ALEXANDER RISHAUG – Shadow of Events CD Dekorder
ANNE-JAMES CHATON – Evénements 09 CD raster-noton
ANNE JAMES CHATON & ANDY MOOR – Departures 7″ Unsounds
ANGELICA CASTELLO – Bestiario CD Mosz
AREV KONN – Nospelt CD Humming Conch
BARBARA MORGENSTERN – Fan No. 3 EP DL Monika
BEE MASK – Canzoni dal Laboratorio… LP Spectrum
BOXCUTTER – The Dissolve LP/CD Planet Mu
BVDUB – Tribes at the Temple of Silence CD Home Normal
CYCLO – id LP/CD raster-noton
FABRIC – A Sort of Radiance LP Spectrum
GURUN GURUN – Gurun Gurun CD Home Normal
HANNA HARTMAN – H ^ 2 CD Komplott
JOHANNES HELDEN – Title Sequence CD iDEAL
JOHN FOXX AND THE MATHS – Interplay CD Metamatic
MERGRIM – Invisible Landscape… CD Liquid Note/Moph
PETERLICKER – Nicht LP Editions Mego
STEPHAN MATHIEU – A Static Place CD 12k
THYMOLPHTALEIN – Ni maître, Ni marteau LP Editions Mego
WOLS – Unframe CD Pingiping
Shadow of Events
LP/CD/DL Dekorder 053
Release date: March 28
Shadow Of Events is the third album by Oslo, Norway sound artist, producer and musician Alexander Rishaug, following his Asphodel CD Possible Landscape (2004) and 2001’s Panorama on the Smalltown Supersound label.
The album was recorded over a five year period and mixed in Berlin last year. Not unlike his previous albums but apparently more refined Shadow Of Events combines a warm and organic haunting quality blended with both abstract and concrete tones and subtle digital noises.
“Most of the tracks are developed from field recordings, instrument improvisation or live sampling. Then processed and edited with the computer as the main tool. I’ve used sounds hailing from a dusty rhodes, a lovely guitar, a nervous radio and a lonely piano.”
Rishaug’s music is informed by classic minimal composers such as Steve Reich and Terry Riley as well as 90’s electronica acts such as the Oval/Microstoria axis and like-minded but more obscure artists associated with the Mille Plateaux label (remember Neina?) but surely wouldn’t be out of place on a contemporary label like Kranky or Type.
Repetitive and seemingly simple melodic patterns are combined with (and sometimes obscured by) decaying monlithic drone layers creating a hazy melancholic landscape slowly unfolding its beauty. Granular shoegazy tones are building up in slow-motion recalling the patient yet precise and complex drone works of Stephan Mathieu, William Basinski and Machinefabriek’s Dauw album.
Alexander Rishaug was part of the improv collective ARM (1996-2006) with Arne Borgan and Are Mokkelbost (Killl) as well as collaborating with Lasse Marhaug on a Lucky Kitchen release. He has remixed metal bands Ulver and She Said Destroy as well as noise duo Jazkamer and Bjorn Hatterud and Conrad Schnitzler’s recent collaboration.
CD Mosz 024
Release date: March 14
Angélica Castelló: voice, paetzold contrabass- and subgreatbass recorders, piano, ukulele, toys, field recordings.
composed and mixed by Angélica Castelló
recorded by Alfred Reiter, Angélica Castelló,
mastered by Martin Siewert
cooked between 2007 and 2010
photographs: Pascal Petignat
Recorder player (+ electronic devices, distortions, cheap toys, feedbacks, voices) performer, curator, composer, teacher.
She studied Music in her native town (Conservatorio Nacional de México), in Montréal (Université de Montréal), Amsterdam (Conservatorium van Amsterdam) and Vienna (Konservatorium der Stadt Wien, Institut für Elektroakustische und Computer Musik).
Since 1999 she lives in Vienna where she teaches, She founded the concert series “Neue Musik in St Ruprecht” which she currently runs and where regularly musicians from Austria and abroad perform.
Castelló works interdivisionaly with dancers, writers, musicians, video artists, performers, theatre, etc.
Even if she stayed faithful to the early music (Ensemble fiori musicali), the center and heart of her work is electroacustic and New Music: Co-creation of the Ensembles low frequency orchestra, los autodisparadores (with Thomas Grill and Katharina Klement), frufru (with Maja Osojnik), cilantro (with Billy Roisz), subshrubs (with Katharina Klement, Billy Roisz und Maja Osojnik) and Chesterfield (with Burkhard Stangl). With these ensembles and other musicians such as Olga Neuwirth, Wolfgang Mitterer, Urkuma, Martin Siewert, Eva Reiter, Manrico Montero, Mario de Vega, Barbara Romen, Gunter Schneider, Juan Jose Rivas, Marina Rosenfeld, John Butcher, Okkyung Lee, dieb13, Matija Schellander, Kazu Uchihashi a.o. She performed across America and Europe.
As a composer she wrote for her own instruments (mainly Paetzold recorders with or without electronics), for ensembles (a.o. Danubia Saxophon Quartett, subshrubs, Bella Discordia) as well as for theatre and dance; she composed several electroacustic pieces. Her Music has been recorded at labels like Mosz, Ein_klang Records, Mandorla, Mikroton Records and chmafu nocords and has been presented in several radio programs.
