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ALLROH – NYM CD Graumann
ALVA NOTO – unitxt 2LP/CD raster-noton
BYETONE – Death Of a Typographer CD raster-noton
LAWRENCE ENGLISH – Kiri No Oto CD Touch
MACHINEFABRIEK + STEPHEN VITIELLO – Box Music CD 12k
MAX TURNER – Reflections On Liquid EP Metabooty
MISS AUTOPSY – The Hill CD Lens
NICOLAS BERNIER – Les arbres CD No Type
PRURIENT – Arrowhead CD Editions Mego
ROBERT SCOTT THOMPSON – Poesis Athesis CD Lens
ROSHI feat. PARS RADIO – And Stars 10″/CD Geo
SUDDEN INFANT – Psychotic Einzelkind CD Blossoming Noise
THOMAS CHRISTOPH HEYDE – Works For InstrumentsŠ LP/CD Phantomnoise
Z’EV vs PITA – Colchester CD Editions Mego
ALLROH – NYM
CD Graumann/Trost TR097
http://www.allroh.com
http://www.myspace.com/allroh
NYM wurde in Black Box Studio/Frankreich von Peter Deimel aufgenommen. Die Aufnahme des Akustikstückes “In Rostock” fand in der Kirche L’église St. Louis, Le Tremblay (Frankreich) statt.
Alle Stücke sind ohne Gitarren-Effekte live eingespielt. Nur am Ende des Stückes “Hebelus” wurde die zweite Gesangsstimme aufgenommen.
Allroh war Support von SHELLAC auf ihrer Europatour im Mai 2008. Im November wird sie mit STEVE ALBINI (produzierte Nirvana, Iggy Pop, Whitehouse, PJ Harvey…) in seinem “Electrical Audio” Studio in Chicago ihre nächste LP aufnehmen.
“Schon vor zehn Jahren hat die Ausnahmekünstlerin mit der Band WUHLING deutsche Popgeschichte geschrieben. Sie ist den Weg konsequent weitergegangen und hier angekommen: ANNE ROLFs solo, pur mit ALLROH. Leidenschaftliche Virtuosität ist der gnadenlosen Perfektionistin aus Berlin nur die selbstverständliche Grundlage ihrer Arbeit – ihr Interesse gilt der Kunst, die nicht erpressbar ist. Ihr Stern funkelt jedenfalls ordentlich! Die elegante, animalische Wucht ihrer Gitarre und die zeitlose Schönheit ihrer Lieder – all das frisst sich in unser Herz und findet dort einen Platz.
ALLROH ist Titel und Programm der Musik: Einfach, klar und voller Wunder wie das ALL und ROH wie Rohstoff, der durch Erosion und Jahrmillionen zu höchster Güte reifen durfte – so will es die Künstlerin haben. Es genügen ihr eine Hand voll aussagekräftiger Worte um tiefe und echte Gefühle in die Welt zu bringen. Anne singt Deutsch, aber es ist wie eine andere Sprache. Ihre Vokale klingen so irritierend, dass man zunächst keinen Text zu hören versucht. Die einfachen, verstörend vieldeutigen Lyriks, das ausgefeilte Arrangement, all das ist voll auf dem Punkt. Toll! Der Sound legendär!
Spätestens nach einem Live Solo Konzert von Anne Rolfs ALLROH brauchen wir keine Worte mehr, haben wir keine Fragen mehr, dann erklärt sich dieses musikalische Wunder und das Leben in seinem ganzen Reichtum durch sich selbst. Dann bleibt nur die Kluft zwischen uns und denen, die Anne Rolfs nicht kennen. Sie ist auf der Bühne eine engelsgleiche Erscheinung, die uns mit ihren polyrhythmischen Klangwänden zum Kochen bringt. Man muss es live erlebt haben – sie scheint dann tatsächlich zu schweben. Und da is´ er wieder: der legendäre Sog ihres coolen Sounds reisst uns weg und wirft uns zu wildem Tanz und Kopfschwingen. Ist es Musik der wildesten, ehrlichsten Art? Astralischer AdrenalinRockPop, gut, aber das ist eben nicht allesŠ Suchtgefahr 100%, also Vorsicht!
Wir müssen ALLROH laut hören. Welch ungewöhnliche Wohltat diese Musik! Groove und Drive ohne Schlagzeug, klasse! Hier finden wir sie, die PopRocksongs mit grandiosen Tempowechseln – von ganz ruhig und entspannt bis superdruckvoll und schnell. Faszinierend, wie ausgewogen und orchestral der Klang von ANNE ROLFs ist und was sie damit alles zum Ausdruck bringt – dazu braucht sie nichts als ihre Stimme und ihre Gitarre. Sehr tanzbar, im Auto genial und zum Aufstehen, weil man´s noch mal will.
