some great new arrivals here for your special summer….
…including the new Jasch cd on dOc, the first solo Martin Siewert release and many more.
dOc (Austria) :
current 909 “the price for existence is eternal warfare” [cd]
Produced by Pure
track 1, 2 + 5 originally released on atmosfear 002
track 4 + 8 originally released on atmosfear 001
track 3 + 6 are formerly unreleased and will be available on vinyl in 2004 (MEGO 066)
track 7 is an excerpt from the only live appearence so far.
everything you see and hear (on this CD) is done by PURE
a cooperation between atmosfear recordings and doc recordings
Dieb13 / Pure / Martin Siewert “Just In Case You Are Bored. So Are We.” [cd]
“Dieb13 plays (in the truest sense of the word) turntables like no other: his music is reduced, exceptionally musical, and can be described as anything but merely moving records around. He produces ambient soundscapes, often plunderphonic, but never just a patchwork. For many years now, Martin Siewert has been exploring the electronic guitar’s possibilities for sonic abstraction, from jazz to distant electronic-electroacoustic soundscapes and more often recently, concrete sound (cf. the hatHut CD, Trapist.) Pure comes from the world of techno, where his beats became more and more abstract and in the meantime even elusive. A wonderful example of his bleak sound fantasies (fed from his work in techno, industrial, musique concrete and ambient) is his last CD, Noonbugs (Mego). For several years, dieb13 and Martin Siewert have regularly collaborated (including in EFZEG (whose most recent CD is Boogie on Grob). Here, their primarily analogue sound experiments are added to and complemented by Pure. After collaborations between Siewert and Pure in the area of production, in late 2000 the three found themselves more or less coincidentally working together on two completely improvised concerts, and have now collected the results of their first joint musical project on this recording. Each detail of the sonic landscape is precisely modulated, analogue amplitudes with digital peaks and abysses. The warm, gently pulsating sound of Siewert’s guitar forms the primary basis for the abstract grooves and sounds of Pure’s laptop (with its own software) and dieb’s turntable experiments (such as adding piezoelectricity to the sound pickup). Many levels overlap, shift, and almost imperceptibly reform. Since repetitive structures dominate, there are no breaks, but plenty of sonic surprises.”
Jasch “Shimmer” [cd]
SHIMMER from the swiss artist JASCH (catalogue number 6) marks a new step in the development of dOc as it is the first release without any involvement of label owner Pure (besides dOc8 “Die Instabilität der Symmetrie” which was a cooperation with Cologne based label Grob). It therefore stands for the label«s conceptual shift from a platform for documenting solo and collaborative live works to a release possibility for like minded sound and video artists.
SHIMMER features a mixture of organic and synthetic characters that build crystalline shimmering layered sonic spaces. A constant flow of steadily evolving palettes of rich sound drifts from standstill to hectic, from recognisable instrumental timbre to digital fragments, constantly changing spatial perspectives and acoustic appearance. the most notable sound source for these eight tracks are recordings of string instruments, even though echoes of voices and traces of field recordings evoke an intimate exchange with the sonic materials used for this work.
All eight tracks were recorded during a 4 month time span in spring and summer of 2003. Most of the pieces are direct-to-disk live-recordings, a few were recorded in the studio. all pieces were improvised using custom made soft- and hardware and no edits were applied in postproduction. the main tools use process-based algorithms and open dynamic systems geared towards intuitive and instantaneous interaction.
JASCH is an active musician coming from the fields of improvisation with a background in jazz and electroacoustic music. He holds a degree in jazz doublebass and a masters in digital arts. He has been performing improvised, electroacoustic and audio/visual electronic works in a variety of settings in festivals and clubs all over europe and north america.
Beside his solo works he is member of DYAD, the critically acclaimed live project with american video artist Johnny Dekam, whose collaboration DVD with dOc label owner Pure is released just a the same time.
Pure “Home is where my hard disk is vol.1” [cd]
Two recordings of PURE«s live appearances in winter 2001/2002.
The first track is the entire recording of a gig at the HÖRBAR, a monthly club in Hamburg, Germany that takes place in a small old cinema. Playing in the movie room created a very intense atmosphere as compared to other venues. The 38 min improvised piece interweaves low frequencies with orchestral sounds into dense, unsettling structures, only to dissolve them in its peaceful finish.
