out now: SUMMER OF SEVENTEEN – dto.


SUMMER OF SEVENTEEN – dto.

Format: LP (180gram, incl. DL code) / download

Release date: 23/10/202

SUMMER OF SEVENTEEN are MONIKA KHOT (NORDRA, ZEN MOTHER), WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA (MAMIFFER), and AARON TURNER. (SUMAC, SPLIT CRANIUM).


Wildfires plagued Washington state during the summer of 2017, their smoke drifting westward toward the Seattle area and toxifying the air. Shortly before that trauma, MONIKA KHOT, WILLIAM FOWLER COLLINS, DANIEL MENCHE, FAITH COLOCCIA, and AARON TURNER had gathered at the latter two musicians‘ House Of Low Culture studio on idyllic Vashon Island with revered producer RANDALL DUNN. There they cut eight songs that capture the makeshift band’s feelings of what COLOCCIA calls “a kind of doomsday lurking in the background.” It’s as if these highly attuned players had a premonition.
„Summer Of Seventeen“ – which was edited and arranged by MONIKA KHOT, who records apocalyptic music solo as NORDRA and plays in the avant-rock band ZEN MOTHER—is a nuanced admixture of these musicians‘ sounds and a culmination of all of their previous collaborations. COLOCCIA and TURNER have created eldritch folk and chamber rock for over a
decade in MAMIFFER while engaging in various solo and group projects that explore their profound spirituality in sound. MENCHE has been a fixture on the abstract composition scene for 31 years and COLLINS is a savvy explorer of drone and ambient forms. Their ephemeral summit meeting has yielded a masterwork for the ages.
A heaven/hell and beauty/beastliness dichotomy pervades the album—as if a titanic struggle was transpiring in that small studio. The fearsome trumpet fanfare that starts “Chorus Of The Innocents” heralds a baleful fate. With a subliminal industrial rhythm bristling beneath the eerie exhalations, the song submerges us in a slow-motion maelstrom, a horror-film facsimile of MILES DAVIS‘ “Bitches Brew“. “Perceived Slight” threads death-metal screams through a stark, suspenseful atmosphere, with austere glints of guitar and beats like fists on a casket lid intensifying the dread.
Angelic chants and celestial drones perfume the air in several of the songs on “Summer Of Seventeen“, countered with muted blast beats, serrated hums, jagged glitches, simulacra of grinding gears and lightning. It’s as if no good deed goes unpunished. “Spirits Of Redeemer” could be an elegy for the human race while “Cultural Orphan” sounds like a symphony for a malfunctioning factory. The album ends with “Theatre Needs An Audience,” a harrowing ballad somewhere between EINSTÜRZENDE NEUBAUTEN and MERZBOW; it’s a savage rent in the space-time continuum.
“Thinking about this record now,” COLOCCIA recalls, “it seems like we were all sort of anticipating something like this current pandemic happening, although we were thinking about it as fire in the hands of man (literal fire, and also gunfire) that would overturn the normal running of things and reveal the current false beliefs systems holding up most of America.”
That grave aura infiltrates “Summer Of Seventeen“, However, a hopefulness bubbles beneath the foreboding architecture of sound and noise summoned here. The bunker is the new penthouse.
-Dave Segal, April 2020

credits
musicians > Monika Khot, Daniel Menche, Faith Coloccia, Aaron Turner, William Fowler
Collins
recorded and mixed by Randall Dunn
edited and arranged by Monika Khot
mastered by James Plotkin
vinyl cut by Helmut Erler at D&M, Berlin
art and design by Faith Coloccia



out now: MESIAS MAIGUASHCA – Oeldorf 8


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MESIAS MAIGUASHCA – Oeldorf 8

Format: LP (180gram, gatefold, incl. DL code) / Digipak CD / download

Release date: 23/10/2020

First-ever official re-issue of the Ecuadorian composer’s stunning electroacoustic composition “Oeldorf 8” on vinyl and CD. Remastered by KASSIAN TROYER at D&M, Berlin.