Castelló has worked with composers like Mario Lavista, Hilda Paredes, Katharina Klement, Daniel de la Cuesta, Robert Kellner, Jorge Sanchez-Chiong, Phil Niblock, Johannes Kretz, Burkhard Stangl etc. on their works, some of which have been dedicated to her.
She has performed at important festivals such as: Salzburger Festspiele, Ulrichsberger Kaleidophon, Donau Festival, Radar, Taktlos, Interpenetration, Osterfestival, Musica Genera, lmc festival, Musikprotokoll, Numusik, Music Unlimited, Wien Modern, Cha’ak’ab Paaxil, Klangspuren, Kontraste, a.o. She worked as an artist in residence in Schrattenberg (A) and in Topolo (I).
Prices and Grants:
1997 Conseil des Arts et Lettres du Quebec (Canada) Grant for abroad studies
1999 FONCA (Fondo Nacional para la Cultura y la Artes, México) – Grant for abroad studies
2007 Publicity-Preis from the SKE-austro mechana in Austria (for the Ensemble Low Frequency Orchestra)
2011 State Grant for Composition from the Federal Ministry of Education, Arts and Culture in Austria (bm:ukk)
CD raster-noton R-N 128
Release date: March 21
«poor literature», that’s how french sound poet anne-james chaton calls trivial worka-day texts like receipts, metro tickets, newspaper headlines and so on. he collects these kind of texts for years now, always on certain «événements» – media-related occasions which are of particular interest. chaton converts them into music. on raster-noton, he releases his événements n° 20 to 28, which deal with, among others, the investiture of barack obama or michael jackson’s death.
the fragments of literature and their musical arrangement remind, due to their precision, of the performance of a human beat boxer. chaton cuts, loops and samples the spoken texts and assembles them into staccato-like and hypnotising tracks. the text itself is treated like an instrument; its repetition, its inner rhythmic condense the song and push it. apparently random chosen phrases are isolated and their original message is transformed, their former simple meaning is extended.
«poor literature» nennt der französische soundpoet anne-james chaton die banalen
texte des alltags wie kassenzettel, metro-tickets, schlagzeilen etc. seit jahren sammelt
er diese zu bestimmten «événements» – medialen ereignissen, die von besonderem in-
teresse sind. chaton verarbeitet diese zu musik. für raster-noton veröffentlicht er seine
événements n° 20 bis 28, die unter anderem die amtseinführung barack obamas oder
den tod michael jacksons thematisieren.
chaton cuttet, loopt und samplet die gesprochenen texte und montiert daraus musik,
deren klang stakkatohaft und hypnotisierend ist. die so vorgetragenen versatzstücke
erinnern in ihrer präzision an die performance eines human beatboxer’s. der text selbst
wird instrumenthaft verarbeitet, seine wiederholung, seine innere rhythmik verdichten
den song, treiben ihn voran. scheinbar zufällig gewählte phrasen werden isoliert und
ihre ursächliche botschaft in eine andere bedeutung überführt.
ANNE-JAMES CHATON & ANDY MOOR
7″ Unsounds 22U
Available now – the first release of the TRANSFER series, one of four seven inch singles by Andy Moor and Anne-James Chaton, based around the themes of transition and transportation, side A constructed from factual information and side B from fiction. Comes in a lush folded sleeve.
“Departures” takes us on a worldwide tour; The text material in “Derniere minute” (side A) is based on information found on the French Foreign Office website, indicating the level of safety and current political climate in every country for any individual travelling therein. A series of global longitudinal and latitudinal coordinates unfolds in “D’Ouest en Est” (side B), revealing the chosen route of Jules Verne in his Travel Around the World in 80 Days. On both tracks the music is a combination of guitar, electronics and dark dubstep beats and basslines combined with Chaton’s unmistakably deep, resonant vocal incantations.
CD Humming Conch Conch 008
Through six tracks of murk, atmosphere and noise, we welcome Arev Konn to the Humming Conch fold with an album called ‘Nospelt’. Arev Konn is a new experiment by Antony Harrison from London, UK, who many will recognise from his more established work as Konntinent. With previous material released through Home Normal, Sonic Pieces, Sweat Lodge Guru, Debacle, Serein and Phantom Channel, Antony’s Konntinent project is well up and running; characterised by a melodic tone driven out of treated guitar and synth recordings.
His work as a sound artist has seen him share live stage with Machinefabriek, Simon Scott, Jasper TX, Ian Hawgood, Danny Norbury, Mira Calix, Boduf Songs, Library Tapes and Talvihorros, in venues such as London’s Cafe Oto and Union Chapel.
With narratives that are far less immediate than a typical Konntinent record, ‘Nospelt’ delves through a carefully arranged bath of noise & tone. Guitars, analogue synths and hand-held recorder sounds are all treated through a magnetic tape process utilising both a 1980s cassette machine and then re-recorded via 1960s reel to reel.