The second track is an excerpt of a concert given at ANIKI BîBî, Porto, Portugal. Its minimal algorithmic patterns slowly evolve into a swaying string figure that is finished by processed vocal parts.
Pure / Dekam “Requoil Displaced Peaceoff” [Dvd / NTSC]
REQUOIL DISPLACED PEACEOFF (catalog number 5) is the first DVD release on Pure«s label dOc, and only the second to feature his collaborative work, in this case with Johnny DeKam, who is well known for his live video performances, and for the creation of the popular software video instrument VDMX.
The DVD consists of three movies with the visuals from DeKam and the music from Pure. Together they tell abstract narratives by improvising, sampling and carefully re-working their recordings into new compositions. Each piece of the trilogy holds its own unique style, and are technically superb. As a whole, the trilogy acts as a strong, dark, complimentary statement.
The first track, REQOIL, derives its name from the root words REQUIEM and OILWELL. It uses a stark monochromatic palette, with videography acquired from an oil drilling field deep in the rural midwest of the US. The footage is heavily treated in ways that make the oil rigs seem to breath through on another, sometimes splitting into two engines that fight or cooperate. These scenes are accompanied by a heavy, static soundtrack using industrial sounds (in their original sense) moving forward slowly to reinforce the machine-like character of this piece. REQOIL is an hommage on the aesthetics of early russian cinema and the sound of early industrial music, with ambiguous thoughts on contemporary issues.
The second track DISPLACED, aims to offset the heaviness of the first piece, drawing upon the repetitive-process atmosphere in their studio during long, summer recording sessions. The images are high contrast, texturally rich, film noir shot in their studio using a small CCD camera. Highly abstract, DISPLACED leaves much space to the viewer«s imagination, an expressionistic contrast to REQOIL. The sound starts off very dense with a wall of standing reverb and waves of low basses. A minimal rhythm slowly finds its way into the foreground leaving the monolithic introduction behind, leading to a filigrain percussion finish.
PEACEOFF, the last track, returns to the topic of industrial facility. This time, instead of oilwells, PEACEOFF works with footage from the inside of a water purification plant. The composition deconstructs the geometric forms within the plant, surrounded by strong, `safety` colors. PEACEOFF reminds you of architectural documentary and biological terror, hectically synchronized with the movements of the soundtrack – a very chaotic, sometimes quite violent track where the only sound source was a single breakcore drumloop provided by the Rennes-based record label PEACEOFF. The decimation of these few seconds of intro material into an alternating mix of chaotic randomized beats and standing tones crescendos when both sound and image reaches a powerful finale of movement, color and form.
This DVD is the result of Pure and deKam’s teamwork initiated by the French association “Meeting”, a joint effort between Rennes’ College of Art, the Visual Arts department of Rennes University and le Collectif Jardin Moderne, who hosted a residency for the two artists in summer of 2003.
Pure is currently living in Vienna. Besides caring for his own label dOc, he has released on several other labels like Mego, Staalplaat and Praxis. After having released around 20 vinyls since the beginning of the 90s which were deleted for years recent CD releases from 2003 made all the different projects available again.
Johnny Dekam is an video artist based in upstate New York. He is a member of DYAD, the critically acclaimed live project with Swiss artist Jasch, He frequently performs both solo and as a VJ for major acts. DeKam is the founder and principal architect behind VIDVOX, purveyors of fine video software. He has recently moved on from VIDVOX to focus on new projects at the intersection of video art, research and performance.
Durian (Austria) :
Ernesto Molinari / Uli Fussenegger / Bernhard Lang “Ntrix” [cd]
ERNESTO MOLINARI: CLARINET, CONTRABASSCLARINET
ULI FUSSENEGGER: COMPUTER
BERNHARD LANG: COMPUTER
Recorded in September 2003 and April 2003.
Grob (Germany) : Grob 652
Alessandro Bosetti “Zona” [cd]
Alessandro Bosetti: soprano sax, recorded in real time by Alessandro Bosetti and Ronny Trocker, January 26, 2003.