MESÍAS MAIGUASHCA (b. December 24th, 1938 in Quito / Ecuador) is a composer of Neue Musik, especially electroacoustic music, who studied at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, NY (1958–65), with ALBERTO GINASTERA at the Instituto di Tella in Buenos Aires, at the Hochschule für Musik in Cologne and, after a short return to Ecuador, attended the Internationale Ferienkurse für Neue Musik in Darmstadt and the Fourth Cologne Courses for New Music in 1966–67 where he studied with KARLHEINZ STOCKHAUSEN. From 1968 to 1972, MAIGUASHCA worked closely with STOCKHAUSEN in the Electronic Music
Studio of the Westdeutscher Rundfunk in Cologne and joined STOCKHAUSEN’s ensemble for performances at the German Pavilion at the Expo ’70 in Osaka. In 1971 he became a founding member of the OELDORF GROUP of composers and performers, and began work at the Centre
Européen pour la Recherche Musicale in Metz, at IRCAM in Paris, and at the ZKM in Karlsruhe. From 1990 – 2004 MAIGUASHCA was Professor of Electronic Music at the Musikhochschule of Freiburg im Breisgau where he still lives today.


The OELDORF GROUP, named after the small village 40 km away from Cologne where they lived and worked in a rented farmhouse where they set up their own studio for electronic music and studio productions, was a musicians‘ collective active during the 1970s. In the adjacent barn, the
group held concerts for audiences up to 300 people with an emphasis on live-electronic music and other kinds of new and avant-garde music. Thanks to a long-standing contact with the Westdeutscher Rundfund, the core members of the OELDORF GROUP (PETER EÖTVÖS – electronics and keyboards, the violinist/violist and composer JOACHIM KRIST, electronics
specialist and composer MESÍAS MAIGUASHCA, who also played keyboards, and his wife GABY SCHUMACHER – cello) received commissions for compositions, invitations to perform in the Musik der Zeit concert series, as well as having many of their summer concerts recorded for the late-night broadcasts of WDR3.
One of these commissioned compositions is „Oeldorf 8“: a retrospective portrait of the OELDORF GROUP consisting of a series of ten short pieces for four instrumentalists (clarinet, violin, cello, electric organ/synthesizer) and tape which may be played either simultaneously or continuously without a break. It premiered in 1974 at the Darmstädter Ferienkurse and was released on LP two years later and turned into a sought-after, but not very well-known rarity achieving collector‘s prices., and was later unofficially reissued on KEITH FULLERTON-WHITMAN’s Creep Pone CDr label.
Conceived as a sonic diary with an edge to encompass radical electronic synthesis, the 48 minute composition proves „ … a thing of wonder; from the outset, MAIGUASHCA’s spoken introduction of the players & concept gets slowly eroded by errant, pointillist electronic sound … which then lets
loose for a good 10 minutes before a swarm of slowly rising held tones c/o the players acoustic arsenal slowly comes to the fore. On the second side, the acoustic sounds – patiently, elegantly state their cases across a good half of the segment until a rising pulse-wave drone essentially annihilates the more nuanced phrasing & slowly builds to an almost ROLAND KAYN-esque climax of raw oscillator gristle” (Soundohm).
44 years after its original release, MAIGUASHCA’s stunning album finally sees its deserved and overdue re-release on CD and LP, carefully remastered by KASSIAN TROYER at D&M, Berlin.