Whilst Antony conceived ‘Nospelt’ as a self indulgent project in which he could ‘noise out’, this record digs deeper than being something purely non-conceptual. Piano, violin, street samples and chimes delicately detail the bed of noise and tone, adding structure as a counter balance. The whole record was made during the big freeze of January 2010 and includes found sounds by former Konntinent band member Pit Weber. The sound and visuals in ‘Nospelt’ have travelled well through the sub zero woods in rural Luxembourg, Berlin, London, Kyoto and Nospelt village itself. – Harry Towell
Arev Konn is the recording project of London based musician Antony Harrison. Antony has previously released two albums and a number of EP’s as Konntinent. Arev Konn was conceived as an outlet for more abstract and abrasive work. Nospelt was recorded using a variety of analogue tape machines and hardware during the extended February winter of 2010.
Additional sound clip contributions were submitted by one time Konntinent member Pit Weber from his bunker studio in Nospelt, Luxembourg.
Fan No. 3
DL Monika Entreprise Monika71
Release date: February 11
Following the recent release of her double CD collection, Fan No. 2, and ahead of her brand new studio album later this year Berlin composer and producer Barbara Morgenstern now releases an EP of exclusive remixes together with her own personal rendition of the powerful Prince classic Sign O The Times.
With its off-beat shuffle rhythm and funky piano riff Sign O The Times is just the toe-tapper to kick off the EP. Add to those elements Morgenstern’s sumptuous pop vocals and this exclusive track is sure to be of interest to those who’ve already heard a live version at one of Barbara’s exuberant performances where it has long been a popular encore. The first remix comes from Schneider TM who has taken the unusual remix strategy of pitching the vocals down beyond recognition to the point where is sounds like a duet. His “dub” mix of The Operator, originally taken 2006 album The Grass Is Always Greener, brings an interesting twist to this terrific pop number. Monika label boss Gudrun Gut takes one of the most upbeat numbers on Fan No. 2, the exclusive track Mountainplace, and breaks it down giving it an new glitch-dub edge. While Gut is of course an accomplished composer in her own right, the recent Baustelle album with AGF being a fine example of her production, this remix shows she knows just how to resculpt a pop track for the clubsound.This solid EP comes to an eclectic close with the dancefloor disco-pop fusion of Hans Nieswandt’s mix of Deine Geschichte. The original (trans. Your Story) appeared on Barbara’s 2008 album entitled simply BM. Better known as a journalist, author and DJ, Nieswandt proves his impeccable knowledge of the groove with this fantastic remix and that he has just what it takes to get a room jumping.
With 5 full albums to her credit and collaborations with the likes of Bill Wells and Robert Lippok from To Rococo Rot with whom she released the Tesri album, plus side-projects such as The September Collective or her choir, the resident house band at Berlin’s Haus der Kulturen, Barbara Morgenstern’s output is without question prolific. The ironically titled Fan No. 3 is sure to please all fans of Barbara Morgenstern, and you’ll be glad to know a brand new album is in the works.
All Songs written by Barbara Morgenstern, Published by Maobeat except “Sign Of The Times” by Prince, Published by Controversy Music
1. Sign Of The Times – Barbara Morgenstern
2. The Operatior – Schneider TM
3. Mountainplace – Gudrun Gut Stern Mix
4. Deine Geschichte – Hans Nieswandt Remix
Canzoni dal Laboratorio del Silenzio Cosmico
LP Spectrum SP 002
Release date: April 4
Synthesizers, percussion, piano, tape, and voice recorded, mixed, and edited 2006-2010 in Cleveland and Philadelphia.
Originally released as Gift Tapes GT026, summer 2010.
Cut at by Rashad Becker at Dubplates & Mastering, January 2011.
Edition of 500
In the nu-world order of neo kosmiche “one man, a synth and a looper pedal” musicians, Chris Madak rises above the rest with an astounding body of work that has been brewing since the later half of the 00’s. “Canzoni dal Laboratorio del Silenzio Cosmico” is an outstanding document in the long, complex, and complicated discography that is the Bee Mask project. A
carefully and meticulously composed album that’s on par with the greats of electronic’s Lovely
Music or INA-GRM catalogs. Straying from the current nature of improvised “one take” synthesizer music þooding the underground electronic community today, Chris has created an
elaborate narrative which captivates and inspires the listeners imagination.
“Canzoni” is a piece of work that soundtracks an event that’s shrouded in mystery and beauty, at once larger than life in it’s grandeur and yet somewhat cryptic.
Released as a limited edition cassette on Gift Tapes last year and now where it should be on the longest surviving recorded format.
Spectrum Spools released in association with Editions Mego
LP/CD Planet Mu Records ZIQ289
Release date: May 13
BARRY LYNN has already dropped a couple of albums that looked at dubstep from fresh angles before everyone else started to do the same. This time around, on “The Dissolve”, things are different, and he’s taken off in a direction that leaves dubstep behind entirely.
The title is a reference to a common video art effect, where one image gradually transitions to another. The album has an unpolished hue to it, created with keyboards, drum machine, echo and tape and sometimes even electric guitar. It sits in a world of its own, but with a stronger affinity to things like Theo Parrish’s productions or hypnagogic pop than the latest fashionable electronics created on the newest software – the devil is in the details with this album, it’s rich in twists and turns.