Ohne jede Hast schleichen oder hämmern sich die Ohrwürmer von ALLROH in unsere Tage – die Lieder des Doppelalbums allesamt entzückend – ein Kunstwerk. Drei Kompositionen für klassische Solo Gitarre sind auf dem Album – melancholisch kraftvolle Filmmusik vom Feinsten. Wenn’s elektrisch wird bei Anne und ihr Amp den Raum aufpumpt, dann webt sie mit Geisterhand noch eine Melodie in ihren offen schwebenden, verdammt groovenden Rhythmusteppich! Dann müssen wir tanzen und sie gibt uns mit ihrem astralischen Flageolett-Sound den Rest. Wir heben ab. Wir verneigen uns. Jungs, der Hammer.” Jörg Diernberger
“I didn’t know what to expect of Allroh, who flew into Chicago from Berlin just to play the afternoon SHELLAC show in a very rare North American performance on Saturday. She gleamed in white and carried a piercing look in her eyes as heavy as a suitcase. As she played those first chords on her electric guitar, I felt a chill in the air shimmy up my spine and it wasn’t from the temperature in the room or anything that remotely tangible. Allroh is a visionary, a fully realized woman who delivered one of the most awe inspiring performances I’ve seen all year. Between the delicateness of a José González and the raw untamed passion of a younger Polly Jean Harvey (circa Rid of Me) exists a visionary known as Allroh and make no mistake about thisŠ she is brilliant.” Radio Free Chicago
ALVA NOTO – unitxt
2LP/CD raster-noton R-N 95
http://www.raster-noton.net
http://www.myspace.com/alvanoto
after finishing the transall cycle and introducing the series of xerrox, alva noto
makes a move back to his more rhythmic approach in unitxt. it could be seen as a kind
of continuation to the transspray ep from 2004.
a preview of unitxt concept was already released as a remix track for the björk cd-s
release innocence produced by björk/timbaland, from her latest album volta (2007).
unitxt was recorded during raster-noton japan tours 2006 and 2007. it was reviewed
and edited in berlin early 2008.
unit-the initial working title of the album-is the name of club unit in tokyo.
the way of composing the tracks in the grid of 120 pbm and out of different rhythmic
units or modules recombined, as well as to express the text component of the
recordings that developed in collaboration with the french sound poet anne-james
chaton, changed the original title to unitxt.
anne-james chaton delivers the text / voice for the tracks u_07 and u_08-1.
track u_07 is based on the text work ‘the artist who does sound’, a portrait of carsten
nicolai, where the text was generated from a simple instruction: just to copyread all
notes, credit cards, invoices, business cards, etc. out of nicolai’s wallet.
for track u_8-1 anne-james chaton used numbers of the golden cut, quoting a simple
but endless row of numbers from this mathematical concept.
after the first ten tracks that can be regarded as the core recordings of unitxt, there are
15 more tracks generated from converting pure data of programs, jpgs or other digital
files into sound material. these tracks could be considered as source code ‘solos’ to be
played on top of the first ten tracks or to be regarded as sonified concept recordings.
unitxt will be performed on tours in north america (may 2008), in south america
(october 2008), and japan (november 2008) as well as on selected festivals and venues throughout europe in 2008.
carsten nicolai / alva noto und olaf bender / byetone stehen vom 19.06. bis 21.06. in barcelona auf dem sonar festival für interviews und presse termine zur verfügung.
kontakt über office @ raster-noton net oder mobil telefon olaf +49 151 1567 5264 oder raster-noton stand auf der sonar record fair.
BYETONE – Death Of a Typographer
CD raster-noton R-N 92
http://www.raster-noton.net
death of a typographer is meant to be a snap shot. the release was recorded in a winter week in berlin. only the pre-released single plastic star was created in sunny athens. the album contains the original session version of plastic star.
the music of death of a typographer carries the special sound of raster-noton – but it is different: the tracks act as focal points, as elegy of an latently flowing stream, a stream that still moves on even when the music has long faded away. the tracks do not necessarily move forward, they rather open up a dark abyss which seems deepest in capture this I and II. byetone manages to achieve a remarkable metamorphosis of the organic, the tracks don’t reveal any of the elements of conventional composition techniques but somehow they seem to show through the static sound body. with heart byetone finishes the album in a very dark manner. isn’t there any hope? Not in berlin winter.
death of a typographer poses us riddles, even the title reminds of peter greenaway’s the draughsman’s contract. for the vigilant spectator the ambiguous artwork will reveal the death of a typographer.
