out on november 18th: JOHN CAGE – Complete Song Books (2LP, 180gr / DL)

JOHN CAGE – Complete Song Books

Format: 2x 180gr LP incl. DL code and 4c insert

Release date: november 18th 2016

 

“ … to consider the Song Books as a work of art is nearly impossible. Who would dare? It resembles a brothel, doesn’t it?” John Cage.

Volume 3 in the PERIHEL series on KARLRECORDS is dedicated to one of the most iconic composers of 20th century: JOHN CAGE. All 92 pieces of the “Song Books” in stunning interpretations by REINHOLD FRIEDL, recorded at RASHAD BECKER’s Clunk Studio who also contributed live electronics.

JOHN CAGE (1912-1992) is one of the most important composers in modern music: with more than 250 compositions, many of which are considered key works of New Music, and theoretical essays on composition he significantly changed the way we think about and perceive music today. But CAGE not only left a major impact in the academic world, he is also cited as an important inspiration by a wide range of diverse musicians from a younger generation, be it electronic producers, experimentalists or noise artists. His “Song Books”, published 1970 in three volumes, is a collection of open works that contains not only songs but a strange hybrid collection of compositions, graphic scores, meditation rules, experimental settings, absurd musical instructions, performance settings, musical references, and Fluxus-inspired actions such as eating fruits or drinking cognac (CAGE loved whiskey and cognac) …
When REINHOLD FRIEDL (director of the ensemble ZEITKRATZER) entered the CLUNK Studio to record the whole cycle with RASHAD BECKER (who handled the feedback cabinet and live electronics), the idea was quite simple: to approach each single piece in an informal way but to do all 92 pieces in the right order. What came out in the end is a kaleidoscopic lecture and interpretation of the compositions with the help of a strange mixture of ancient and modern tools: new electronics, old and special microphones, self-built instruments, arbitrary garbage sounds, sophisticated live-electronics devices, quotes … “Complete Song Books” turns out to be an early hymn for sonic freedom, a sonic promenade full of beautiful references.

All music composed by John Cage

Constructed by Reinhold Friedl

Performed by
Reinhold Friedl: voice, toys, wooden games, metal objects, complex objects, microphones, garbage, …
Rashad Becker: feedback cabinet, live electronics

Mastered & cut at D&M, Berlin

Artwork by Lillevan

out on september 23rd: PAINKILLER – Execution Ground (2LP, 180 gr)

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PAINKILLER – Execution Ground

Format: 2x 180gr LP incl. DL code and 4c insert

Release date: september 23rd 2016

The seminal 1994 double album by the original PAINKILLER line-up BILL LASWELL, JOHN ZORN and MICK HARRIS on vinyl for the first time! Avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres.

When PAINKILLER started in 1991, their first two albums “Guts Of A Virgin” and “Buried Secrets” (both released on extreme metal label Earache) were heavy attacks blending grindcore and free jazz that brought together the musical backgrounds of the three protagonists: drummer MICK HARRIS had just left grindcore legend NAPALM DEATH, JOHN ZORN explored new extremities with his NAKED CITY project while BILL LASWELL had as a member of roaring free jazz quartet LAST EXIT ( PETER BRÖTZMANN / SONNY SHARROCK / RONALD SHANNON JACKSON) proven that he was not only a visionary producer but also an accomplished bassist. But it is their 1994 double album “Execution Ground” that remains the opus magnum of the brilliant trio: ZORN’s unmistakable shrieking saxophone, HARRIS’ pounding drums and LASWELL’s growling sub-bass lines were given heavy mixing desk treatment, resulting in extended tracks that are no less intense than their early works but display the full range of the musicians’ skills. Soaked with reverb and delay, avant-jazz, grindcore, dub and ambient melt into eerie tracks of haunting atmospheres – even more so in the ambient versions of disc 2.
Mastered and cut by RASHAD BECKER at D&M Berlin, “Execution Ground” is now available on vinyl for the very first time as 2x 180gr LP incl. a download code and insert in a limited edition of 500 items.

