 2009) .
Tracks 9 & 10 appeared on a 7″ single (PAL.001, 2009).
Tracks 11-14 are previously unissued.
Everything recorded May & June 2009 at 24th & York, San Francisco.
Bill Orcutt: 4 String Kay, Voice
Total Running Time 51:35
So On
DL Crónica 054
All tracks by Gintas K.
Mastered by MC.
Cover photo by Pedro Tudela.
After two solo albums and several participations in Crónica’s compilations, Gintas K is back to Crónica with his first release in the free-download Unlimited Series. In what has been becoming Gintas K’s signature, So On is composed of several independent small compositions that are individually very diverse but remarkably coherent when heard as a whole. In the same line as his recent Lovely Banalities, So On lives from the dialectic of its internal dynamics, contrasts and tensions, composed to a delicate balance across the length of the album. It is a step in the consolidation of Gintas K as a mature composer and very active experimentalist with whom Crónica is extremely proud to work.
Live in Geneva
CD Zarek 14
Release date: December 2010
Ignaz Schick (turntable, objects, gongs, bows, looper)
Dawid Szczesny (laptop, software)
Recorded live by Ignaz Schick @ Cave 12/L’Ecurie Geneva in November 2008
Mixed by Dawid Szczesny in 2009
Mastered by Marcin Cichy for plugaudio in 2010
Coverdesign by Andreas Töpfer
The second release of the German/Polish duo after their highly acclaimed Non Visual Objects debut “The View Underneath” – this time the material was recorded live during their 2008 tour European tour. The music on this CD documents the entire set as it was performed that night in Geneva. No afterediting, overdubs or cuts were applied – the material was solely mixed and mastered & track indexes were added.
While the NVO release can be clearly labeled as a “first meeting” in the meantime a few years have passed & the duo has gathered quite some experience through perfoming various concerts & tours together.
And at the same time also both artists have moved on individually and their personal musical and artistic development has sharpened. While Schick has worked hard to widen his musical scope in various duo collaborations and on perfecting his turntable techniques and sonic material of his Rotating Surfaces Set-up with a strong focus on tonal material, Szczesny has completed and released a series of works with very loopy and clearly jazzbased samples recomposing them into very unique sounding miniatures. Schick & Szczesny have incorporated those external experiences into their music and also deepened their common sense in how to shape and construct the music. Although the entire stream of music lasts for about 44:00 minutes, the music clearly structures into a suite of shorter & closely related pieces.
The musical ingredients are not so very different from the first release (warm medlodic loops, very clicky noises, tonal drones), but they are used in a deeper way and have become way more natural.
CD 12k 1063
Monocoastal was inspired by Fischer’s movements up and down the West Coast of America over the last two decades. Washes of tape hiss play homage to the Pacific Ocean, while multiple layers of details reveal themselves differently upon each listen. Tiny sounds originate from field recordings and are given the same attention as conventional instrumentation. Found instruments – such as a piano discovered in the corner of a salvage warehouse and a xylophone made of metal wrenches – create sounds captured through both analog and digital recording. Detail is removed rather than added, and harmonic tones are discovered in natural resonances. The compositions on Monocoastal are built upon a bed of low fidelity textures, an exercise in restraint and tension. Space between notes plays an important compositional role to create this balance and tape loops provide organic repetition that wavers subtly with warmth and imperfection. There is a fractured and naturally worn sense to Fischer’s compositions, each one an object itself summed from carefully selected instruments and tones used in their making.
Monocoastal is another 12k release next to Taylor Deupree’s Shoals, Solo Andata’s self-titled release and the latest CD from Seaworthy + Matt Rösner that represents the current aesthetic of the label: a passion for acoustic and found sounds, a minimal of obvious DSP and synthesis, and a natural warmth created by analog recordings and the use of physical space. Fischer’s instruments include a variety of guitars, both acoustic and electric, lap harps, melodicas, ukelele, home-made instruments, field recordings, and the use of manually manipulated cassette recorders to create stop-and-start compositions. Much like Fischer’s creative blog DustBreeding, Monocoastal finds beauty in everyday objects and surroundings and portrays a hazy, personal narrative, like the cover photography taken by Fischer himself on expired Polaroid film.
Palace Of Marvels (queered pitch)
2LP/CD Editions Mego eMEGO113
Release date: December 15
Composed by Marcus Schmickler
Recorded and Mastered at Piethopraxis, Köln. January-August 2010.
Vinyl cut at Dubplates & Masterting, Berlin, Ocotber 14th, 2010.
Artwork by Tim Berresheim
Marcus Schmickler’s new release following his acclaimed ‘Altars of Science’ is a must have for those interested in the rising Þeld of contemporary Computer Music. It reconÞrms Schmickler’s interest in the liaison of sound, phenomenology and cognitive sciences. Schmickler therefore utilizes a new interpretation of 1960’s discovery, the Shepard-tone, discovered by Roger Shepard, which creates the auditory illusion of a tone that continually rises or descends in
pitch yet ultimately seems to get no higher or lower. The phenomenon Þrst got imposed to the music world by James Tenney in his piece “For Ann Rising”. Similarly, Schmickler has a musical take on the subject by creating Arpeggios, short sequences of tones creating an akin effect.
Schmickler’s interest in the Þeld got Þred by Ernst Gombrich’s essays on “Art and Illusion” questioning the very foundations of our understanding of the history of the image and it’s representation of our world. Adequately Schmickler’s work ever since can be seen as a play within an anthropology of music. Here in terms of it’s very fundamental parameters rhythm, sound and pitch, as well as music practice wit it’s socio-economic implications.
Beyond that, the title Palace of Marvels was found at French intellectual Jacques Attali, who, in his critically acclaimed book, “Noise: The Political Economy of Music”, cites one of Leibniz’s little known but “extraordinary” texts, “Drôle de pensée touchant nouvelle sorte de représentation,” in which the philosopher describes the “Palace of Marvels.” The Palace of Marvels is Leibniz’s idealization of a perfect political organization, which is built in such a way that the master of the house is able to hear and see everything that is being said and done in the premises without himself being perceived by his subjects. Leibniz’s vision of disciplinary society not only predates Foucault’s subsequent versions of surveillance mechanism, the Panopticon, but it also conceptualizes a more effective and absolute form of power through eavesdropping, censorship, and recording, as well as surveillance through visual means. Listening in on, ordering, transmitting, and recording noise are at the heart of the modern State.
The idea for the material was originally conceived for a collaborative Installation-piece together with arts-collective Interpallazo. The technical application was realized with the kind assistance of Prof. Dr. Alberto de Campo.
The vinyl features an extended version of ‘Mystery Bouffe’.
CD Raster-Noton r-n 125
The latest project from Sheffield based artist and electronic musician Mark Fell, Multistability is primarily an exploration of erratic and non-regular rhythmic patterns. Drawing equally from his work with snd and his many solo projects Fell’s most recent work promotes a minimal complexity; combining meticulous synthetic chordal layering with convoluted, chaotic yet fundamentally engaging temporal structures.