LAWRENCE ENGLISH – Kiri No Oto
CD Touch Tone 31
http://www.touchmusic.org.uk
http://www.lawrenceenglish.com
Photography & Design: Jon Wozencroft
Mastered by Denis Blackham
KIRI NO OTO
The Japanese phrase ‘Kiri No Oto’ loosely translates to the ‘sound of fog’ or ‘sound of mist’. In many ways it’s a collection that meditates on the sense of displacement and distortion that occurs in environments which undergo extreme mists, snowstorms and sea sprays. In the same way that visual objects loose their perspective, form and shape in these environments, the sound components that make up Kiri No Oto are not quite as they first might appear.
Utilising a range of divergent mixing techniques, analog filtering and ‘harmonic’ distortion, Kiri No Oto offers an expansive sound space in which the listener must choose to position themselves. Focus, like that in a fog, is in a constant state of flux as elements are brought into and out of perspective.
The first in a series of records employing this technique, Kiri No Oto explores the richness in the frequencies that are usually associated with extremes of volume and through this process the recordings position ‘the ear’ itself as ‘another layer of auditory fog’ as it begins to distort and alter the sounds it comes in contact with.
The sounds sources for Kiri No Oto emanate from both instruments and found sound, with recordings on this edition made in Poland, New Zealand, Australia and Japan.
PRESS ON LAWRENCE ENGLISH
A picture may be worth 1000 words, but in the right hands ambient music can reach an even higher plane of communication. Mike Wolf, Time Out New York
English softens all the edges and extends particular timbres into oceanic swells that ebb and flow in conjunction with the haunted melodies that lumber in the distance, at times resembling the gaping spaces of Thomas Koner and at others the incidental music of Tarkovsky’s Stalker. Jim Haynes, The Wire
A seductive, beautiful suite which melds field recordings with airy, epic organ effects, gentle musique concréte atmospheres, and dramatic, punctilious aural flourishes. Jonathan Marshall, Realtime
English has not only a vivid imagination and a great feel for structure, but an instinctive understanding of what music is capable of stimulating on the emotional level. Dan Warburton, Paris Transatlantic
Extraordinarily gorgeous modern musique concréte. Signal To Noise
LAWRENCE ENGLISH
Lawrence English is media artist, composer and curator based in Brisbane, Australia. Working across a broad range of aesthetic investigations, English’s work is eclectic and characterises a long-term exploration into various themes including audio/visual environments, found sound/vision, subtle transformation of public space and sonic art works that exist at the very edge of perception.
For over a decade, English’s audio explorations have sprawled across a range of areas. Sonically, his work calls into question the established relationships between sound and structure – traversing experimental soundscapes and free improvisation to sheering rhythmic works and concréte-influenced compositions, his published works span a dynamic array of fields. London’s Time Out referred to his output as ‘ambient twisted soundscapes and challenging sonic scree’, and U.S. sound journal, Signal To Noise described English’s work as ‘extraordinarily gorgeous modern music concréte’. In recent years English has recorded, performed and improvised with the likes of David Toop, Terry Riley, Keith Whitman, Ami Yoshida, Steinbruchel, Damo Suzuki, Marina Rosenfeld, DJ Olive, Philip Samartzis, Scanner, Tetuzi Akiyama, Janek Schaefer, KK Null and others.
Diversity of practice is again the case with English’s visual and poly-media works. His recent 3-screen video installation Ghost Towns, seeks to create an abstract ‘virtual map’ of remote Australian spaces, examining the micro and macro aspects of these environments with equal vigour. Other works including the large-form temporal sculpture ‘Field’ and his architectural screening installation ‘Re:collections’ explore the ways in which media can refresh and transform public spaces. In 2006 English produced a series of sound art works specifically for the deaf and hearing impaired communities under the title ‘Silence Listening’. These works were amongst the first of their kind in the world, exploring and examining the notions of isolation and sonic interaction within these communities.
English has recently been producing a number of full-length recordings for a variety of artists including Japan’s avant-pop icon Tujiko Noriko, Tokyo based psychedelic folk collective Tenniscoats and Australian noise-pop unit The Rational Academy. He has recently composed new works for guitar for the renowned new music ensemble Elision, undertaken compositional works with avant-circus troupe Circa and theatre groups including Bonemap. English also acted as the musical consultant on the Barbican commissioned theatre work The Importance Of Being Earnest.
Outside of his recording and art commissions, Lawrence English curates a number of ongoing sound events including fabrique at Brisbane Powerhouse, Mono at the Institute Of Modern Art and Syncretism/NineHoursNorth at the Judith Wright Centre of Contemporary Arts. He produces the annual Room40 festival Open Frame and co-produces a number of other festivals including Sound Polaroids, Liquid Architecture and What Is Music?. He continues to curate numerous art exhibitions including Melatonin – Meditations On Sound In Sleep, which is touring internationally until 2006 and Incidental Amplifications.
English’s imprint and multi-arts organisation ::ROOM40:: maintains a steady release schedule from an eclectic array of Australian and international artists.
this project has been assisted by the australian government through the australia council for the arts, its arts funding and advisory body.