“While Zorn and Laswell have individually played in many different styles over the years, “Execution Ground” may be their most focused and complete vision …” Squidco.com

“ … mandatory even for non-jazz fans.” Maelstromzine.com/ezine

out on july 15th: IANNIS XENAKIS – La Légende d’Eer (180gr LP / DL)

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IANNIS XENAKIS – La Lègende d’Eer

Format: 180gr LP incl. DL code and 4c insert  / download

Release date: july 15th 2016

 

Release #2 in the PERIHEL series is one of the most famous electroacoustic compositions by IANNIS XENAKIS. Mixed by MARTIN WURMNEST, mastered & cut by RASHAD BECKER, “La Légende d’Eer” is available as vinyl (180gr, DL code, insert with liner notes by REINHOLD FRIEDL) and download for the very first time.

When IANNIS XENAKIS (1922-2001), who had fought against the occupation as part of the communist Resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. XENAKIS not only studied composition with MESSIAEN and became one of the most innovative composers of the 20th century, he also worked as assistant to LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu – Centre d’Etudes de Mathématique et Automatique Musicales), which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). The most famous works of XENAKIS, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis (to be re-released later on as part of the PERIHEL series), Concret PH, Bohor and La Légende d’Eer where XENAKIS integrated his stochastic synthesis sounds for the first time. As legendary as this piece itself is the impenetrable thicket of versions and stories around La Légende d’Eer – it exists in different releases, wrong sample rates, digitized backwards … this now is a new version, using the 8-track-version that XENAKIS himself presented at Darmstädter Ferienkurse in august 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by MARTIN WURMNEST who tried to preserve the spatial movements as perceptible as possible – mastered by RASHAD BECKER at D&M) for the very first time. La Légende d’Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day!

out now: HANS CASTRUP – Lizenzfreie Restwärme oder: Die Klaviatur Des Quadrats

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HANS CASTRUP – Lizenzfreie Restwärme oder: Die Klaviatur Des Quadrat

Format: Black CDr + 60 pp book + 5 photo collages in DVD-digipak, lim. ed. of 77 handnumbered items  / download

Release date: may 2oth 2016

 

On his second solo release HANS CASTRUP – painter, musician, photographer, writer and video artist – blends analogue and digital sounds between abstract electronics, ambient, avant-garde and sound art.

Always a prolific spirit in diverse art forms, HANS CASTRUP continues his musical solo explorations that he started with “Shadowplay” in 2013. Applying his technique of multiple layers (colours in his paintings, sounds in his music), “Lizenzfreie Restwärme oder: Die Klaviatur des Quadrats” delivers 8 tracks where different sound sources were edited, manipulated and re-organized as abstract-reduced compositions meandering between melodiousness and experimental collages whose reference system ranges from new music and avant-garde to today’s electronics. While the pieces on his debut were each accompanied by a video clip, CASTRUP’s second album carries the subtitle “an instant audio book” because “Lizenzfreie Restwärme” contains not only a CDr but also a 60pp book with texts and photo collages by the artist himself who is honorary member of St. Petersburg’s artists’ association “Phönix“ and won a.o. the first prize of public radio station BR2 for his piece “Lebendiges Wissen – Kontrolle?” (“Living knowledge – Control?”) in 2011. Both, text and music, work independently from each other but add up to a soundtracked reading in the recipient’s mind when done so – especially on headphones, as recommended by CASTRUP.

out now! OREN AMBARCHI / STEFANO PILIA / MASSIMO PUPILLO – Aithein (LP / DL)

Aithein cover art

OREN AMBARCHI / STEFANO PILIA / MASSIMO PUPILLO – Aithein

Format: LP (180gr, silk-screened sleeve, download code, 300 items) / download

Release date: april 29th 2016

OREN AMBARCHI, STEFANO PILIA and MASSIMO PUPILLO (ZU) team up for an instrumental trip bridging post rock, drone and improvisation.