Günter Müller / Norbert Möslang “Boom_Box” [cd]
Günter Müller: selected percussion, MD’s, iPOD, electronics. Norbert Möslang: cracked everyday-electronics. Recorded 21.10.2001 at the Loft, Köln. “Boom Box is one of the first recordings of Norbert Möslang after the break up of Voice Crack, his legendary Duo with Andi Gühl which lasted a good 30 years. On Boom-Box, Möslang also plays his cracked everyday-electronics, but their tonal surroundings is a different one. It is a wide, ethereal tonal ambience, the structures are lucid, the music is transparent. Again and again there are foregrounds and backgrounds, individual tonal configurations stand out clearly and distinctly, specific sounds are repeated, thus creating a scaffold through which other sounds are elegantly woven.”
Keith Rowe / Robbie Avenaim / Oren Ambarchi “Honey Pie” [cd]
Keith Rowe: Tabletop Guitar, Electronics. Oren Ambarchi: Guitar, Electronics. Robbie Avenaim: Percussion, Electronics. Live recording from the Musique Action Festival, France, 5/26/01. “If Thumb was about something like ‘absence in presence,’ about, well, the artsy trick of improvising like a quintet and sounding simply like a duo, then Honey Pie is a dynamic, powerful 40-minute recording. The static intimated at the beginning and lasting for four or five minutes is cautiously preserved by the musicians — Rowe and Ambarchi on guitars, Avenaim on percussion, all three on live electronics — and this static is transformed in a constantly changing process. On Thumb, the tension was produced using static (via an endless extension of a ‘something’) and therefore ‘disappointed,’ we hear on Honey Pie tension sans phrase. At first there is no drone, no GREAT SOUND, upon which the musicians can comfortably retire (the great sound, which then originates in the process of the improvisation is rich and complex in itself). They improvise without flourish, develop small structures of a nearly motive-like character. Thanks to this, the stringency, too, of Rowe’s flatness is questioned, albeit softly. Honey Pie thus leaves the impression of a near playful, loose session. Listen to it loudly!”
Hibari (Japan) :
Jean-Luc Guionnet “Tirets” [cd]
New cd of solo church-organ recordings, recorded in 2000 and 2001 at Notre-Dame des Champs, Paris. Prise de Son : Eric La Casa.
Improvised Music From Japan (Japan) : IMJ-507
Yumiko Tanaka “Tayutauta” [cd]
Yumiko Tanaka: futozao shamisen, vocal
Yumiko Tanaka made her mark as a traditional shamisen artist specializing in the female-school gidayu style. Tanaka was a member of Otomo Yoshihide’s Ground-Zero in 1996-’97, and she is currently involved in a number of fields, ranging from contemporary classical music to free improvisation to avant-garde theater. Among her many international activities, one of the most notable is her participation–as both musician and actress–in German composer Heiner Goebbels’ acclaimed play Hashirigaki (now on a world tour). Suprisingly, this energetic and multi-faceted musician has to date released no solo or leader recordings–making this collection of 10 totally improvised solo works a debut CD of sorts. On Tayutauta, Tanaka uses the gidayu shamisen in ways that leave traditional playing methods far behind. Here, the instrument’s characteristic flavor is nowhere to be found. The performances–which incorporate such techniques as plucking, bowing, and the use of “prepared” objects–are calm and sedate, but suffused with a strong feeling of cohesion backed by Tanaka’s distinctive musical stance and sensibility. This is improvised music of rare quality.
L’Innomable (Slovenia) :
Margarida Garcia / Mattin “For Permitted Consumption” [cdr]
Margarida Garcia – electric double bass, Mattin – computer feedback.
Released in early April in year 2004 in limited edition of 150 copies.