„Maiguashca … is part of the first generation of South American maverick sound explorers that in the 1960s paved the way for a tradition of innovation that persists in the present noise and psychedelic scenes of the continent. Along with Edgar Valcárcel, César Bolaños, Beatriz Ferreyra, Mauricio Kagel or José Vicente Asuar, he contributed to expand the
possibilities of musical language beyond the dominant Western canon …“
David Jarrin / Kraak Festival


credits:
violin: Joachim Krist
clarinet: Dietrich Fritsche
violoncello: Gabriele Schumacher
electronic organ: Peter Eötvös
direction: Mesias Maiguashca
recording: Westdeutscher Rundfunk, Cologne, ® 1975 WDR
remastered by Kassian Troyer at D&M, Berlin, 2020
layout re-issue: kaidoh

merch!

the merch is online! tshirt + zipper are vegan-organic-climate neutral production, and all 3 incl. the sweater are fair trade.At the moment you can get the items only at Berlin’s Mokka Merch, but we’re working on a way to make things easier when you wish to buy records + textiles. For now, it’s here:https://mokka-merch.com/karlrecords/

out on september 25th: ARURMUKHA – 14.11.90

Arurmukha – 14.11.90

Format: 180gr LP / download

Release date: september 25th 2020

Re-release of the album which MARC WEISER (RECHENZENTRUM, zeitkratzer) and JÜRGEN HENDLMEIER (producer for THE FLAMING SIDEBURNS, THEE ULTRA BIMBOOS) created as ARURMUKHA. With the use of soundbites, field recordings, and stylistically diverse tracks, they reprocess the eviction of 13 squats on Mainzer Straße in Berlin-Friedrichshain in November 1990, forming it into an acoustic scenography in the style of the „Maifestspiele“ by EINSTÜRZENDE NEUBAUTEN.

Re-release of the album which MARC WEISER (RECHENZENTRUM, zeitkratzer) and JÜRGEN HENDLMEIER (producer for THE FLAMING SIDEBURNS, THEE ULTRA BIMBOOS) created as ARURMUKHA. With the use of soundbites, field recordings, and stylistically diverse tracks, they reprocess the clearing of 13 squats on Mainzer Straße in Berlin-Friedrichshain in November 1990, forming it into an acoustic scenography in the style of the „Maifestspiele“ by EINSTÜRZENDE NEUBAUTEN.

14.11.2020 marks the 30th anniversary of the clearing of 13 squats on Mainzer Straße in Berlin-Friedrichshain. The violent confrontation between the police and about 500 squatters, involving armored vehicles, helicopters, and 10 water cannons, was the biggest police operation in Berlin’s post-war history, with 4000 officers deployed, and is deemed to be the last big „battle“ of left-wing squatters in Germany. The insert for the LP provides a detailed chronicle of the events (taken from the book „Berlin Mainzer Straße: Wohnen ist wichtiger als das Gesetz [Berlin Mainzer Straße: Housing is more important than the law]“, published in 1992 by Basis-Druck).

On the occasion of the anniversary, the Berlin label KARLRECORDS is making a contemporary document that has been out of print for more than 25 years available to the public again. The album „14.11.90“ by internationally renowned electronic musician and co-founder of the CTM Festival MARC WEISER (RECHENZENTRUM, zeitkratzer a.o.) and JÜRGEN HENDLMEIER (producer for THE FLAMING SIDEBURNS, THEE ULTRA BIMBOOS a.o.) was originally released in 1993 as a vehicle for them to work through their personal experiences as contemporary witnesses of the eviction, on the label GOLDRAUSCH-TONTRÄGER, which was founded for the release. The project’s name, ARURMUKHA – „avaricious demons“, is a term from Vedic mythology, here alluding to the capitalist logic of exploitation guiding the West German corporations that bought out the former GDR after reunification.

Shunning the popular clichés of squatters, the duo processes original recordings of the clearing action, as well as material from radio and tv as their musical-textural starting points, composing them into a densely packed acoustic psychogram, recounting the events of the time with dramaturgic skill, in chronological sequence over the course of the two sides of the vinyl. Armed with a sampler as their main instrument they create an acoustic scenography which, as a sonification of memory, pits itself against oblivion. While constructed as a soundtrack, the heterogeneity of its styles gives the album the character of a compilation, aggregating drones, industrial, electronics, post punk, outsider music and political texts into an imaginary meta music film of resistance. The subject matter and music may suggest comparisons with EINSTÜRZENDE NEUBAUTEN’s piece „Maifestspiele“. The covers of the original edition at the time were individually designed by many different friends of the scene in the form of a „social sculpture“ of the squatters‘ movement and comprised screen prints, collages, graphics, and photos. Selected for the re-edition of the LP: a picture by the Berlin photographer HARALD HAUSWALD, who is considered one of the most famous photo-chroniclers of the GDR and who also provided a collection of hand prints for the original.