Since the late nineties Oren Ambarchi has been exploring new grounds as composer and multi-instrumentalist (mainly focusing on guitar), fusing a wide range of influences and inspiration from improvisation, contemporary music, modern electronics and rock, and has been building an impressive catalogue of solo or collaborative albums with acclaimed artists such as KEIJI HAINO, JOHN ZORN, OTOMO YOSHIHIDE, JIM O’ROURKE, PHIL NIBLOCK, EVAN PARKER or SUNN O))). Bassist MASSSIMO PUPILLO has gained high reputation as founding member of Italian jazz-core trio ZU and in different projects / collaborations with a.o. FM EINHEIT, MATS GUSTAFSSON, LASSE MARHAUG and both BRÖTZMANNS (PETER and CASPAR). Last but not least there’s STEFANO PILIA on guitar, member of 3/4HADBEENELIMINATED and the BELFI / GRUBBS / PILIA trio, playing with MIKE WATT in IL SOGNO DEL MARINAIO and for ROKIA TRAORE and featured on collaborations with DAVID TIBET, JOHN PARISH or GIUSEPE IELASI. On “Aithein”, recorded live in Bologna in april 2015, the three embark on a captivating trip that starts quietly with reductive sounds only to raise volume and intensity on its way towards an cathartic peak (or skywards, considering the album title that references different meanings of ether).

OREN AMBARCHI: guitar, drums
STEFANO PILIA: guitar
MASSIMO PUPILLO: bass

artwork by SARA D’UVA + MOTE

https://karlrecords.bandcamp.com/album/aithein

out now! zeitkratzer / zeitkratzer + Keiji Haino

Reinhold Friedl: KORE cover artStockhausen: Aus Den Sieben Tagen cover art

zeitkratzer – Reinhold Friedl: KORE

Format: LP (180gr, gatefold sleeve, download code, 300 items)

Release date: february 26th 2016

 

REINHOLD FRIEDL and his ensemble ZEITKRATZER perform „Kore“, a hommage to the French-Greek composer IANNIS XENAKIS.

“Kore” is a natural advancement of REINHOLD FRIEDL’s earlier composition “Xenakis [a]live!” (released 2007 on ASPHODEL) – a homage to the French-Greek composer IANNIS XENAKIS. The piece is conceived for nine amplified instruments demonstrating ZEITKRATZER’s well established tradition of instrumental amplification (e.g. the early collaborations with ZBIGNIEW KARKOWSKI or MERZBOW and more recently with WILLIAM BENNETT of WHITEHOUSE) where playing amplified does not only mean making things louder, it also entails having a microscopic view of sound in which acoustic microsounds appear in a completely new context. The references to seminal XENAKIS’ tape compositions like “Persepolis” or “La Legende d’Er” are audible in the materials and textures, densities and sound masses performed by ZEITKRATZER, taking it to new areas of physical qualities that create a huge sonic architecture. Recorded live January 2013 during KLUB KATARAKT festival in Hamburg, “Kore” adds a stunning new chapter to ZEITKRATZER’s audacious catalogue and a new sort of intensities to contemporary chamber music.

The zeitkratzer line-up includes FRANK GRATKOWSKI, who won the German SWR Jazz prize , the Norwegian French horn player HILD SOFIE TAFJORD (also known for her noise duo with MAJA RATKJE), the British trombone player HILARY JEFFERY, who toured a.o. with JIMI TENOR, MARC WEISER (cofounder of the Club Transmediale Festival in Berlin) and bass player MARTIN HEINZE from the BERLIN PHILHARMONIC ORCHESTRA. RASHAD BECKER was responsible for sound and recording.

zeitkratzer, directed by Reinhold Friedl
Frank Gratkowski / clarinet, Hild Sofie Tafjord / french horn, Hilary Jeffery / trombone, Reinhold Friedl / piano, Marc Weiser / guitar, Maurice de Martin / drums, percussion, Burkhard Schlothauer / violin, Anton Lukoszevieze / violoncello, Martin Heinze / doublebass
Recorded by Rashad Becker, mixed and mastered by Ralf Meinz

 

 

zeitkratzer & Keiji Haino – Stockhausen: Aus Den Sieben Tagen

Format: LP (180gr, gatefold sleeve, download code, 500 items)

Release date: february 26th 2016

 

Third collaboration between KEIJI HAINO, one of the most prolific artists of the Japanese experimental / noise scene, and the critically acclaimed ensemble ZEITKRATZER who enthuse with stunning interpretations of STOCKHAUSEN compositions.

