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

Douze Inventions En Six Modes De Jeu cover art

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)

The Third Eye cover art

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

out now: zeitkratzer – Column One: Entropium

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zeitkratzer – Column One: Entropium

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

Release date: may 15th 2015


Five compositions by the Berlin based electroacoustic / industrial collective Column One in stunning interpretations by zeitkratzer, recorded live at Berghain during MaerzMusik 2012.

Within their nearly 2 decades of existence, zeitkratzer have gained high reputation for their unique approach, their outstanding and internationally acclaimed members and their adventurous projects that include collaborations with noise musicians like Merzbow and Zbigniew Karkowski, rock’n’roll experimentalists like Lou Reed and William Bennett
(Whitehouse), electronic musicians like Carsten Nicolai and Terre Thaemlitz, reinterpretations of Schönberg and Bach as well as performances of music by composers
such as Helmut Lachenmann, James Tenney and Karlheinz Stockhausen.
Column One and zeitkratzer first worked together in the late nineties at Podewil, which was at that time the most influential and vanguard location in Berlin. The new compositions, presented here for the first time, were recorded at Berghain in Berlin during the 2012 MaerzMusik Festival. Column One’s mastermind Robert Schalinski developed five scores for acoustic instruments based on electroacoustic sound files. These scores were transcribed by Reinhold Friedl and the zeitkratzer musicians, refining and working them out together, using the complexity and sensuality of their amplified instrumental sound which matches perfectly the “industrial musique concrète” of the Berlin based artist collective (recently, Rashad Becker joined the group) who cite Dada and the Surrealists as important influences.

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 noises, voice / Burkhard Schlothauer, violin / Anton Lukoszevieze, violoncello / Ulrich Phillipp, doublebass / Michal Libera, additional orchestra drum on 04

out now! YASUNAO TONE + TALIBAM! + SAM KULIK – Double Automatism

 

Double Automatism cover art

YASUNAO TONE + TALIBAM! + SAM KULIK – Double Automatism

Format: LP (180gr, silk-screened sleeve, download code, 500 items)

Release date: march 13th 2015

 

New York City’s experimental duo TALIBAM! team up with fluxus artist / electronic avant-gardist YASUNAO TONE and trombonist SAM KULIK for a confrontational sonic attack, fired by an array of analog synths and other electronic devices.

About the album:

“Bringing together the most calamitous materials from their home planets of Noise, glitch, and free improvisation, TONE and TALIBAM! are at once the likeliest and unlikeliest of conspirators. Despite making his home in New York since 1971, TONE’s foundational electronic work harkens back to his early days in revolutionary Japanese avant-garde collectives Group ONGAKU and HI RED CENTER, and resonates with his groundbreaking deconstructions of digital CD sound in the 1980s. Meanwhile in the post-art worlds of millennial Brooklyn, TALIBAM! have cranked out their own absurd, profane and unclassifiable improvisational style, bringing their provocations around the world, and proficiently mediating jazz, rock, and hip-hop along the way; trombonist SAM KULIK brings an acoustic element to the mix that invokes the live sonic mixes of MUSICA ELETTRONICA VIVA. In their collaboration “Double Automatism”, they forge a confrontational new alliance in the transnational history of experimental sound, with the noisiest consequences imaginable.”

(David Novak, author of “Japanoise: Music at the Edge of Circulation”)

The idea for “Double Automatism” was born in 2012 when TALIBAM! and SAM KULIK were invited to interpret YASUNAO TONE’s graphic scores and game pieces as part of the Japan 1955-70 avantgarde exhibition at the Museum Of Modern Art in NYC where they met the fluxus / electronic artist and immediately developed a mutual affinity for each other. Six months later the trio invited TONE (born 1935) for a recording session – KULIK on trombone, MATT MOTTEL on his Roland Alpha Juno 1 analogue synth, KEVIN SHEA (also drummer in MOSTLY OTHER PEOPLE DO THE KILLING) on electronic MIDI mallet percussion and TONE using his self-developed MP3 Deviations on his notebook. The 2 epic pieces on “Double Automatism” not only continue TALIBAM!’s enduring explorations of new musical territory beyond genre-limitations, the album is also a forceful testimony of TONE’s unique artistry that was documented by recent collaborations with RUSSELL HASWELL or FLORIAN HECKER (all on EDITIONS MEGO) and solo works on TZADIK or ASPHODEL.

Press quotes:

Pollock in 3D and on speed. Bad Alchemy

 

order here:

https://karlrecords.bandcamp.com/album/double-automatism