MACHINEFABRIEK + STEPHEN VITIELLO – Box Music
CD 12k 1048
http://www.12k.com
http://www.machinefabriek.nu
http://www.stephenvitiello.com
Rutger and Stephen sort of accidentally met through e-mail. A simple note regarding an ordering question for a CD led to an enthusiastic e-mail conversation and climaxed in a musical collaboration. This all happened in a very short period, both musicians being very inspired by the concept of “exchange,” as a means to cross space and time — Rutger living in the Netherlands and Stephen in Virginia. Most of the time, when (electronic) musicians work together it’s a matter of swapping digital files. In this case they decided to do something different and sent each other a box full of (mostly non-musical, or musically non-functional) objects and recordings, with the “assignment” to make music with those objects and all as source materials. As the titles tell, we’re talking about an egg cutter, thumb piano, a broken kraakle box, rice, chocolate sprinkles, old cassette tapes, a broken 7″ record, etcetera, etcetera. Both musicians made two of their own solo tracks with the box they received, and the last track was done together by Rutger adding sounds and processing to a piece started by Stephen. For Rutger/Machinefabriek this is part of his most delicate work. For Stephen, it was a new and extremely enjoyable form of long-distance collaboration.
MACHINEFABRIEK
RUTGER ZUYDERVELT, better known as Machinefabriek, lives in Rotterdam, The Netherlands. Started as Machinefabriek in 2004, he released 40+ small run home-made cdr’s as well as work for Type Records, Lampse, Digitalis, Staalplaat (Mort Aux Vaches) and now 12K. A double remix cd was released in 2007, with interpetations by Alva Noto, Pita, Mitchell Akiyama, Xela, Gert-Jan Prins and many more. Collaborations (live or recording) include Steinbrüchel, Jasper TX, Wouter van Veldhoven, Simon Nabatov, Frans de Waard, Aaron Martin and Peter Broderick.
STEPHEN VITIELLO
Stephen Vitiello is a sound and media artist based in Richmond, VA. CD releases include Bright and Dusty Things (New Albion), Listening to Donald Judd (Sub Rosa) and Untitled/Exchange, a collaborative CD with Michael J. Schumacher (A Question of Re-Entry). Solo exhibitions of Vitiello’s sound installations, photographs and drawings have been presented at The Project, NY, Museum 52, London, the Texas Gallery, Houston, TX and Diapason, NYC. Group exhibitions include the 2002 Whitney Biennial and the 2006 Biennial of Sydney. Over the last 18 years, Stephen has collaborated with numerous musicians and artists including Scanner, Pauline Oliveros, Andrew Deutsch, Julie Mehretu and Tony Oursler.
MAX TURNER – Reflections On Liquid
EP/digital Metabooty 003
http://www.metabooty.com
http://www.myspace.com/maxxxturner
*oranges* single!
(7 inch orange vinyl)
All tracks puzzled, reduced and excavated by Max Turner.
Mastered by Christian Vogel at Station 55 in Barcelona
Max Turner, a scottish-german rhymer and producer from Hamburg has issued records on small and visionary labels for the past seven years. GAGARIN RECORDS released his debut MATCHBOX JUMPING JEEPBEATS and RISEROBOTSRISE RECORDS released METEORITES, a collaborative venture of his and Marcus Rossknechts’s. In addition to stacks of one- or two-off
collaborations (check out on discogs com), Max Turner released his latest solo album THE PURPLE PRO on his own METABOOTY label in November 2006. He continues to produce and release records on METABOOTY from his Barcelona home/studio base.
The “Reflections on liquid” ep, the 2nd part of the “REFLECTIVITY” series, to be released by Turner on his metabooty label this year, features yet another set of fresh reggaeton-esque visions and other takes on latin/caribean rhythms. Cowbells on the 1 and eloborate pop composition, with neat little percussion sections, accompanied by more cheesy flutes, midi trumpets and jumpy mute guitars. The lyrics and their delivery are very clear on this ep, ranging from themes such as globalisation and its effects on marketing in the sodapop landscape, which is tackled on the trance trumpet banger “oranges”. “Navigator” with its almost theatrical delivery of a text that portrays the sea of mind and the turmoil, aswell as joy of discovery, the navigator undergoes. Or “the color of kisses”, a philosophical poem about the perception of rainbows, on which the vocal timing sits almost jazz-like on a folkloristic havannah drum loop.
MISS AUTOPSY – The Hill
CD Lens Records LENS0021
http://www.lensrecords.com
http://www.myspace.com/missautopsyband
Miss Autopsy is an acquired taste. And Steve Beyerink, the Iowa-born/Chicago based member of the band – is a unique acquired taste. A sound culled from acoustic and electric guitars, stripped drum machine beats, tense Americana blues vocals and lyrical content that runs the gamut of social isolation, broken hearts, murderous thoughts and innocence lost. The Hill is his third release and it is beautifully captured and sculpted by the return of the Grammy nominated producer/engineer/mixer John Congleton (Explosions In The Sky, Polyphonic Spree, 90 Day Men). This time around Beyerink is also accompanied by The Paper Chase’s Jason Garner on drums.