In the field of Gestalt psychology the term ‘multistability’ refers to the effect where one is unable to perceive a single stable object within complex or ambiguous patterns. A famous example is the Necker cube – a wire frame with no depth cues that oscillates between front back orientations. The term is also found in systems theory where it describes a condition that is neither stable nor instable, where a system switches between different states. Fell takes these as a starting point for his project, developing compositional structures and strategies that transform and transcend the familiar; structures that refuse to accept parental advice.
Split into two halves the album contains two versions of itself. Using what Fell describes as ‘extremely basic’ pattern generating systems, passages reappear throughout… yet these are applied and manoeuvred into parallel versions of themselves – often different sounds and parameters are explored producing no singular or resolved arrangement.

In his recent works Fell’s process has been influenced by his collaborative encounters with friend and fellow musician Yasunao Tone – particularly Tone’s approach to ideas concerning intentionality and time within the context of musical practices. In Fell’s work, deliberate actions are layered, and distorted; manipulated to produce unforeseen and often extraordinary aesthetic outcomes… documented here in the form of 17 related pieces.

Above all Multistablity should be understood in light of Fell’s claim that “Music is a technology for constructing an experience of time”. Here, in musical form, Fell aims to disrupt familiar temporal divisions and structures; and investigate non-repetitive musical process.