When KEIJI HAINO heard ZEITKRATZER rehearse for their Stockhausen performance at the Ruhrtriennale festival he spontaneously decided to join the group for that part of the programm too (HAINO was initially invited for what was released as ZEITKRATZER + KEIJI HAINO: Live At Jahrhunderthalle Bochum). Here too HAINO, one of the most prolific artists of the Japanese experimental / noise scene, focuses on his voice while ZEITKRATZER create the instrumental environment applying their extended techniques of amplification and unique skills as musicians. Once again the ensemble proves its outstanding quality that has gained them high reputation with recordings of such diverse artists / composers like THROBBING GRISTLE, CARSTEN NICOLAI (ALVA NOTO), LOU REED’s “Metal Machine Music” or JOHN CAGE and ALVIN LUCIER. “Aus Den Sieben Tagen” delivers 5 pieces of STOCKHAUSEN’s collection of in total 15 text compositions that he had written in may 1968 in reaction to a personal crisis and which the great renovator of 20th century music characterized as „intuitive music“ – music primarily played by intuition rather than the intellect of the performer(s) where not one single note is defined. Which gives the musicians much space for interpretation – ZEITKRATZER and KEIJI HAINO demonstrate impressively that they know how to use this freedom!

Zeitkratzer, directed by Reinhold Friedl
Frank Gratkowski / clarinet, Hild Sofie Tafjord / french horn, Hilary Jeffery / trombone, Reinhold Friedl / piano, Maurice de Martin / drums, percussion, Marc Weiser / acoustic noise, Burkhard Schlothauer / violin, Anton Lukoszevieze / violoncello, Ulrich Phillipp / doublebass
+ Keiji Haino / voice

 

out now! GUY REIBEL – Douze Inventions En Six Modes De Jeux (LP / DL)

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Guy Reibel – Douze Inventions En Six Modes De Jeu

Format: LP (180gr, insert, download code, 500 items)

Release date: december 4th 2015

Guy Reibel is one of the most enigmatic figures in the post-war electronic music scene. He started out with a double qualification: he first became an engineer – due to the pressure of his parents – and then studied composition with Olivier Messiaen in Paris, the teacher of Karlheinz Stockhausen, Iannis Xenakis, Francois Bayle, to name just a few…

Pierre Schaeffer, the director of the GRM (Groupe de Recherches Musicales at Radio France), very soon offered him a position: he was not only responsible to edit and work out the famous Solfège-3LP-Box that was the practical part of Schaeffer’s theoretical manifest “Traité des objets musicaux”, he also codirected with Schaeffer the class for electroacoustic music at the National Music Conservatory.

During that period Guy Reibel worked intensively in the studios of the GRM. He did not only compose some milestones of electronic music, he also developed a very music-based theory of electronic music: he included his ideas of musical gesture and game theory already in the sixties long before anybody else discussed those issues.

His theories as well as his education as a musician with absolute hearing etc. soon brought him in conflict with other members of the GRM, who at that time more and more emphasized the media nature of electronic music. Guy Reibel – who was for long time considered to be Schaeffer’s successor as the director of the Group – lost the competition with Francois Bayle and in consequence not only quit the GRM but also electroacoustic music. He kept his composition class at the conservatory, toured the world as conductor of his newly founded Groupe Vocale de France (who realized the first complete recordings of Ligeti’s choir-work) and also took over a director’s position at Radio France. Meanwhile his electronic music almost disappeared. There were two or three LPs available on the early GRM series, later only one CD. Guy Reibel became in some ways the Trotzky of the GRM, who was removed from the acoustic photos of the group. Now, decades later, these struggles are over, and the GRM generously offered the possibility to use their studios for the digitalisation of the old tapes. So Guy Reibel and Reinhold Friedl could digitize his whole archive of his electronic pieces in late 2014.

