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| New Mikroton Releases Kurt Liedwart / Phil Raymond Rim MIKROTON CD 45 Phil Raymond lives in Moscow and has been working with microlevels of sound for ten years. In 2009 he worked mainly with electroacoustic manipulations of percussion using different methods of computer processing and recording. "Rim" is his second recording released by Mikroton family of labels following critically acclaimed "Absence" released by Mikroton Digital in 2008. In 2009 he joined his forces with Kurt Liedwart, a Moscow-based musician and curator of Mikroton Recordings. Phil submitted his recordings of percussion and Liedwart reworked them live adding more sounds of his own like processed percussion, sinewaves and quiet noises. "Rim" comprises five distinct pieces, sometimes warm and comfortable, sometimes making the listener find out new perspectives. Liedwart created inventive systems of sound matters, working with both percussion and electronics, carefully adapting other musician's materials. Keith Rowe / Martin Küchen The Bakery MIKROTON CD 46 Keith Rowe was invited to a residency that Martin Küchen, through support from the Swedish Arts Council, was granted a few weeks in the autumn of 2013 at the Vor Anker artist residency, Vienna, Austria. The artist Johannes Heuer and his wife Sandra Baer had invited Martin Küchen for this residency. The artist studio is located in the old Anker bread factory complex in Vienna. During these weeks work included recordings and concerts with Keith Rowe, both at Anker Brot Fabrik and at the Amann studio in Vienna. This CD is recorded live at Christoph Amann's studio in October; concerts with Matija Schellander, a visit to Radu Malfatti, recordings at a nuclear power plant and in an old water tower and recordings made to the exhibition work of Johannes Heuer. Norbert Möslang / Ilia Belorukov / Kurt Liedwart sale_interiora MIKROTON CD 47 Norbert Möslang had been playing in Voice Crack duo with Andy Guhl in 1972-2002, they've been working with "cracked everyday-electronics", modifying and recontextualising the use of home electronics. After the split he continued working solo and in different musical combinations using "cracked everyday-electronics", among them a duo with eRikm with whom he played in duo from time to time since 2002. He released numerous solo albums as well as collaborations with Günter Müller, Jason Kahn, Ralf Wehowsky, Tomas Korber, Aube, Christian Weber, Katsura Yamauchi. He is part of Signal Quintet and mkm. "sale_interiora" is his third album on Mikroton after "Stodgy" with eRikm and "Five Lines" with Casey Anderson, Jason Kahn, Günter Müller and Mark Trayle. Ilia Belorukov hails from St. Petersburg and works mainly with prepared saxophone in the field of improvised, noise and electroacoustic music. He's a member of different projects like Wozzeck, Mars-96 and others. He practices an experimental approach of sound extraction on alto saxophone and uses laptop, electric guitar, drums and other instruments. He also runs our partner Intonema label and organizes with us Teni Zvuka festival in St. Petersburg and Moscow. In 2009 he joined his forces with Kurt Liedwart, a Moscow-based musician and curator of Mikroton Recordings and organizer of Teni Zvuka festival. When the duo started Liedwart was using only sinewaves and field recordings adding more sounds and noises with time. Liedwart works mainly with computer, electronics, synthesizer and objects, sometimes deleting the line separating concerts from performances or installations, at the same time he's active in the fields of electroacoustic improvisation and sound art. In 2014 they invited Norbert Möslang to take part at Teni Zvuka Festival, played two concerts in trio and made 4 hours of recording overall which formed thirty four minutes of "sale_interiora". The three musicians generate pulsing waves of rushing sound, piercing whisltes, bombastic microsound glossolalia, conjuring wide panoramas of sound colours and light streams. The unstable cover drawing was created by Kurt Liedwart. Strøm: Gaudenz Badrutt / Christian Müller X MIKROTON CD 48 "X" as the unknown, "X" as a reference to time. "X" as a definite position between possibility and contingency. The album X by the Swiss band Strøm works with remix as a method, explores the potential of the origin. Or the result's? The work on the concept album started with an improvised piece by Gaudenz Badrutt (analog synthesizer) and Christian Müller (contra bass clarinet and live effects). In a process of intense live sampling by Badrutt and Müller the starting material was used again, was turned, played, twisted, cut. The result were two different pieces which were respectively remixed twice. One original, six times reworked in layers. What unfolds on the album "X" is the excitement of the beginning, of exploring the traces, of returning to the unknown. Its structure reflects the process of thinking forwards and backwards at the same time: it starts with the last remixes and ends with the first piece. "X" frames different levels of abstraction, of focus, of examining the duo's wide range of musical languages – noise, drone, deconstruction, analog electronics and digital potential, acoustic and processed sound material. Despite the conceptual rigor, "X" is a playful and improvised, light and subtle re-interpretation and re-flection of the band's musical universe. With their 11th album, the two musicians behind Strøm propose their very own axis to map the possibilities of immediate play and the consistency of instant composing. In 2016, Gaudenz Badrutt and Christian Müller are working together as Strøm for 15 years. Founded in 2001, the band has played numerous concerts all over Europe and realized many musical and interdisciplinary projects. Serge Baghdassarians / Boris Baltschun / Burkhard Beins Future Perfect MIKROTON CD 49 The three gentlemen formed a live performing electroacoustic work unit throughout the first decade of this century, exploring hybrid musical areas shaped by digitized samples, analogue circuits and acoustically produced sounds stemming from a diverse range of materials and objects. This first phase has been documented on the "Labor" compilation (Charhizma, 2003) and on their trio release "Zur Stabilen Stützung Eines Körpers Ist Es Notwendig, Dass Er Mindestens Drei Auflagepunkte Hat, Die Nicht In Einer Gerade Liegen" (Absinth Records, 2006). Although the group ceased to perform live a while ago, they nevertheless continued their collaboration by relocating their work entirely into the studio. Single sound events — either derived from close-miked objects, instrumental or electronic sources — became starting points for elaborate collective multi-track pieces. Three of those, grouped as a triptych, are made available now on "Future Perfect". write your comments about the article :: © 2016 Jazz News :: home page |