CD Editions Mego eMEGO 111
Release date: December 15
Written and recorded in Whitby, York and Rotherham (UK) during summer 2010 by Mark Fell.
Mastered at Dubpates and Mastering Berlin in 2010 by Lupo.
Part 1: The Occultation of 3C 273
Using 32 operator frequency modulation synthesis conÞgured in 16 pairs of operator and modulator. Frequency, modulation ratio and amount determined by linear interpolation between two spatial extremes, with further interpolation over variable temporal divisions. Panned at equal positions around the circumference of a circle using high order ambisonics. First implemented for the DVD ‘Attack on Silence’ (Line Records 2008) and developed for the cassette release ‘Thunder Bollocks’ with Evol (Alku 2009). The compositions here also feature modiÞed Roland TR707 and Linn kick drum samples.
Tracks 1 to 5; durations 5:37, 7:26, 3:05, 1:51 and 3:11.
Part 2: Vortex Studies
With 2, 4 or 8 channel rectangular waveforms with variable pulse width subject to frequency modulation from syncronised sine functions with variable phase offsets. Initally implemented with syncronised blue light at Algorithm, Glade (Thatcham 2008) with further presentations at Enjoy (Leeds 2008), Centre d’Art Santa Mònica, Sonar (Barcelona 2008), Three Pieces For Unattended, Somewhat Attended and Attended Computer (ShefÞeld 2008), Avoid (Leeds
2009), Three Neurocognitive Approaches To The Formation Of Cross-Modal Objecthood (Rotherham 2009) Sonic Materialities (ShefÞeld 2010) and as Supersymmetry at Matter-Space-Motion (Elsecar 2010). Here with percussion synthesis.
Tracks 6 to 12; durations 8:00, 2:39, 3:42, 1:22, 12:53, 0:33 and 3:39.
Part 3: Acids In The Style of Rian Treanor
Tracks 13 to 19; durations 1:06, 2:06, 2:44, 2:30, 2:03, 1:56 and 5:06.
And Track 20 Death of Loved One 3:34
This project takes its name from the Celestion UL8 speaker. My older brother bought a pair of these when i was starting comprehensive school, and between his 10cc and Supertramp records I Þrst encountered very loud electronically synthesized sound. I soon noticed a pattern emerging in my musical tastes which excluded guitars or drums. Instead i favoured almost exclusively the electronic textures and rhythms of The Human League, Fad Gadget and other synthesiser based music of that period. I was quite curious about this prejudice and would try to work out why Kraftwerk sounded so much better than a rock band of the time. Since then my interest was in the texture of synthetic sound – there was something much more beautiful (and perhaps more emotionally charged) about a sustained square wave than any guitar solo. Soon I began search out and replay sections of music which dropped to a single sound – these for some reason were the best. This interest increased when, a few months later, my parent’s next door neighbour (a technician in the electronics department at ShefÞeld University) let me borrow his analogue synthesiser on semi-permanent loan. And a few months after that I managed to convince my dad to buy me a cheap second hand dr55 drum machine. Many years later Mat Steel and i used the UL8 speakers, now relegated to an attic in a rented house, to work on some early unreleased 12″ projects. Finally (around 2005) my brother gave in to demand and let me have the speakers which now sit in my front room. Although these are of little use in a studio context, they still provide an adequate and often rewarding listening experience.
CD Crónica 053
Created between September 2008 and February 2010 in the artist’s studio
Viola da gamba: Pierre-Yves Martel
Violin: Chris Bartos
Mastered by MC. Cover art by urban9
strings.lines came to life from an obsession for old and forgotten object-matter and the desire to produce music that exists in between the new and the old. The starting point to the composition of this work were acoustic tuning forks. In 2007 Nicolas Bernier became fascinated with this object/instrument of particularly beautiful design, and started a collection of all the different kinds of tuning forks he could find. Some of these reached 21Hz, near the lower-limit of human hearing, some others produced extremely high frequencies, all of them became tools and instruments for improvisation through electroacoustic transformation, in a process of discovery. These improvisations were at the heart of a composition stage that was developed for almost two years. At the heart of the project was a state of mind leaning towards the restraints imposed by the tuning forks.
The “lines” in the title originates from here: from the constant pitches imposed by the tuning forks. They produce sounds that are perceptively close to sine waves, graphically represented by lines or sinusoids, the elementary sounds of electronic music and obviously the perfect musical object to draw a music around the boundary of electronic and instrumental music. The tuning fork is also a symbol of centuries of occidental music making that culminate with western tonal music, and the preservation of that symbolism was an important part of the second stage of the composition process, involving two string players, Pierre-Yves Martel on viola da gamba and Chris Bartos on violin. During the recording sessions, the instrumentalists were requested to play close to a single pitch, exploring the wood, the attacks and the resonant qualities of their instruments, while following some of the motives that had already been composed with the forks. The pieces presented in this edition are studio compositions of layers from the two stages of the work, blending both worlds while trying to keep a sense of the original materiality and timbres, but not refraining from using other sounds and sources whenever necessary.
LP hrönir hr7963
Release date: February 19

usure.paysage combines the strongest particles of Bernier’s kaleidoscopic oeuvre: an expressive mix of lively field recordings, tiny and massive electronics and sparkling relocations. The docker barks out aloud, the little insect crawls through the 19th century woodworker’s atelier, forgotten voices vanish and the rest is no silence. This is truly some of the finest musique concrète ever to be released on vinyl – very charming.