“The Dissolve” opens with the spacey funk and marimba of ‘Herbie Jam’, into the floaty synth and bass of ‘Zabriskie Disco’. Things start to take on more gravity with ‘All Too Heavy’, one of three tracks featuring singer Brian Greene, that mixes a hazy, dubbed out funk abstraction with Greene’s effect laden vocals. ‘Cold War’ featuring Ken and Ryu gets heavier still, with a slow dancehall kick drum and grimy metallic claps, over which mourns a sad 8-bit melody and slip-slide strings.
‘Passerby’ uses an echoed 808 and a guitar melody to make something that sits at the border between Eighties funk and Steve Hillage hippy grooves, while the next track, ‘TV Troubles’ takes that idea even further, wrapping echoey riffs into a lo-fi funk vamp which rewinds, slows down and distorts on a tape reel, it’s incredible.
Title track ‘The Dissolve’ is even more lo-fi; jump cut edits and a sound that’s frayed around the edges, everything bathed in tape wobble and hiss which finally slows down to a stop. ‘Moon Pupils’ restarts the album again from an airy 2-step perspective with melodic, hollow bass sounds, echoes and reverse edits, whilst ‘Factory Setting’ mixes off-key metallic synths with a bassline and funky galloping drums, which gives the album a rare moment of darkness. ‘Allele’ brings things into the open again, building from echoey drums into a tight Juke influenced drum pattern, before adding a vocal that hints at old school hardcore, all wavering chords and drops, before the whole thing finally resolves into a restrained but ravey breakbeat. ‘Topsoil’ mixes a gliding synth melody with hazy synth stabs and dusty drums, before ‘Little Smoke Remix’, collaboration with Kab Driver, wraps hard offbeat drums in cascading synth arpeggios.
The album ends in the broken funk of ‘Ufonik’, and by then you definitely get the feeling, as an album, you’ve been transported and dropped off somewhere else entirely.
Tribes at the Temple of Silence
CD Home Normal homen023
A couple of years ago now, a mutual friend (the lovely Mike of Smallfish and Remote_ fame) put Brock and I in touch, thinking of us as two very similar musical souls. Much to my shame, the first work I had heard (and perhaps still my favourite) was his incredible ‘To Live’ mini-CD release on Smallfish, but I was instantly taken with this incredibly kind, generous and gifted bloke. I was duly induced into the musical world according to bvdub (Brock Van Wey) and just blown away by the depth and intelligence of the work. Its not just that its carefully crafted and beautiful, its that his work is as if he has open contact with the soul and heart within, and in this manner he is able to communicate a voice as pure as anything I have ever heard before…quite a gift indeed. There are too few artists who are so true to themselves in the world today, but it is my great honour that Home Normal are one of the few very fine labels who have been allowed to put out his amazing works, and ‘Tribes at the Temple of Silence’ is one of Brock’s finest moments to date. (Ian Hawgood)
Brock Van Wey was born in the San Francisco Bay Area in 1974. For the second time in his life, he’s made China his home, now living in Shaoxing. Brock has closely followed deep house, ambient, and experimental music since the early 90s, when he started DJing as bvdub. His tastes have always leaned towards the deep, going only deeper as time has passed. By the time he finally started producing in 2006, Brock had developed a fully realized vision of perfectly deep electronic music.
This vision was immediately recognized by labels such as Styrax and Andre Kroenert’s 2600 and Night Drive imprints, with bvdub releases dropping within a year of Brock’s first production efforts. Though quickly adopted by the tech house and deep techno scene, Brock wanted an outlet for his most personal pieces, and started Quietus Recordings, a limited edition CD label. Establishing his supreme talent in the spectrum between pure ambient and deep techno, bvdub has quickly built an impressive discography.
Towards the end of 2008, Brock released the 12″ “A Moment’s Peace” on Meanwhile. In 2009 Echospace released the full length album, “White Clouds Drift On And On,” with a second full length interpretation by Steven Hitchell as Intrusion. Brock’s “To Live” was released as one of Smallfish’s mini-CD releases (and rose to one of Resident Advisor’s top 50 tracks of 2009), and he’s recently appeared on Kompakt’s Pop Ambient 2010 compilation. His 2010 release on Glacial Movements ‘The Art Of Dying Alone’ was met with critical acclaim. In addition to his continued prolific output on his own Quietus imprint, he has several more forthcoming full-length albums, as well as numerous special and personal projects forthcoming throughout this year and beyondŠ and as far as anyone can tell, he’s just getting started.
Written and produced by bvdub at Quietus, San Francisco
Mastered by Steve Hitchell
Photography by Ian Hawgood
LP/CD raster-noton R-N 127
Release date: March 7
A decade since its inception, RYOJI IKEDA and CARSTEN NICOLAI are relaunching their collaborative project, cyclo., a project that focuses on the visualisation of sound and seeks to create a new hybrid of visual art and music.
Both leading electronic composers/artists from Japan and Germany respectively, Ikeda and Nicolai release their second album (CD/EP on raster-noton), that will later be followed by a publication with an extensive presentation of their visuals.