Beyerink says writing songs is therapeutic. “I like darker things,” he says. “I grew up listening to Pink Floyd and a lot of things of that nature. Lyrically, I’m more inspired by writers like Dostoevsky, Hermann Hesse and William S. Burroughs for their grasp of the darker sides of the human experience than any songwriter I can think of. I wouldn’t write about things I couldn’t relate to in some way.” Beyerink has honed his songwriting skills over the course of the last several years, through the process of writing and recording 2003’s “Ruhr” and 2005’s Sweet Killers as well as sporadic live performances throughout the Midwest. The songs on The Hill are tighter, sharper and more defined than his past work. The songs have impact and an unforgettable affect despite their subtle and down-played delivery. “With the first album I recorded, if 100 people were to hear it, 95 would turn it off within the first 10 seconds, and I get a certain satisfaction out of that,” Beyerink says. “But I also want to make records that make the hair on the listeners’ arms stand up and change how they listen to music. Certain records by Bonnie ‘Prince’ Billy, Joy Division, Radiohead and others have done that for me. I don’t want my music to sound like theirs, but I do want it to have the same effect.” “I can’t change people’s perceptions of my music,” he says. “But I’m probably always going to write songs.”
Past reviews of Miss Autopsy:
“Slinky hard rock riffs abound, but Beyerink thinks nothing of sliding into a Midwestern Americana groove when the feeling strikes — and that’s good stuff, too. Thoroughly enjoyable.” – Aiding & Abetting
“Somehow Beyerink brings a plaintive, pained, and claustrophobic quality to all of the songs, regardless of the style he chooses. For a one-man band, this has bite.” – Punk Planet
NICOLAS BERNIER – Les arbres
CD No Type IMNT 0816
http://www.notype.com
http://www.myspace.com/nicolasbernier
Les arbres [The Trees] is part of a collaboration process between composer Nicolas Bernier and visual artist urban9. The latter has developed visuals inspired by the music, while his images fed the composition of the soundtrack. Sonic landscapes and slow textures meet with precise articulations, all this resting on a minimal orchestration made of guitars, brass instruments, vibes, accordions and strings.
A stimulating record, a remarkable attention to detail and excellent production quality, making for an unfailingly rewarding listening experience. An important milestone in the young career of an increasingly vital figure of Montreal electronica.
Official CD launch and concert: May 28, 2008, as part of the Mutek festival, Montreal.
Nicolas Bernier has been initiated to musical creation through popular music. His curiosity quickly brought him to electroacoustic composition, which he studied at the Université de Montréal in the classes of Robert Normandeau and Jean Piché. His love of experimentation inspired him to develop acousmatic composition, live electronics, installation and video art as well as music for dance and cinema. In the midst of this eclecticism, however, his artistic concerns remain constant: the balance between the cerebral and the sensual and between organic sound sources and digital processing. An inspired artist, he created the duo Milliseconde topographie in 2004 alongside composer Delphine Measroch. In 2006, he also created the artist collective Ekumen. He has won many awards for his works that have been broadcast in many festivals such as L’Espace du son (Belgium), Akousma (Québec), DotMov Festival (Japan) et Transmediale (Germany).
PRURIENT – Arrowhead
CD Editions Mego eMEGO 091
Streetdate: July 31
http://www.editionsmego.com
http://www.hospitalproductions.com
New York based Prurient (aka DOMINICK FERNOW) has been an active instigator of the Power Electonics and Noise genres for well over a decade, with 100+ releases issued so far, usually limited and over all known formats. Its with great pleasure that Editions Mego present this new set of Prurient compositions.
Comprising of 3 ear splitting tracks of high end quality feedback, disturbed vocals and twisted percussion. While previewing this work for release on a flight from Milan to Vienna it came to the attention of the listener that an irritated passenger 2 rows in front complained of high pitched whistling in the air conditioning. Such is the power of Arrowhead.
Recorded winter 2004 in Providence, RI
Finalized winter 2005 in New York City
Design by DF
Guest Personal: Kris Lapke
ROBERT SCOTT THOMPSON – Poesis Athesis
CD Lens Records LENS0022
http://www.lensrecords.com
http://www.robertscottthompson.com
Poesis Athesis marks the debut release on Lens Records from internationally acclaimed composer Robert Scott Thompson. Having originally worked together in the mid-80’s, Chi Kung Master Terrence Dunn (an admirer of Robert’s music) once again contacted Thompson to compose music for his current series of video releases. Thompson composed the music to work specifically with the pace, mood and dynamics of the Flying Phoenix form of Chi Kung. The collaboration eventually spanned ten films and Thompson composed more than ten hours worth of music over a two year period.