This vinyl is one result: „12 Inventions …“ is now being released for the very first time: a milestone in electronic music and a perfect example for Reibel’s musical austerity: very defined and limited musical material results in concentrated and dense forms. The unusually vital character of the music is also due to Reibel’s use of hybrid sound production: he very often combined amplitude envelopes of acoustic sounds and noises (especially and very often of polysteron) on synthetic electronic sounds.

A few of the “12 inventions” are even played at least partly live: TM+, the legendary first live-electronic French group, was founded in 1977 by three of Reibel’s students: Denis Defour, Lurent Cuniot and Yann Geslin. They were almost the first purely electronic group that also toured Europe extensively with their analogue synthesizers. A separate vinyl of this group is also up to be released on Karlrecords’ Perihel series soon!

But this LP documents how Guy Reibel succeeded to compose a music that combines the density and purity of electronic music with an unbelievable sound sensuousness. A real listening experience, here released for the very first time!

Reinhold Friedl

All music composed by Guy Reibel
Commissioned by ina-GRM, Groupe de Recherches Musicales, Radio France, 1979

Tracks 3, 6, 8, 11 played by TM+, Trio Instrumental Électroacoustique: Laurent Cuniot, Denis Dufour, Yann Geslin, recorded at Grand Auditorium, Maison de la Radio, Paris, May 7, 1979

out now: TELLAVISION – The Third Eye (LP/DL)

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TELLAVISION – The Third Eye

Format: LP (180gr, 4c insert, download code, 300 items) / download

Release date: october 23rd 2015

 

Third album by Hamburg’s TELLAVISION who calls her original aesthetic “hardware post-pop”, deconstructing borders between (anti-)pop and avant-garde, hi- and lo-art. “The Third Eye” is available as 180gr LP and download.

Deeply rooted in DIY culture right from the start in 2007, TELLAVISION alias FEE R. KUERTEN delivers her third album after “Music On Canvas” (released on FEEDING TUBE RECORDS, run by SUNBURNED HAND OF THE MAN’s TED LEE) and 2014’s “Funnel Walk” which was recorded with TOBIAS LEVIN (TOCOTRONIC, MUTTER, JA, PANIK). Developed and produced during a stay at the Whitehaus, one of Boston’s self-governing cultural centers, the tracks play with TELLAVISION’s reception across different genres: too “punk” for an arty audience, too arty for the punks, KUERTEN who studied arts at Hamburg’s HFBK (attending classes a.o. by JUTTA KOETHER and FELIX KUBIN) follows her interdisciplinary approach which combines visual arts, film and music, taking in a wide range of pop-cultural references, rejecting them to finally mash them up for new positions in contemporary arts that defy conventions. Defied too the concept of the classical A / B side – instead “The Third Eye” splits into 2 sides that each carries its own name with „Ease Tikky Tab“ continuing / refining TELLAVISION’s atonal, dub-infected trademark sound while „Cryptic Snash Man“ crystallizes as an oscillating field of krauty repetition and industrial ambiances. Oppressive, dissonant soundscapes, created by a reduced set-up of analogue synthesizers, percussive elements and fragmentary field recordings that go along perfectly with KUERTEN’s elegic, soulful voice. A unique sound that the 27 year-old baptized “Hardware Post-Pop” and which situates the young artist among like-minded lofi-advocates ARIEL PINK and JOHN MAUS, the rhythmic grooves of ESG and a newer generation of female artists such as FATIMA AL QUADIRI, INGA COPELAND (whom she recently supported), GAZELLE TWIN or KLARA LEWIS on the other hand.

out now: HANNO LEICHTMANN – Unfinished Portrait Of Youth Today (LP / DL)

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Hanno Leichtmann – Unfinished Portrait Of Youth Today