Since the beginning of the cyclo. project, the artists have developed a database of sounds composed to produce visual responses when analysed in real time with the help of stereo image monitoring equipment. Phase and amplitude of stereo signals can be illustrated graphically: the audio elements are constructed through the minute editing of frequencies (often beyond the physical range of human hearing) and selected by the artists for their visual characteristics when analysed. Through processes of composition, editing and experiment, cyclo. is amassing an ‘infinity index’ of sound fragments.
In building this archive, Ikeda and Nicolai transcend the usual dynamic whereby image acts merely as a functional accompaniment to sound. Instead, the audio element in the process is subservient to the desire and appetite of the image.
This record purposefully remains unmastered, in order to retain the waveforms as originally visualized through an XY phase scope. For listening, please do not convert the tracks into a compressed format such as mp3.
A Sort Of Radiance
LP Spectrum SP 001
Release date: April 4
Matthew Mullane is a Chicago multi-instrumentalist performing under the guise of Fabric. Here we have a Þne suite of compositions which embark on a voyage through darkness of night and the brightness of day. Washed out dark colors and static pulses sweep across your stereo painting a portrait of intense yearning and determination. Recorded over the course of a year, Matthew has constructed a multi dimensional organism of sound that has perplexing depth and astounding detail.
The album reveals new shapes and sizes with repeat listens and is truly a work which you can
submerge yourself in to get lost. “Leaving the House” is an energetic workout with it’s dense,
ultraviolet fog and stream-like melodies. Then there’s the vignettes such as “Orange and Red” or “Containers”, that branch out into unfamiliar territory in their own special ways synthesizing a journey far from home.
So far, Fabric releases have appeared in very small editions including a split with Sparkling Wide Pressure and a practically non-existent cassette on Fairchild Tapes. Spectrum Spools is proud to kick off the label by presenting the debut Fabric album.
Spectrum Spools released in association with Editions Mego
Cut at by Rashad Becker at Dubplates & Mastering, January 2011.
Edition of 500
CD Home Normal homen021
Japan has been a huge influence on my life, there is no question. Perhaps its obvious as I moved from England to Japan a number of years ago now, but I love the culture, the food and some of the music here is fantastic. I always wanted to release something with a typical Japanese twinkle, only not too cute as it rubs me up the wrong way to be honest. I desperately wanted Home Normal to release something in this vein, only not sickly sweet like so much of the work I hear here, but arse-kickingly beautiful, delicate and cute without sticking candy down your gob. So imagine my excitement when I received an album that was all of these things, only by a group from the Czech Republic!
Gurun Gurun have never lived in Japan, yet somehow capture everything that good Japanese pop music adheres to be, taking it a lot further than the limited borders of such music often is. Their musical work combines guitars, analogue synthesizers, turntables, various acoustic instruments and digital effects to span musical spaces ranging from hypno-minimalist atmospheres to warm tones of slow moving, repetitive melodic stanzas. It shouldn’t really have been a surprise to me that the album felt so Japanese, as two thirds of the main band are members of the excellent experimental pop outfit Miou Miou (on the celebrated Japanese label – Rallye). Jara Tarnovski and Tomas Knoflicek are ably assisted in Gurun Gurun by Federsel of the Buchty a Loutky Theatre Company, improv band B4, noise project Radio Royal and art group Handa Gote. The result of which makes Gurun Gurun perhaps the more dynamic, and certainly more noise based and experimental of the two outfits. The group is also topped off with some amazing guest artists, including three Japanese vocalists: Moskitoo from the 12k stable providing gentle, airy vocals across ‘Fu’ and ‘Ano Uta’. Another 12k artist (also on Anticipate), the enormously talented Taylor Deupree collaborator Sawako providing touchingly open and raw vocals on the ever so weird but tender ‘Yume no Mori’ and ‘Yuki ~ Hawaiian Snowflake’. Rurarakiss (from the Miyachan Akichan project with Daisuke Miyatani) sings in the most hushed of tones over the glitchy, noisy pieces ‘Kodomo’ and ‘KúKó’. Beyond these, the varied group is made up of Artem Vartanian on clarinet, trumpet and shepherds pipe, Daniel Meier on violin, Floex on clarinet and koto, Irena and Vojtech Havlovi (The Havels) on alto and tenor viola da gamba, and finally with remixers Opiate (Morr Music, City-Centre Offices and Raster-Noton) and Kora et le Mechanix.
Its a remarkable debut (such as it is given their various backgrounds), covering so much ground yet keeping things restrained enough to have a perfect fluency about it. I was instantly struck by the way its cute without actually being overly so, noisy yet structured and multi-layered without being overly complex. In terms of great experimental pop music, there is very little you can really ask for. Its wonderfully melodic, quirky, touching and tender, and the guest artists feel very much part of the fabric of the album and band, making the whole album seamless under the careful guidance of Tarnovski, Knoflicek and Federsel.
Perhaps the best summary I can leave you with, and one which covers the magical nature of the album, is the fact that ‘Gurun’ is a fictional planet from the old school Slovak children’s sci-fi TV series “She Came Out of the Blue Sky”. Somehow, that makes sense of the album perfectly on so many levels. – Ian Hawgood
Recorded in Copenhagen, Chrudim, New York, Pardubice, Prague, Saitama, Ostrava and Tokyo.