The thirteen tracks on Poesis Athesis are rooted in Robert Scott Thompson’s ambient style but also blend it with elements of electronica, ethnic influences and a personal homage to French composer Erik Satie. Thompson creates an atmosphere of calm and relaxation suitable for both introspective and meditative moments as well as chill out regeneration. With Poesis Athesis, Robert Scott Thompson has created a work that spawns from his past while moving into newer creative explorations of sound and mind.
Robert’s music has been heralded as:
“Remarkable work”
“Robert Scott Thompson’s creativity has NO ceiling”
“A stunningly beautiful release and very highly recommended”
“A composer of the highest caliber”
“Truly breathtaking”
“Sheer Beauty”
ROSHI feat. PARS RADIO – And Stars
10″ vinyl/CD Geo Records GEO011
http://www.myspace.com/georecordsuk
http://www.myspace.com/roshisongs
Born in Wales to Iranian parents, ROSHI NASEHI is a singer-songwriter performing her own evocative songs alongside some of the Iranian songs she was brought up listening to. Her own songs reflect her origins, influences and experiences in a personal and unique way accompanied by unusual piano or keyboard arrangements – the songs are reflective, melodic and quirky – her voice airy and tender but possessed of an inner power. When she interprets Iranian song it is in a personal style bringing a contemporary twist combined with an authentic understanding of context and language. She plays regularly at some of London’s most exciting venues often with her band Pars Radio. In the past year alone, she has performed several times at the legendary Klinker club, Kabarett Speilraum, Musenight at the Rivington Gallery in Shoreditch, at MusicBrut at Battersea Arts Centre, The Vortex, Half Moon Putney, Gobsmack at Spitz and Toiletronica in Surrey. She was recently the Guest Artist with the London Philharmonic Orchestra’s Open Ear Ensemble for a performance at the Festival Hall (Dec 07).
Her band PARS RADIO: a unique collaboration, essentially between herself and prolific sound artist GRAHAM DOWDALL (aka Dids, Gagarin). Graham has spent the last 2 decades on the experimental fringes of music -making avantrock, electronica, free music etc and working with underground legends including Nico, John Cale and Pere Ubu. He currently makes electronica as Gagarin. Pars Radio also features cello contributions from avant performer RICHARD THOMAS (a member of Now) and classical cellist RACHEL THRELFALL. It’s an unusual sound world combining Roshi’s intimate singing style, Dids-Gagarin’s experimental electronic powers and haunting string layers to create a unique genre-crossing, exotic, folktronica landscape. The band’s debut E.P will be coming out in 2008 on Dids-Gagarin’s own GEO label. In Jan/Feb 2007 Roshi and Graham-Dids-Gagarin presented ‘Swimming with Rachid Khan’ at the Museum of London. This piece interweaves Iranian and original material and was specially put together as part of the museum’s excellent belonging exhibition. Plans are underway to tour this piece in 2008.
Roshi’s music has received acclaim from figures like David Cunningham (Flying Lizards), Mark Beesley (Rothko), Keith Moline (Pere Ubu and the Wire), Hugh Metcalfe, Dylan Bates etc.
SUDDEN INFANT – Psychotic Einzelkind
CD Blossoming Noise BN036
http://www.myspace.com/suddeninfantnoise
Founder & Schimpfluch Aktionist JOKE LANZ has paired up with BILL KOULIGAS & CHRISTIAN WEBER to deliver the most musical & realized Sudden Infant studio recording to date. “Psychotic Einzelkind” clocks just over 71 minutes & features three remixes by Z’EV, LASSE MARHAUG & THURSTON MOORE.
SUDDEN INFANT ist das langjährige Projekt von JOKE LANZ. Entstanden 1989 aus dem Antrieb heraus, Klangkunst und Performance miteinander zu verbinden. In die Auftritte fließen immer wieder Fragmente aus Dada, Aktionismus, Fluxus, Noise und Punk mit ein. Der Gebrauch von minimalem Equipment sowie die pure, reduzierte Essenz des Körpers und der daraus entstehenden Klangwelt, sind die Eckpfeiler einer Sudden Infant Performance. Das Ausloten akustischer und physischer Elemente, die Reduzierung auf das Wesentliche, ergibt eine sehr spannungsvolle Bühnenästhetik und sprengt die Grenzen zwischen Noise, Performance, Impro und Elektronik.
Mitglied des Performancekollektivs ‘Schimpfluch-Gruppe’.