Nicolas Bernier: electroacoustic artist, surround sound composer, occasional curator, old typewriter aficionado and sandcastle manufacturer. Careless about aesthetic tags, Bernier navigates through live electronics, installations, musique concrète, art video, performance, music for dance, theatre and cinema. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, and between organic sound sources and digital processing. He is the founder of the sound art microorganism Ekumen, member of the media art organization Perte de Signal and the art director of Réseaux, a major Canadian electroacoustic concert producer. His works have been awarded or broadcast in festivals around the world including ZKM, Transmediale, Prix Ars Electronica, Akousma, Mutek and DotMov.

LP/CD Experimedia EXPLP013
Release date: December 13
On their second full-length, supergroup Piiptsjilling set out to both deepen and roughen up the pastoral and peaceful sound of their 2008 debut release. A coherent unit formed by guitar & poetry duo JAN and ROMKE KLEEFSTRA as well as Machinefabriek’s RUTGER ZUYDERVELT and Soccer Committee’s MARISKA BAARS, the band delineate increasingly dark lyrical textures resonating with nocturnal atmospheres and tactile sound-operations on guitar, pedals and various looping devices. Building on patient and immersive improvisations and working with both sonorous drones and ghostly micronoises, “Wurdskrieme”, which translates to “Cry of Words”, moves at a dream-pace, substituting linear logic with a brushwood of metaphors and emotional abstractions. The underlying feeling of a subcutaneous tension is further accentuated by Jan Kleefstra’s expressionist poetry delivered in the language of his native Friesland, a province in the far North of the Netherlands. Contrasting serene soundscapes like opener “Unkrud” with more tranquil moments featuring acoustic instrumentation (“Wurch”), the result spans up a sonic space that not only represents an evolution from their earlier work, but also takes them far beyond traditional categories and conventions.
Words by Jan Kleefstra
Music by Mariska Baars, Romke Kleefstra and Rutger Zuydervelt
Recorded at Studio Landscape, March 6/7, 2010, by Jan Switters and Koos van der Velde
Mixed and edited by Rutger Zuydervelt
Mastered by Taylor Deupree
Translations by Willem Groenewegen
CD Lens Records LENS0105

Kiehtan marks Michael’s 40th appearance on recorded format since 2004. This disc focuses on pure ambient drift and aural bliss drawing influence from the ambient masters of the 70’s. Kiehtan features a sonic reconstruction by Mark Spybey (Dead Voices On Air, Beehatch, Reformed Faction) from Sky Burial source material and was mastered by James Plotkin (Khanate, OLD – mastering for Sunn O))), Earth, Isis). Kiehtan is a limited edition pressing of 500 copies.

Kiehtan is the name of the “creator spirit” of the Wampanoag tribe, the original inhabitants of Cape Cod where Michael lives. “Wampanoag” translates to “People of the first light” as Cape Cod is one of the first places in the continental United States to experience sunrise. Kiehtan is a divine spirit with no human form or attributes including gender. This CD is inspired by solitary evenings under autumn’s receding light in the dunes and pine forests of outer Cape Cod where this spirit still seethes and breathes.
Sky Burial was formed in 2006 as a conduit for the ambient/industrial sonic meandering of MICHAEL PAGE (Fire In The Head). Having well established himself in the power electronics/noise field with FITH, Michael realized he wanted to move into a musical direction that offered him more freedom of expression and room for sonic experimentation. Although initially inspired by early “industrial” music projects, electronic/ambient acts of the 70’s and 80’s, and Krautrock, the music of Sky Burial continues to evolve and blur genre boundaries
creating its own version of “ambient” music, often citing esoteric and mythological subject matter as a muse.

Michael records in a stubbornly “old school” manner preferring to record the majority of source material to four-track cassette resulting in a more raw recording. Compositions are mixed and edited from various session materials with no pre-conceived notion of a final form, thereby letting the source material itself dictate the musical flow resulting in completed recordings which are largely improvised.