The music represented on this disc is a result of a meeting that hapenned on one of the most intruiging radio stations in the world (Resonance 104.4 FM), following the apperance of extended version of Sakada- a project run by Mattin and Eddie Prevost (before featuring also Rosy Parlane)- on Freedom Of The City 2003 (they were joined by Margarida, Rhodri Davies and Mark Wastell). The music takes nothing for granted; it doesn’t hold to a momentum but instead looks for a way to unsettle, unbalance and challenge the performers, sound sources, medium and listener …
”For Permitted Consumption to people that do not need categorisations in order to apprecciate improvised music” – Mattin 2004
Mosz (Austria) :
Kapital Band “2 CD” [cd]
this is what Kapital Band 1 says about “2 CD”: the KAPITAL BAND 1 is presenting “2 CD” as their debut album for you. “2 CD” consists of 2 cds: one is empty. it’s a cd-r. it is possible to record music on it. if you don’t know what to put on the empty “2 CD” go to www.kapitalband1.com. the other cd contains music produced by martin brandlmayr and nicholas bussmann. why two cds – one with the duo’s music on it and one recordable cd? well, …
REDUCED PRICE : Euro 14,50
Martin Siewert “No Need To Be Lonesome” [cd]
mosz is proud to present Martin Siewert’s first solo album,
which is not only his first solo recording, but also what we would call
another side of Martin Siewert: in contrast to his work to date,
“No Need To Be Lonesome” focusses on melodies and, most importantly,
grooves, and can be considered popmusic to a certain degree.
basically generated in the studio with an obscure selection
of analogue synthesizers, electronical equipement and guitars,
the focus of this album is more about the beauty of song-like structures
than about abstraction itself. this might be confusing for the ones who know
Siewert’s discography, but simply shows an artist who is active in different
domains of contemporary music.
Sedinental (US) :
Axel Dörner / Greg Kelley / Andrea Neumann / Bhob Rainey “Thanks, Cash” [cd]
This long-awaited document of an historic tour marrying two of Berlin’s finest improvisers with Boston’s hometown sluggers has finally been
released, and is sounding luscious. At the end of August, 2001, Doerner and Neumann arrived at Boston’s Logan airport for a tour that would cover the continental United States and take up the entire month of September. They started by recording with Boston’s BSC (released on Grob Records as ‘Good’), and then, faced with the challenge of how to fit all of their stuff into a luxury Hyundai (courtesy of a free upgrade coupon from Hertz), they embarked, with Rainey and Kelley, on what would normally be a significantly perception-altering tour of the
U.S. It turned out to be more literally mind-melting, which brought out the bottomless magnaminity of each player and all of the characters encountered from New York to San Francisco to Bloomington to Birmingham. The music lets light in through dark slats, and is filled with the richness of sound these musicians bring to their best projects. It retains a ‘live’ feel while apparently derived from a tattered, ancient score, reserved for especially confounding times.
Spirit of Orr (US) :
Joshua Burkett “Life Less Lost” [cd]
“Beam of folkways passing tenements with bygone studio apartments as the lofts of the future awash in a microsecond of urban Om and the sparkly vastness of country mystery — a dragged in ray of tone we begin on the azure stylus of remembering. Effervescing bubbles of a lamp lit moon under an animal spirit sky for a moment screaming in absolute quietude of still night and waking to stained synapses trapped in the oxide of rails, gardens and the solitude breathing in the run off grooves of mushroom wood stoves burning slowly with the ringing of nuthatch gorgeous in the synchronicity. His kind a loving time trapped in the red light, perfect when on. Furnished with strings and beads and love and Cosimo in his language the starry loneliness is perennial and that is all life less lost will ever be, sipping in the universal ocean and returning a mystery of immortality in the rear view mirror of memory smiling on a wavy scene tripped on capsules of beautiful sonic doors open and whispering wildcards of flowers and illusory prisms through his hushed tawny cry of consciousness intimate with leaves, creatures and muted dirt honed through the jibba white lore of grass horns and offered from his hand a brow of clouds fizzing on earth’s hidden rim bright as starfields it is a pleasure to live here.”
Sunburned Hand of the Man “Rare Wood” [cd]
“An expected gift is not worth giving. After several false starts, the wood is ready. With this stroke the Sunburned Hand Of The Man unleash their singular collective spirit into the common marketplace to provide an open door to those who have heard about, but not yet heard, the magic mayhem that is the music. The music on Rare Wood was recorded in the most lively of settings, and then brought together in this composite. A smattering of recordings that will separate the talkers from the walkers. Sunburned Hand Of The Man again brings you something you didn’t expect, Rare Wood.”
