SCHNEIDER TM – Ereignishorizont

Format: 2x 180gr LP incl. download code / digifile 2x CD / download

Release date: may 26th 2023

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

„The event horizon gives the black hole its size; behind it hides the singularity. And the more extended it is, the more massive the black hole is. But the event horizon is also invisible; if matter or light passes through it, there is no turning back.“ (Prof. Dr. Michael Kramer, Max-Planck-Institut für Radioastronomie)

EREIGNISHORIZONT is SCHNEIDER TM’s new and with a duration of over 80 minutes truly epic album: experimental guitar, technological innovations and excursions into musical territories beyond the usual.

Schneider TM is a multidimensional music project of Dirk Dresselhaus which oscillates extensively between adventurous electronic pop-music and experimental, sometimes improvised freeform music, while occasionally bringing these and other opposing elements together. Performed on (partly self-developed) electroacoustic guitars + effects through a stereo set of tube amps with sensibilities for the world of modular synthesis and a range of seemingly contrarian musical directions, the 8 tracks present transcendental micro- and macrotonal soundscapes and polyrhythms, a musical cosmology that appears to be located in a sort of idiosyncratic alternate or parallel universe where parameters are slightly shifted, which doesn’t necessarily mean something like ‘otherworldliness’ but certainly offer a view onto ‘reality‘ from a bunch of different angles.
Since the mid-Nineties, he has been exploring unknown musical territory on practically each new release, solo or in diverse short- and long-term collaborations and projects with the likes of ex-Pan Sonic member Ilpo Väisänen (as die ANGEL), Zappi W Diermaier (Faust), Reinhold Friedl (zeitkratzer), Oren Ambarchi, Hildur Guðnadóttir, BJ Nilsen, Lucio Capece, Elena Poulou (ex-The Fall), Damo Suzuki (ex-Can), John Duncan (LAFMS), Einstürzende Neubauten’s Jochen Arbeit & Andrew Unruh, Günter Schickert as well as to numerous works in the field of film music, radio plays, (performance-) theater, contemporary dance and general studio production.
Over the last years, Dirk has been moving SCHNEIDER TM in the direction of instantly composed freeform music, employing varying equipment like processed guitar & sound objects as well as field recordings, as documented on albums like ‘Construction Sounds’, ‘Guitar Sounds’ or ‚‘Con-Struct’, a posthumous collaboration with Conrad Schnitzler, all released on Bureau B.
EREIGNISHORIZONT, SCHNEIDER TM’s new and with a duration of over 80 minutes truly epic album, sounds and feels like a soundtrack for a yet-to-be-made sci-fi movie and exposes the essence of Dresselhaus‘ artistic approaches, crafted here with a more pared-down set-up, an awareness of advanced musical techniques, the physicality of sound, and an improvisational spirit that is based on the experience that things are strongest when they happen first.
The main tools on EREIGNISHORIZONT are two customized electroacoustic guitars:

# The „FireSchneiderTM“ has sound chambers featuring removable bakelite lids and piezo mics, that can be used as percussion tools, vocal mics, or filled with interesting sounding materials like screws, etc.

# The next step in the long-term collaboration between Schneider TM and Deimel Guitarworks isthe „SPARK“: In addition to conventional magnetic and piezo pickups the guitar also has playable reverb springs, one of which is attached to the tremolo construction and can be tensioned. The different sound sources can be combined via a global selector switch and sent to an integrated electronic LesLee, which oscillates back and forth between the signals and is connected to CV In & Out sockets for integrating e.g. modular synthesizers via control voltage. The „SPARK“ can not only be played acoustically, electrically and electronically, but as an electro-acoustic sound object it also offers possibilities for playing techniques that are not typical for guitars.

The sci-fi feel of EREIGNISHORIZONT is complemented by the artwork by SEBASTIAN MAYER who, just a few weeks before Dresselhaus contacted him, got the opportunity to work as a betatester with some of the first available AI based image generators (for which Mayer himself prefers the name „neural network image generator“ because there’s no „intelligence“ – yet – in these networks). Dirk sent Sebastian some tracks of the new album with the note that he was thinking about this particular image when recording them. Mayer listened to his recordings and understood what inspired SCHNEIDER TM about these more-or-less artificial artworks: “there’s a crude weirdness to the image, it’s funny but at the same time a bit frightening, by topic and by style. It’s like an omen of what’s ahead of us in regards to AI – and not only about image generation but in a wider sense. AI will impact our society in ways we can not yet comprehend, and this image is a coarse yet deceptive harbinger for things that are yet to come – for better or worse.”

tracklist:
A1. Ereignishorizont
B1. Schwarzschild-Radius
B2. (J = 0)
C1. Pluralität
C2. Holomechanik
C3. Pollucit
D1. Austritt
D2. Ost-Spirale

credits:
All pieces instantly composed and performed with electric & electroacoustic guitars, effects & tube amps, recorded (2019-2022) & mixed (09/2022) by Dirk Dresselhaus at ZONE, Berlin
Mastered 10/2022 by Kassian Troyer at Dubplates & Mastering, Berlin
Published by Edition MirrorWorldMusic
Digital artwork generated, composited, and processed 8-10/2022 by Sebastian Mayer
Layout & design by kaidoh

KAMMERFLIMMER KOLLEKTIEF – Schemen

Format: 180gr LP incl. download code / digifile CD / download

Release date: april 28th 2023

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

11th album by the one-of-a-kind collective: psychedelia and free form jazz (not jazz) trigger a sophisticated excursion into weird textures with drastic turns. Dislocated dense music full of secret connections!