Despite its age, the album is an alarmingly relevant one, with its contents not having lost any of their urgency. Especially in view of the displacement of affordable housing and free cultural spaces in metropolitan cities, „14.11.90“ is a plea for creative resistance culture with the hope for change in the existing conditions. 

all music composed by Marc Weiser & Jürgen Hendlmeier

remastering & vinyl cut by Andreas [Lupo] Lubich

cover photo by Harald Hauswald

out now: KONSTRUKT + OTOMO YOSHIHIDE – Eastern Saga: Live At TUSK



Konstrukt + Otomo Yoshihide – Eastern Saga: Live At TUSK

Format: 180gr LP / download

Release date: august 28th 2020

Turkish free jazzers KONSTRUKT continue their series of exciting collaborations with OTOMO YOSHIHIDE, highly reputated multi-instrumentalist and composer in the experimental world.

# 4 in the continuing series of KONSTRUKT collaborations on KARL is a live document of the concert by the Turkish freeform group with the Japanese experimental musician OTOMO YOSHIHIDE from the TUSK FESTIVAL 2018. KONSTRUKT, the Istanbul based free jazz / freeeform group founded and led by UMUT ÇAĞLAR and KORHAN FUTACI, are known for their openness to and interest in collaborations – and regularly meet up and perform with new partners that range from OE McPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE, ALEXANDER HAWKINS or KEN VANDERMARK. This latest release sees the quintet join forces with OTOMO YOSHIHIDE who entered the scene in the 1990s with his group GROUND ZERO and his since worked in all fields of adventurous music, from EAI to improv to turntablism, modern composition, jazz and soundtrack, documented on labels like TZADIK or ERSTWHILE and featuring collaborateurs such as JIM O’ROURKE, JOHN ZORN, MERZBOW; BILL LASWELL and endless more …
„Eastern Saga: Live at Tusk” shows the multi-instrumentalist on his 2 key instruments guitar and turntables, while KONSTRUKT feature 2 drummers besides KORHAN FUTACI’s saxophone / flute , UMUT ÇAĞLAr on guitar, synth, double reeds, flutes and double bass player APOSTOLOS SIDERIS.
A furious gig, and a furious album! 

Line-up:
Korhan Futacı: alto saxophone, flute, loops
Umut Çağlar: guitar, synth, double reeds, flutes
Apostolos Sideris: double bass
Erdem Göymen: drums
Ediz Hafızoğlu: drums
+
Otomo Yoshihide: guitar, turntables

Recorded live at TUSK Festival by Sam Grant in Newcastle, UK, october 2018 www.tuskfestival.com

Mixed by Umut Çağlar in Istanbul.
Mastered by Anne Taegert at D&M, Berlin.
Cover painting „Absorpcja“ by Artur Trojanowski.

out now: BÉRANGÈRE MAXIMIN – Land of Waves

BÉRANGÈRE MAXIMIN – Land Of Waves

Format: 2x180gr LP / download

Release date: june 26th 2020

On her 6th album, the French electroacoustic composer BÉRANGÈRE MAXIMIN explores the idea of a kaleidoscopic world – a sonic aggregation of living creatures, plants, minerals, nature and buildings, using various sound objects, small percussions, synths, electric gui-tar, voice and electronics.