Mixed by Jara Tarnovski and Tomas Knoflicek (1-10), Kora et le Mechanix (11) and Opiate (12)
Mastered by Ondrej Jezek
Photography by the brilliant Hitoshi Ishihara
H ^ 2
CD Komplott escudre16
Having developed her very own language, the Swedish sound artist and composer Hanna Hartman creates music that are exclusively made up from authentic, unprocessed sounds that she has recorded on various locations around the world. Through new constellations of soundstaken out of their original context – and thus perceived in their purity – she creates an extraordinary music revealing hidden correspondences between the most diverse auditive impressions.
Since 1990 Hartman has composed works for radio, sound sculptures and numerous performances all over Europe. More recently she started also to write pieces for instrumentalists. Her many awards and grants include Prix Europa (1998), the Karl-Sczuka-Preis (2005), the Phonurgia Nova Prize (2006), and a Villa Aurora grant (2010). During 2007 and 2008 she was Composer-in-Residence for Swedish Radio. Hanna Hartman lives and works in Berlin. “H ^ 2” is Hanna Hartmans third CD on Komplott.
Bare Signs About Hanna Hartman Of course, you listen differently, if you have seen how Hanna Hartman dissects the sound, how she scalps it from its surroundings and frees it from all remains of its original meaning. You listen differently, if you have seen how she slowly shifts her body weight, so that the old timber piling under her feet begin to sing, and how she then lets the microphone glide over the ground, in order to capture this wooden song in its abstract beauty.
In Hartman’s work, sound quality and sound source come undone in a peculiar way. She creates an aural inter-space, that rises above the banality of everyday noise, while it refuses immediate access to the musically conditioned ear. It is difficult not to associate the flutter inMessages from the Lighthouse with a bird, even though it is quite clear that this bird doesn’t exist. Instead this passage is more about the “par excellency” of the flap itself, about a form of listening that transcends the object by the means of sound, about a jumpy and dry tremolo as an aural entity of its own. From this entity then a music arises, that is charged with meaning, but that obliterates the deixis of the concrete sound by completely abstracting it. The sound becomes a bare sign, in need of the composer’s
Of course, you listen differently, if you have seen with what care and long sight Hartman collects sound, how she auscultates every conceivable object with regard to its sound potential, from a rubber duck to a grommet.
When Adorno spoke of an “disenchanted world”, he implied that music would be able to reconstitute this lost magic as a result of its mimetic power. Hartman’s magic disintegrates the relationship between things, creating a counter-world in which the object-hood of an artifact is nullified by its sound.
The fact that instrumental recordings form the basis of all five pieces on this CD is unusual and indicates, that Hartman has in fact shifted the coordinates of her aesthetics over the past years. The individual sound language of the musicians prefigures the pieces, up to the subtle irony of confronting Ida Falk Winland’s well trained opera soprano with the sound world of car racing. – Björn Gottstein
CD iDEAL Recordings iDEAL080
Deep ambient music from visual- and sound artist, poet, and science fiction addict Johannes Heldén. His music is slow, melodic, dramatic, dark and atmospheric but yet too damn abstract to even come near being called pop or whatever. Heldén has published a few books, recently had an impressive solo show at Stene Gallery in Stockholm and is also active making art films. iDEAL is proud to release a rare document of his musical grandness, the (to us) long awaited follow up to his 2001 album “Sketch Book” on Trente Oiseaux. “Title Sequence” has a something to do with Brian Eno’s ambient 80’s, even some connections to the ideas on music of Talk Talk just before they broke up and did their best stuff. We got Denis Blackham of Skye Mastering to add the final touch to this massive album. Denis worked on some Talk Talk albums back in the days, you know. The music of William Basinski also somes to mind while listening to Johannes Heldén’s music. “Title Sequence” is a truly beautiful album, music filled with shadows and a melancholic feel to it. Comes in a nice digi pack and was kindly subsidized by the Swedish Council for Cultural Affairs. Johannes Heldén lives and work in Stockholm. Edition: 600.
JOHN FOXX AND THE MATHS
CD Metamatic Records META28CD
Release date: April 16
“ONE OF THE FINEST ELECTRONIC RECORDS YOU’LL HEAR IN 2011” – The Quietus
The debut album by John Foxx And The Maths will be released by Metamatic Records on 16th April, 2011. Interplay is a collaboration between JOHN FOXX and electronic composer and synthesizer collector, BENGE (BEN EDWARDS). He’s best known for his 2008 album, Twenty Systems which was described by Brian Eno as “a brilliant contribution to the archaeology of electronic music.”
Moody and atmospheric, but also full of songs that are actually more “pop” than avant garde, Interplay pulls various strands of electronic music together – from early ’80s electro to 70s Krautrock, even flashes of Cabaret Voltaire and Foxx’s first band, ULTRAVOX! One track, “Watching a Building on Fire” features MIRA AROYO from Ladytron, who also came up with the original synth riff.