Format: LP (180gr, download code, 300 items) / download

Release date: july 3rd 2015

For years now HANNO LEICHTMANN has been one of the most prolific protagonists of Berlin’s electronic music scene and beyond: as experimental percussionist and electronic artist LEICHTMANN has released several albums under his real name, aliases such as STATIC and THE VULVA STRING QUARTET or in bands like GROUPSHOW (with JAN JELINEK and ANDREW PEKLER) or DENSELAND (with DAVID MOSS and HANNES STROBL) on labels like CITY CENTRE OFFICES, KARAOKE KALK, M=MINIMAL, DEKORDER and STAUBGOLD. LEICHTMANN also composed and produced the soundtrack to CHRISTOPH SCHLINGENSIEF’s “The African Twintowers” (the DVD will finally be released this summer , 5 years after SCHLINGENSIEF’s tragic death). Besides his musical work, LEICHTMANN also curates conceptual music festivals, like “My Favourite Thing” in 2008 and “Letra/Tone” in 2014. In 2013 he released “Minimal Studies” where he started building tracks mainly by using super short loops from various sample sources.
When asked to contribute to TAPEWORM’s ongoing tape series, he browsed the remaining 30+ remaining cassettes of his once huge collection, took little snippets of favourite songs, ran them through a modular synthesizer system and created about 40 short pieces, all about 1m30s long. LEICHTMANN: “They are highly influenced by and, at the same time, a hommage to: JOHN OSWALD’s “Plunderphonics”, STOCK, HAUSEN & WALKMAN’s ”Me” 7inch and above all YASUAKI SHIMIZU’s “Music for Commercials”.” Originally released in a limited tape edition (200 items), “Unfinished Portrait Of Youth Today” is now available on LP for the first time – including 6 bonus tracks that were previously unreleased. The artwork was provided by STEPHAN MATHIEU and CARO MIKALEF, the tracks especially mastered for vinyl by KASSIAN TROYER.

Press quotes:

..beautifully simple… no rhetorical grand gestures, just curious sonic enjoyment. (The Wire)

… hypnotically repetitive grooves at times reminding of early SND, at others of his work with loopfinder general Jan Jelinek, or like Nicholas Collins recording for Ghost Box.(Boomkat)

fantastically dreamy and playful, sun dappled and softly psychedelic. (Aquarius Records)

out now: Aidan Baker & Idklang – In The Red Room

A. BAKER Cover front

Aidan Baker & Idklang – In The Red Room

Format: LP (180gr, silk-screened sleeve, download code, 300 items)

Release date: june 5th 2015

AIDAN BAKER (NADJA, B/B/S/) joins forces with IDKLANG aka MARKUS STEINKELLNER for two epic instrumentals, melting ambient, drone and krautrock into a psychedelic trip of pure beauty.

For years now AIDAN BAKER has proved himself one of the most productive and versatile artists when it’s about postrock, drone or ambient. Since his beginnings
in the early millennium, the guitarist has released numerous albums with his duo NADJA, CAUDAL, B/B/S/, solo and in various collaborations with artists like TIM HECKER, THISQUIETARMY or TROUM, documented on labels such as ALIEN8, IMPORTANT or MIASMAH. “In The Red Room” presents BAKER, currently living in Berlin, in a duo constellation with IDKLANG aka MARKUS STEINKELLNER (guitar), member of JAKUZI’S ATTEMPT and ARKTIS/AIR, who in the past has besides his own projects worked with ACID MOTHERS TEMPLE, AVA MENDOZA or EUGENE S. ROBINSON (OXBOW). With their guitars and effects the two create a gentle, yet uncanny ambience that unfolds in two epic pieces, each clocking in at around 20 minutes. As often with BAKER’s music, “In The Red Room” transgresses genres and instead melts their diverse elements into one: ambient’s detailed sound design is paired with drone’s experimental guitar approach and krautrock’s repetition for a psychedelic excursion of pure beauty. 180gr LP incl. download code, housed in a silk-screened sleeve, in a limited edition of 300 copies.

… something really new in Baker’s extensive output … pure improvisation, inspiration out of the moment. A fascinating LP. Unruhr.de