A Hidden Place
LP Touch # Tone 42
Available as LP vinyl – 6 tracks – 40:20
and digital download version through Kudos
Mastered by Denis Blackham
Cut by Jason @ Transition
Photography by Sohrab & Jon Wozencroft
Sohrab was born in Tehran in 1984. He was seven when the Iran-Iraq war ended. His name, from an old poem called ‘Shahname’ [], means ‘rouge water’, which can also mean ‘blood’. He started a punk band with his brother and a friend, which lasted about two years before splitting. Sohrab is totally isolated in Iran, with little or no connection to what is happening there. Sohrab is, like so many, displaced within his own country and occupies a similar internal cultural isolation. This is suggested by Jon Wozencroft’s imagery and artwork; looking in through shattered glass and an air of menace underneath the surface. Sohrab used Reason 3, his midi controller (R)evolution UC-16 and a sampler, recorded live through Ambrosia recording software. He also integrates field recordings and spoken word into his soundscapes.
You can listen to his contribution to TouchRadio, “Tanhayi – Live in Tehran”, recorded in October 2009:
An Iranian musician who brings out an excellent album on the ultrahip London label Touch? That is great news of course! Sohrab is the alias of Sohrab Karimi Asli from Teheran. Curious as we are, we went looking for him immediately. We found him in Berlin, just when deportation was hanging above his head as a sword of Damocles. From his temporary residence, we received this hair-raising and alarming message: “But i must inform you, at the moment im facing the possibility of deportation from europe.. In case you don’t hear from me soon, I’m being in deportation prisons of germany.. But i hope it won’t happen and i can keep in touch.” A couple of days we were on the chatbox with Sohrab. [Peter Wullen]
The complete article by Peter Wullen can now be read on
Generic City
CD Two Acorns 2A01
Yui Onodera: environmental sound, electronics, guitar, violin, piano, and musical box
Danielle Baquet-Long and Will Long: mixing board, cello, violin, piano, environmental sound, theremin, electronics, and ocarina

Photography by Danielle Baquet-Long
Design by mondii

Mastered by Taylor Deupree
Recorded and composed in 2007-09
Generic City is the debut release for Two Acorns, a new label/publisher curated by Will Long of Celer. Generic City is presented in a custom-designed CD package, created by mondii, with photography by Danielle Baquet-Long, and mastered by Taylor Deupree.
For this collaboration work, I made a lot of field recordings. Songs of migratory birds that come to a big lake only in winter, the sound of breaking ice, frozen on a lake, the peal of huge bells in a temple, voices in prayer to the Buddha, footsteps in the subway, on the ground, made by coming and going people, machine sounds at a construction site, rain flowing into a steel pipe with a hard sound, the oscillation sound of rubbing iron which was recorded through a contact mic set on steel, the conversation of people walking in the city, noise of vehicles and trucks, kids voices from an elementary school, and so on. Like a time trip to transcend places, these sound-scapes are presented as a imaginary tale. To collaborate with foreign artists became a chance for facing Japan again for me. Reflecting on each of our localities to compose let us be aware anew of the vernacular which has been lost in the global world. Artists can’t be unrelated to the characteristics (culture) of places (surroundings) where they live, and they are influenced obliviously in some way. By watching our everyday surroundings closely, we can engender a most realistic language of where we live, and how we think. I sense that peculiar, unfamiliar cultures and customs are invaluable wealth in human history. – Yui Onodera
In this collaboration work with Yui Onodera, we contributed many instrument sounds, and field recordings such as the streets of Los Angeles, rain on our doorstep, water draining into the gutter, cars passing on wet and slippery streets, people walking on their way home from work, talking in an airport baggage claim, crosswalks, airliners flying over, taxi rides, riding bikes through traffic, conversations in restaurants, the Metro Link train in Los Angeles, and walking on quiet streets. In our part of mixing, since we were working with someone’s instrument sounds and field recordings from a city that we haven’t visited, much was left to our imagination to re-create an environment and city setting for the piece. Trying to keep a balance between the heavily processed material and the entirely unprocessed material, created a natural bridge of movement inside the city. Processed elements became backdrops and scores to real activity, sometimes simply drifting away from the daily life, or the finding the soul of the pieces. When these two entirely different cities came together, it created an all new way of looking at, and hearing the city’s movements around us. Cultures parallel one another, with the views of the skylines and empty streets left the only visible evidence of similarity. – Danielle Baquet-Long, Will Long
About the label
Founded in 2010, Two Acorns is a publisher of different types of art forms ranging from music, to books, to film, and is combined with original packaging, with a focus on sentimentality in all its forms, new and old, shelved and worn, perfect and new. These are things you can hold in your hand, or keep on your bookshelf, to keep these feelings, memories, and experiences. There is no replacement for the smell of a book, the spin of a
CD player starting, or the consistently changing nature of our memories. For Danielle Baquet-Long
08.04.2011 DE Bielefeld
09.04.2011 DE Leipzig
10.04.2011 DE Schorndorf
11.04.2011 DE Munich
12.04.2011 CZ Prague
13.04.2011 DE Berlin
14.04.2011 DE Hamburg
15.04.2011 DE Hannover
16.04.2011 DE Münster
Thanks for reading & best wishes
Dense Promotion
Ed Benndorf
Weserstr. 165
12045 Berlin
T: 030 288 600 50

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