Although Interplay sounds nothing like the ambient experiments of Twenty Systems, both albums are based around the waves, frequencies and vibrations of analogue synthesizers. Many of the songs on the new Maths album started with an electronic rhythm from a 1960s Moog system built into Benge’s studio, with the pair then coming up with ideas live in the studio. As Benge says, “the idea of Interplay is in the lyric from the title-track. We calculated everything, but not the interplay. In the studio we left a lot of things to chance and let the various combinations of sounds and colours and connections trigger our imaginations.”
Foxx and Benge will be performing tracks from the album, plus a selection of early Ultravox material (with Robin Simon on guitar) and material from Foxx’s dark electro classic Metamatic at the Troxy, London on 2nd April, alongside live sets by Gary Numan and Motor. This follows their triumphant analogue performance last summer at the Roundhouse as the headliner of the 2010 Short Circuit festival. Meanwhile in recent years John Foxx has also collaborated with I, Robot film director Alex Proyas, writer Iain Sinclair and Robin Guthrie (ex-Cocteau Twins). He’s currently working on new material with Paul Daley (Leftfield).
“Since his dark days in pre-Vienna Ultravox, Dark Lord Of The Synth John Foxx has been a master of dystopian electro, and here he looks to future conquests as he teams up with young apprentice Benge. The result is a track as menacing as an interrogation in 2211, a robot holding a sparkling cattleprod to your nethers.” – NME, March 2011
John Foxx and Benge are both available for interviews.
CD Liquid Note Records LNR011 / Moph Records MCD005
mergrim a.k.a TAKAHISA MITSUMORI as a producer / composer at Tokyo, Japan.
Born in Takaraduka, Hyogo.
He started his career as a producer in 2004 after the band’s experience since 1998,
and established moph record. with companions in 2005.
moph record have released 3 CD albums, and 10 digital EP.
Also, he is a member of mophONE audiovisual unit.
Their advanced dance album “plug” was acclaimed in 2008
And finally, His first solo album “Invisible Landscape Š” to be released in a few weeks.
His activity keeps extending day by day.
Beauty, delicacy, healing.
As the flow of water, like the wind, we leave a lasting impression but the sound is naturally there. CM Web and have provided a lot of other songs that mergrim the 1st Album, moph record and released liquid note records. The grandeur of the detailed birth and kneaded. Until the dramatic sounds as though it had an intention Invisible Landscape] [create a sound. Future work electronica feel. (club juice japan)
As in the dark forest lit, pleasant songs.
The album title scene overlaps with a number of scenes in memory.
They are condensed into this one in his path, no track gem away!
But I feel something closer to the cold, as well as a stuck up sometimes.
Gone in pursuit, and the other clutches. I like that album.
For the future of BGM, such an impression. This is cool.
KASHIWA Daisuke (stellar dialogue studio / noble)
“Tokyo” felt. The image of buildings at night. Music is cool.
Building attentive craftsmanship and dense sound. This is the 1st album that I like a lie.
I felt a strong passion for music and ambitions.
The third song “Arch” is a prisoner anymore. 1st album I highly mature.
To tell what will I do this stimulus.
The world may have spent the past toward this music.
If you had a chance to step into a time machine,
[I] would go back to the past to bring this film to convey.
But to tell the future and hopefully have someone from the future work.
If you ignore the eyes, the music was always fascinated by the new era will always be in front of me.
Glad to have encountered this music in Tokyo in 2011.
no.9 aka Takayuki Joe (fairground / liquid note records)
But always, and good sense.
Good melody, good beat.
without any doubt.
Good disc2011 !!!!!!!!!!
numb (revirth / ekounesound)
LP Editions Mego DeMego016
Recorded, edited and mixed in Wien III, VIII, IX, XI & Korneuburg, Austria 04-12.2010.
Final Mix in Komitat Vas, Hungary 01.2011.
Cut at Dubplates & Mastering 02.2011.
F. Hergovich: Vocals
P. Rehberg: Electronics, Edits.
C. Schachinger: Guitar.
G. Weissegger: Bass, Electronics, Edits, Production.
Photos: Ingo Pertramer.
Layout: Stephen O’Malley
Well, here it is!
The moment you have all been waiting for…. the arrival of the debut album release by Peterlicker. Despite following on in that terrible tradition of Butthole Surfers and Throbbing Gristle of stupid band names, Peterlicker (newly reformed after 20 years of inactivity) have, against all odds, come up with a serious slab of modern electronic rock.
NICHT comprises of five well crafted selections recorded over the summer of 2010. Having got their previous noise free fall style out of their system on the limited cassette ‘Last Slave’ (DeMEGO 013), the forgotten sons of the Viennese underground have stepped, dare we say it, into almost accessible song like structures.
However, this is no lightweights wet dream, and still pulls some heavy punches. With the sequenced pulse of ‘Always Right’ sitting tight with the near poetic ‘Tunnel 47053’, the real-rock stomper of ‘C-Slide’, and not forgetting the manic psychedelia of ‘Schleim’.
Its a classic, basically.