Working out of her private studio since 2008, BÉRANGÈRE MAXIMIN has developed her own ap-proach to sound art and electronic music, composing dense, immersive pieces with immediate im-pact. On five albums – released to critical acclaim on TZADIK, SUB ROSA, CRAMMED DISCS and CRAIG LEON’s ATLAS REALISATIONS label – she has revealed a taste for mixing disparate sounds together with a sense of detail, effusive, lyrical playings with the digital material and tight nuanced writing. BÉRANGÈRE MAXIMIN’s music engages the listener in consideration of space and textures, the sound ambivalence and its independence from its original source being at the center of her work.

During her career, the French composer has obtained commissions and residencies in National Music Research Centres such as Paris‘ Ina-GRM, Stockholm’s EMS and received a grant from the ‘Villa Medicis Hors Les Murs’ program in New York City (Cultures France). She has performed in notable festivals, venues and concert halls from Paris’ Présences Electronique festival, London’s Hayward gallery, NYC’s Roulette, Hamburg’s Elbphilharmonie’s e-Phil series to major international festivals in Eastern Europe. Beside her solo performances, she also regularly shares the stage in duo with FRED FRITH.

“Land of Waves”: three words evoking territories of plains and curves connected with each other by canals, footpaths, tunnels. The four parts of the album lead the listener into a hybrid land where the jungle meets the city … a succession of reliefs, surfaces, textures, layers create a large mosaic as if on a concrete wall which seems solid and definitive but is in fact penetrable, alterable.

For “Land of Waves”, BÉRANGÈRE MAXIMIN took inspiration from recordings she did in various city parks, abandoned properties and limits with the suburbs during her travels in Europe, the di-versity of sources, the variations of events and the contrasts between day and night they offered, and reinterpreted them in the studio.

Past press:
“Maximin’s cinematic soundworks are discomforting reminders that the universe does not at all belong to us.” The Wire

“It feels like the world is turning inside Maximin’s songs now, and the resulting gravity has the weight of nature on its side.“ Pitchfork

“It calls for deep listening due to so many beautiful moments appearing out of the mixes which could be missed on a quick blast on a PC.” The Quietus

“Incorruptibly leathern and sparklingly tenacious” Spex Magazine


Recorded, composed, arranged, mixed and produced by Bérangère Maximin at the Home Sweet Home Studio/BM and Studio Polyphone, France, 2019/2020.
Sound objects, small percussions, analog and digital synths, guitar, digital chimeras, voice.
* Recomposed and mixed by B.M. featuring Fred Frith (electric guitar) and B.M, Colin Johnco, Kirikoo Des and Roméo Poirier as Swibekico Quartet (electronics).
Mastered by Kassian Troyer at D&M, Berlin, 2020.  

out now: die ANGEL – Utopien I

die ANGEL – Utopien I

Format: 180gr LP / download

Release date: april 24th 2020

die ANGEL, the duo project of ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS aka SCHNEIDER TM, starts its 3rd decade of sonic explorations with the release of album #10 which bears the programmatic title “Utopien I”.180g LP and DL on KARL.

die ANGEL (or just ANGEL in the early days) was born in 1999 during a joint European tour of PAN SONIC and SCHNEIDER TM with the aim to use electronics, string instruments and effect loops to develop a sonic world that goes beyond fixed structures and clearly defined genres. Coming from different musical backgrounds proved quite an advantage for the duo as it meant that ILPO VÄISÄNEN (ex-PAN SONIC) & DIRK DRESSELHAUS (SCHNEIDER TM) had to find their particular modus operandi: communication through noise and action, instant composition, spirit.
Over the course of over 2 decades now, die ANGEL crafted a catalogue of 9 albums released on labels like EDITIONS MEGO or EDITION TELEMARK that were recordings of either the core duo or featured like-minded artists like cellist HILDUR GUDNADOTTIR, OREN AMBARCHI, LUCIO CAPECE or BJ NILSEN. die ANGEL delve deep into the microcosms of tones, shaping nuanced layers of abstract sound that integrate elements of Musique Concrète, Minimal Music, Industrial, Noise, Blues and Psychedelia, and yet bear the unmistakable die ANGEL signature.
“Utopien I” is not only the duo’s latest effort (feat. OREN AMBARCHI) but also a clear political call: in a world of a general decline, we need new ideas and approaches to design the future. 