Seit 1986 künstlerisches und musikalisches Arbeiten im Bereich der Klangkunst, Performance-Art und Noise-Music in diversen Formationen, Radiosendungen, Theater- und Tanzprojekten u.a. mit Sudden Infant, Schimpfluch-Gruppe, WAL, Catholic Boys In Heavy Leather, Jaywalker, Opposite Opponents, MK Selection, Psychic Rally, The Eye of Arghhh
“Swiss noise/improv wild men Joke Lanz and Franz Lieberherr deploy turntables, electronics, trombone and ribald vocal emissions that would make even Phil Minton blush. The result is music so direct, joyous and unencumbered by any sense of modesty or good taste that it’s utterly compelling. It makes you realise how conservative most so-called extreme art can be, how often its exponents pull back from the brink. Sudden Infant go all the way. Nothing is held back.” Keith Moline in The Wire, 06/2004
Unzählige Veröffentlichungen auf Internationalen Labels, u.a. Schimpfluch, Tochnit Aleph, Blossoming Noise, Entr’acte, Artware, SSSM, Klanggalerie, RRRecords, MSBR
Ausgewählte Auftritte: Kunstszene Shedhalle Zürich 1990/91, Broken Life Festival Taipei 1995, Bellouard Festival Fribourg 1996, Jazzfestival Schaffhausen 1998, Transmediale Medienkunstfestival Berlin 1999/2000, Noise Festival Vol. 2 Tokyo 2000, Donaufestival Korneuburg/Wien 2001, M for Music Zürich 2001, Biennale Big Torino 2002, Jazz onze+ Lausanne 2003, Wien Modern 2004, LEM Barcelona 2004, Maschinenfest Krefeld 2004, Unerhört Festival Zürich 2004, Nofun Fest New York City 2005, Jazzfestival Schaffhausen 2005, Transart Bozen 2005, LUFF Lausanne 2005, Wien Modern 2005, Avanto Festival Helsinki 2005, Termite Club Festival Leeds 2005, Noisecape Festival Den Haag 2005, Rhythm Industry Den Haag 2005, Volts & Visions Festival Zurich 2006, No Trend Festival London 2006, Wien Modern 2006, Ear We Are Bienne 2007, Elektroanschlag Altenburg 2007, ZXZW Festival Tilburg 2007, Maschinenfest Krefeld 2007, Cut & Splice Huddersfield 2007, Unyazi Festival Stellenbosch / Johannesburg 2008, No Fun Fest New York City 2008, E-May Festival Vienna 2008, Observatori Festival Valencia 2008
BILL KOULIGAS
Born in Athens/Greece 1982
Got involved in music since a very young age, playing mostly in punk and HxC bands for more than 10 years. In the late 90s he started getting involved in the improvised and noise music. For the past 3-4 years he’s been living in London/ UK and running fulltime his solo experimental project Family Battle Snake.
Bill Kouligas is using electronics, analogue synths, tapes, percussion and reeds to builds his own improvised heavy telepathic universe and conjures up a hazy psychotic mayhem from lulling numbness to fierce noise outbreaks.
He played with the likes of: Chris Corsano (Bjork, Dream Aktion Unit, Flaherty/Yeh, etc),
Anla Curtis (Reynols), Karen Constance (Smack Music 7/Blood Stereo), Damo Suzuki (CAN), Mark Durgan (Putrefier/The New Blockaders), Ashtray Navigations, Astro (CCCC), Family Underground, MV Carbon (Metalux, Bride of No No), Christelle Gaudi (No Neck Blues Band, Stellar et al) and many more.
CHRISTIAN WEBER
Born in Zurich/Switzerland 1972
Christian Weber is fast becoming one of the most interesting bass players on the European elektroacoustic Improv and Noise scene.
He played with the likes of: John Butcher, Gene Coleman, Lol Coxhill, Elliott Sharp, Evan Parker, Phil Minton, Peter Kowald, Norbert Möslang, Michael Zerang, Sharif Sehnaoui and many more… // Toured in: Switzerland, Austria, Germany, England, Ireland, Poland, Israel, China, Taiwan, Belgium, Italy, Slovenia, Kuwait, Croatia, Czech Republic, The Netherlands, Spain, Japan, Russia, USA, Canada… // Festivals: Druga Godba (Ljubliana), Jazzfestival Zagreb, Jazz Meeting TelAviv, Jazz-Meeting Jerusalem, Jazzfest Wiesen, Hörgänge Wien, Jazzfestival Schaffhausen, AMR Festival (Geneva), Ice On Fire (Kuwait), Festival de Jazz Grenoble, Jazzfest Wien, unerhört!, Ulrichsberger Kaleidophon, Uncool Poschiavo, Jazzfestival Mulhouse, Wien Modern, Moers Festival, LEM (Barcelona), Jazzherbst Konstanz, Taktlos, Vision Festival (NYC), FIMAV (Victoriaville)…
“Christian Weber’s acro drones are rich and lustrous, and when he drops individual notes in to the mix they detonate like honey bombs.” Brian Marley in The Wire, 01/2007
Sudden Infant LIVE
Jun 15 ES Observatori Festival, Valencia
Jun 19 DE Gelegenheiten, Berlin
THOMAS CHRISTOPH HEYDE – HCMF (High Culture Motherfucker)
LP/CD Phantomnoise PNR 014
http://www.mak-world.ch/pnr
http://www.tchey.de
Alle Stücke von Thomas Christoph Heyde entstanden in den Jahren 2000-2008. Aufgenommen im Studio des MDR, live beim Festival MachtMusik in der Leipziger Baumwollspinnerei und im TCHeyde Studio.