A Static Place
CD 12k 1064
“A Static Place is about the journey of sound. Between 1928 and 1932 the earliest recordings of historically informed performances of music from the late Gothic, Renaissance and Baroque era were etched into 78RPM records. I used some of these records from my collection, playing them back with two mechanical acoustic HMV Model 102 gramophones. The initial soundwaves produced back then by period instruments like the clavichord, viols, lute, hurdy-gurdy are read from the grooves by a cactus needle to be amplified by the gramophones diaphragm housed in a soundbox. Those vibrations travel through the tonearm which is connected straight to the gramophones horn, which releases the music to my space. Here the sound is again picked up by a pair of customized microphones and send to my computer, to be transformed by spectral analysis and convolution processes.”
Stephan Mathieu, Madrid, Nov. 31, 2010
Stephan Mathieu (*1967) is considered to be one of the most unique composers working in the field of digital and electroacoustic music today. His signature sound is largely based on period instruments, environmental sound and obsolete media which are recorded and transformed by means of experimental microphony, re-editing techniques and software processes involving spectral analysis and convolution. Paying close attention to detail and
to the affecting content of the piece, Mathieu creates unique sonic expieriences working with traces of the perceived reality. His music, at the same time soft-paced and razor sharp, has been released on 16 CDs to critical acclaim, with his most recent album Radioland being among the best releases in 2008. Mathieu has created sound installations for the 4th century Aula Palatina at Trier and the 19th century ironworks Völklinger Hütte UNESCO world heritages and the Rosa-Luxemburg-Platz in Berlin. Stephan Mathieus most recent project Virginals deals with his interest for early instruments, interpretation, historical informed performance practice and antique recording techniques.
Ni maître, Ni marteau
LP Editions Mego DeMEGO 015
Release date: February 14
Natasha Anderson: contrabass recorder and electronics
Will Guthrie: percussion and electronics
Jérôme Noetinger: tape machines and electronics
Clayton Thomas: double bass and preparations
Anthony Pateras: prepared piano and analogue synthesizer
All music by Thymolphthalein, performed live at SWR2 New Jazz Meeting, Gare du Nord, Basel, 15th
Design by Shehab at Implant, Melboutne
A key ingredient in disappearing ink, THYMOLPHTHALEIN describes the working method of this brilliant French-Australian quintet
Leader ANTHONA PATERAS conceived a detailed hour long structural premise for the group’s Þrst tour in 2009, creating a masterful pastiche of richly dynamic, timbrally devastating explorations for electro-acoustic ensemble, melded by his own distinctive prepared piano and analogue electronics.
NATASHA ANDERSON combines buzzing slabs of electro-acoustic sound with fractured acoustic gestures, sculpting exquisite perceptual explorations with recorders and electronics, producing a poetic and uncanny otherness.
WILL GUTHRIE expertly fuses the drumkit with an array of homemade electro-acoustic devices to produce a þuid cataclysm of sonic richness, melded by his searing technical prowess and faultless ear.
JEROME NOETINGER is THE live concréte maestro, electro-acoustically manipulating his bandmates with expert timing and breathtaking invention, scrambling proceedings with the occasional ring-modulated depth charge.
CLAYTON THOMAS’ thoughtful and virtuosic prepared double bass playing has taken Europe by storm since moving there from Sydney in 2007 – part groove cannon, part kinetic sculpture, all parts BAD bass skills.
Edition of 500
LP/CD Pingipung 21
Release date: March 28
Pingipung are proud to present “Unframe”, the debut album of the young Russian duo WOLS. While self-proclaimed insiders have mainly kept their ears tuned to releases from the UK, a lively dubstep scene has been thriving for years in the Russian Federation.
And so WOLS bring more to the floor than just a bass whip. On the album “Unframe”, you’ll find majestic hymns (“International”), cut-up avant hip-hop beats (“Geek Rudohop”), dub tracks whose jittery cheerfulness is reminiscent of Aphex Twin (“Araamu’s Army Vs. Our Sneakers”) or their own highly unique electronica steppers with heart, soul, and the most wonderful pads (“Bathyscape Finds a Music Box”). Using old Sovyet vintage synths and drum computers in combination with fine recordings of live musicians, WOLS deliver a well-rounded album that offers all the thrills yet avoids the trap of simply stringing together dancefloor killers.
Just as their music points to a variety of styles, their name points to a multitude of references: Firstly, it’s an alias of the German painter Alfred Otto Wolfgang Schulze, as both members of WOLS like his pictures immensely. Secondly, it refers to the project’s origins in techno: WOLS have gradually developped towards their current sound by slowing down (“SLOW”) and stirring the 4/4 beat, and so SLOW became WOLS. Thirdly, in some colloquial variants of Russian, “WOLS” describes a slow person who has his head in the clouds.
WOLS are Evgeny Shchukin (23) and Alexander Tochilkin (22). They have already released techno tracks on Ostwind, Level and Harthouse Mannheim under the name “Modul”, and they run the FUSELab media resource for different types of sonic and visual art. The duo live in Southern Russia, in the city of Krasnodar (in English: beautiful gift), near the Black Sea. That region is famous for a particular kind of sunflower, and in a certain way, we actually owe the creation of the album to its seeds. To cut a lovely story short enough for this sheet, it’s Krasnodar’s prosperity through sunflowers which gave the young WOLS access to this high-end sonic range that we can hear on “Unframe”.
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