All tracks performed & recorded December 2015 – January 2016
by Ilpo Väisänen & Dirk Dresselhaus at ZONE, Berlin
Overdubs on ‚Cargo Cult’ by Oren Ambarchi (Milano, Italy) April – May 2016
Edited & mixed by Dirk Dresselhaus May 2016 at ZONE, Berlin
Mastered by Helmut Erler at D&M, Berlin, December 2019

Ilpo Väisänen : electronics & effects
Dirk Dresselhaus : electric guitar & effects
Oren Ambarchi : electric guitar & effects

out now: GIULIO ALDINUCCI – Shards Of Distant Times

GIULIO ALDINUCCI – Shards Of Distant Times

Format: 180gr LP / CD / download

Release date: march 27th 2020

Italian sound artist GIULIO ALDINUCCI returns with his 3rd album on KARL: “Shards Of Distant Times” is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed “Borders And Ruins” (2017) and “Disappearing In A Mirror” (2018) which both made it onto several year’s best lists.

Over the course of six solo albums on labels like DRONARIVM plus EPs and collaborative albums (a.o. with IAN HAWGOOD), GIULIO ALDINUCCI successively has been refining his skills as composer and sound designer. His elegant style which blends ambient and field recordings came to full impact on his previous KARL albums “Borders And Ruins” and “Disappearing In A Mirror” which gained the Italian sound artist a lot of critical praise and made it onto several year’s best lists, a.o. Acloserlisten.com. ALDINUCCI’s latest effort is again not only a musical masterpiece of sublime beauty and sacral majesty, it also deals with philosophical concerns.
Where “Borders …” was a reflection on the instability of borders and “Disappearing In A Mirror” raised the very personal question of identity, “Shards Of Distant Times explores the liminal areas of the contemporary soundscape that are characterized by the presence of human voice coming from old and timeworn recordings. Like in the auditory pareidolia, the psychological phenomenon in which the mind hears indistinct voices in random noise where none exist, voices and music emerge from the everyday soundscape through the omnipresent internet connected devices, creating glitches between time and space” (ALDINUCCI). 

out now: V.A. – Parakustiks #2

KARL celebrates its cat. no. KR050 and its 13th anniversary with a free download label compilation with selected tracks from albums released after PARAKUSTIKS #1 (KR015 , released in 2014).



Trackliste:

1 zeitkratzer & Keiji Haino – Unbegrenzt

2 Iannis Xenakis – Persepolis (Edit)

3 Hans Castrup – Die Klaviatur Des Quadrats #2

4 Nickolas Mohanna – Linear Scheme

5 Hanno Leichtmann – Run

6 Hanno Leichtmann – Flutes

7 Guy Reibel – Fluide

8 Nicolas Wiese – Cuck Rock

9 Laurent De Schepper Trio – Mytikas

10 Tellavision – Unimperative

11 Reinhold Friedl – John Cage: Complete Song Books #34

12 Reinhold Friedl – John Cage: Complete Song Books #28

13 Reinhold Friedl – John Cage: Complete Song Books #33

14 Fret – B14

15 R.A.N. – Sabah

16 Golden Diskó Ship – Abandoned Chinese Fishing Village

17 zeitkratzer, Svetlana Spajic, Dragana Tomić, Obrad Milić – The Battle At Mačkov Kamen

18 Audrey Chen – Heavy

19 Arovane, Porya Hatami – Becoming

20 Giulio Aldinucci – The Skype Cloud And Your Smile On The Left

21 Creta – Babe In The Egg Of Blue

22 Brian Harnetty – Judd

23 Saba Alizâdeh – Fluid

https://karlrecords.bandcamp.com/album/parakustiks-2