Squint Fucker Press (Canada) :
Et Sans “Mi La le mémoire est chasse la mille voix…” [3″cd]
“Throughout shapeless masses, shady harmonies and failed attempts at incoherence, using any unavailable means possible, every unecessary hairy instruments (electronixxx and/or acoustixxx), Alexandre St-Onge and Roger Tellier-Craig explore and explicitely exploit the ever changing entity that will become Et Sans. They are almost as pretentious as you…” The object itself is a context of destruction and accumulation of erasure.
Christof Migone / Veda Hille “Escape Songs” [cd]
Escape Songs. Made by Christof Migone (Montreal) and Veda Hille (Vancouver), at secret yearly meetings in their homes between 2000 and 2004. Small sounds, tiny war machines, mistakes, hair, spit, lucky licks and yes, songs. The very songs we wish to escape from. Songs escaping from themselves, escaping to an escape. Veda and Christof wrote little songs, recorded them, and then fussed around until they became other. An organization of those little voices that distract, that you listen for, that you attempt to cultivate or bat away. Songs escaped. squintfuckerpress is putting it out. Like it or have a sympathectomy.
cd digipak with a line of dots in clear varnish on the cover.
Sub Rosa (Belgium) :
Luc Ferrari “Les Anecdotiques” [cd]
“Even if his art is historically linked to the musique concrète school, Luc Ferrari (born in Paris in 1929) is above all a man with a freedom of spirit rarely equalled in the history of music, who has repeatedly left what he excelled at for new territory still unexplored; thus he is par excellence the composer of new fields of investigation. Ferrari joined the Groupe de Musique Concrète in 1958 and remained a member until 1966; he collaborated with Pierre Schaeffer in setting up the Groupe de Recherches Musicales (1958). By 1963-4 he had begun Hétérozygote, an extended tape piece in which ambient sounds unfold in narrative form, suggesting a dazzling variety of incidents, all unexplained. He was Professor of Composition at Cologne’s Rheinische Musikschule from 1964 to 65. In 1965 and 1966 he produced Les Grandes Répétitions, a series of television documentaries with Gérard Patris on the subject of contemporary music, specifically Olivier Messiaen, Edgard Varèse, Karlheinz Stockhausen, Hermann Scherchen and Cecil Taylor. Luc Ferrari’s diverse work and aesthetics continue to have a singular impact on the young generations of electronic musicians and artists. The corpus of his work is immense and includes hundreds of compositions of all kinds. Les Anecdotiques — his last composition — is a vast sound-film of more than an hour who explores in 15 steps the intensity of re-composed sounds from his continual travel around the world — with electronic additional structures.”
Nam June Paik “Works 1958-1979” [cd]
“This is a wide panorama of Nam June Paik work as musician — ‘Hommage à John Cage’ (1958-1959), ‘Étude for Pianoforte’ (1959-1960) and ‘Simple’ (1961) are good exemple of neodada music and de-structuration in the late 50’s, this is basically irreverent audio-collages. ‘Prepared Piano for Merce Cunningham’ (1977) captures an improvised performance by Paik on a de-tuned piano. While ‘Prepared for Merce Cunningham’ was later mixed and edited for use by Cunningham, this raw, straight-to-tape version is favored by Paik. ‘Duett: Paik/Takis’ (1979) this is the only piece already released (by 20 years ago on a limited vinyl edition). Paik improvises on piano and voice, while Takis performs on his metal sculptures. Nam June Paik, was born in Seoul, Korea in 1932. After a move to Japan, where he studied the work of composer Arnold Schönberg, Paik came to Germany in 1956 to continue his studies in the history of music. His interests soon turned away from the university setting, to less traditional forms of music leading him to the Westdeutsche Rundfunk’s Studio for Electronic Music, where Karlheinz Stockhausen was working. To date, there have been only a handful of limited edition LP and cassette releases of Paik’s music, primarily documenting collaborative performances with colleagues and friends such as Joseph Beuys and Charlotte Moorman. This is the first CD release of Paik’s music and the first ever release of the early tape collage pieces that were to inform the video and performance works that he has continued to produce over the last forty years.”
Giuseppe Ielasi – Fringes Recordings