Der Komponist Thomas Christoph Heyde gibt eine Schallplatte heraus!
Nüchtern betrachtet keine besondere Schlagzeile. Doch wenn in diesem Fall der »Phönix« aufsteigt, wird der Eingangsatz nicht weniger als neu definiert sein!
Thomas Chr. Heyde ist neben seinen vielen kuratorischen Tätigkeiten, seiner Arbeit als künstlerischer Leiter des »Forum Zeitgenössischer Musik Leipzig«, als Produzent und Autor vor allem eines: ein außergewöhnlicher Komponist. Er darf sich unter anderem auf die Fahne schreiben, einer der wenigen Aktiven und öffentlich präsentesten »jungen Wilden« zu sein, die den festgefahrenen Festivalbetrieb innerhalb der »Neuen Musik« kritisierten. Trotzdem blieb Heyde bei Kollegen und Repräsentanten der Szene künstlerisch überaus geachtet, wenn nicht gar gefürchtet.
Durch den im Mai 2008 erscheinenden Tonträger schließt sich ein Kreis von Aufführungen in Konzerthäusern u.a. in Berlin, Boston, Zürich und Leipzig, bis hin zu renommierten Clubs, wie dem Leipziger »Ilses Erika« oder im morbiden Ambiente des »UT Connewitz«.
Der Tonträger, der den Namen »High Culture Motherfucker« trägt, ist dabei in erster Linie als »Katalog« zu sehen, erfüllt aber auch alle Anforderungen an ein markttaugliches »Produkt« und präsentiert sich auch als solches dem Hörer und Käufer. Die erste Besonderheit ist sicher das Erscheinen als Vinyl Schallplatte. Alle »audiophilen« Freunde von Avantgarde Musik können aufatmen, ist die Vinyl doch der einzige Tonträger, der frei von digitalen Artefakten die klangliche Fülle eines Heyde Stückes abzubilden vermag. Aber auch die CD Version braucht sich nicht zu verstecken. Neben geradezu penibler Sorgfalt im Mastering Prozess, bekommt der Hörer hier zwei zusätzliche Stücke zu Ohren. Abgerundet werden beide Formate durch eine exzellente grafische Umsetzung durch die HGB-Absolventin Simone Müller.
Doch was ist zu hören auf der ersten Soloveröffentlichung des in Leipzig geborenen Komponisten?
Zu hören gibt es 4 (bzw. 6 auf der CD) längere, aktuelle Stücke von Heyde, angesiedelt zwischen »zeitgenössischer Kammermusik« und »Neuer Avantgarde« mit Elektronik bzw. Live-Elektronik. Tatsächlich pendeln die Stücke zwischen Noise bzw. Ambient, Hörspiel und Filmmusik und natürlich »Klassik«. Dass die Platte beim Leipziger Elektronik Label Phantomnoise Records erscheint, betont den offenen, von Scheuklappen befreiten Blick eines Künstlers, der im Gegensatz Sendungsbewusstsein hat.
Z’EV vs PITA – Colchester
CD Editions Mego DeMEGO 004
Streetdate: August 2
http://www.editionsmego.com
http://www.peterrehberg.com
http://www.rhythmajik.com
1 continuous track split into 11 parts
Total time: 35’46
Acoustic/digital presentation recorded Colchester Arts Centre 17.10.2006.
Final mix by Z’EV London 01.2008
Mastered at Piethopraxis, Köln 04.2008
Design by SOMA
Neither Z’EV or PITA need any introduction in these circles. These 2 heavyweights of experimental music have been associates for 2 decades. Their creative collaboration came about after a meeting in 2004, which led to a monthly file exchange program in 2005. Instead of releasing results immediately it was decided to test the material in a live setting. Performances were held in Vienna and throughout the UK during 2006. ‘Colchester’ is the final result of this process. A mesmerising and intense collision of Z’EV’s acoustic percussion work and PITA’s computer manipulation.
Limited to 500 copies.
We are not responsible for the contents of external internet sites.
Thanks for reading & best wishes
Dense Promotion
http://www.dense.de
http://www.myspace.com/densepr
Many thanks to GOSUB.de