Kammerflimmer Kollektief – »Schemen«
Before reason prevails, invoked by those who want everything to remain as it is, Kammerflimmer Kollektief disrupts the established supply chains of sound. It seeks more interesting ways to assemble them. Trusting in this, because of the fact that every sound that still comes out of a guitar, a bass, a harmonium, drums and electronic devices has already been taken into the common mangle of meaning anyway. Enough of all that. Here, nothing is explained. Here we speak in schemes. Polished and jerky.
The images that Kammerflimmer Kollektief conjures up therefore happen not in the focus of consciousness, but rather in its outer realms. In those to which one does not give one’s full attention at the moment, but which are nevertheless perceived. For example, when a leaf falls from the ground back up to the tree in the corner of your eye, and for an instant you think this is possible, before you realize it was a small bird flying into the tree; it is in just such irritating moments between perception and realization that the art of the Kollektief also unfolds. On »Schemen«, familiar fragments float gently around their core – a Fender Rhodes tone, a bass figure, a guitar motif, a masterful drum shuffle, a moment of icy stasis borrowed from the harmonium playing of Christa ›Nico‹ Päffgen. Triggering brief associations, they slowly rush off in other directions through free jazz-informed editing work, whereupon such zones can also arise in which perception has a few tricks ready and earlier experience suddenly breaks into the now in a completely different way. Half suspected, half seen.
Half-music like Can from Cologne – also masters of improvised editing – sometimes produced a few decades ago in their in-between moments. The first minutes of »Future Days« for example, which fade in gently, sketch a barely graspable figure emerging from all directions of the room.
Kammerflimmer Kollektief also engages in similarly open moments of development. Loosely, it eludes the first formative impressions, keeping itself ready for moments that do not follow any logic of appointment. This looseness in handling makes Kammerflimmer Kollektief so fluidly audible, even when dissonant peaks and free playing arise. What Karlheinz Stockhausen is to Can’s understanding of composition, the recordings of The Cocoon are to Kammerflimmer Kollektief. The Cocoon, a meeting of garage psychedelics from the Hannover area with free jazzers from the Galaxie Dream Band, whose album »While The Recording Engineer Sleeps«, recorded in 1985 in unguarded moments, operates in a very similar way with decentralized perceptual ambivalences and only appeared more or less secretly four years later on Wilhelm Reich Schallspeicher. Other traces of »Schemen« lead to the debut album of Quicksilver Messenger Service. The guitars of Gary Duncan and John Cipollina, which refer to themselves in an unforced manner, are instructions to let go. They don’t want to be traced in every note as a solo, but they give their music a sense that the essential takes place off center, in the mutual and intuitive gift of loving attentions. Consciousness-free. Loving turns like the little guitar phrase that, like a kind of leitmotif, is repeatedly ghosting more or less unchanged through all of the Kammerflimmer Kollektief albums. A Coricidin induced, very catchy slide idea filtered out of ancient Æther, which – who knows – maybe even centuries ago found its way from somewhere to America – the old, the eerie – and from there wafted on through the ages to southern Germany, to a smoky studio in the Upper Rhine lowlands. A memory of which even the memory no longer knows what it once reminded. Unsaid, then forgotten.
In Kammerflimmer Kollektief you will also find a friend of slowly building, unhurried music, which probably would have been appreciated by the old Franz Mesmer, who 200 years ago, after tranquilizing treatments, sometimes used to play for his patients ambient melodies on the enormous glass harmonica. However, in order not to surrender completely to the flow of one’s own life energy, as Mesmer had in mind with his therapies, Kammerflimmer Kollektief occasionally adds hectic tensions, gently embraced by the droning of a sine wave generator, as if a trance could briefly refesh. This old analog sine wave generator is new in the Kammerflimmer assortment of sounds. So, the art of the Kollektief likes to dock occasionally in modern times, yet with the past in mind. Mental states begin to flicker between imagination and certainty, between culture-bound art expression and coincidences: A cawing and scraping can always just be a cawing and scraping with Kammerflimmer Kollektief, the way Andy Warhol’s mushroom eater just eats a mushroom.
Heike Aumüller’s cover works, which illustrate all the Kammerflimmer Kollektief albums, additionally act as amplifiers of unexplained refractions. Her style consists of eye-corner art that remains so, even when looked at directly. Her shots remain disquieting because they do not jolt themselves into a reassuring order, even in retrospect. Rather than evading the fear that arises when looking at them by trying to impose some irrational rhyme or reason, that fear must simply be endured. This strategy of endurance is equally applicable to the music. The trick is to let parts be parts without compulsively seeking delusional patterns that lull us into a false sense of security and in doing so, possibly delude ourselves. In this context, freedom means not having to anxiously attach a fantasized superior meaning to everything. »Schemen« has an conspiracy disintegrating effect.
– Werner Ahrensfeld

Tracklist
face A
Erstes Kapitel [verschliffen] 8:17
Zweites Kapitel [ruckartig] 8:09
face B
Drittes Kapitel [ungesagt, dann vergessen] 3:25
Viertes Kapitel [bewusstseinsfrei] 4:48
Fünftes Kapitel [kreuzweis] 0:28
Sechstes Kapitel [herausgewunden] 5:07
Siebentes Kapitel [verflochten] 4:08
Letztes Kapitel [halb vermutet, halb gesehen] 1:47

Gruppo
Heike Aumüller: harmonium, synthesizer, sinusgenerator
Christopher »Giga« Brunner: drums
Johannes Frisch: double bass
Thomas Weber: electric guitar, loops, feedbacks

Credits
Production, arrangements & collage: Thomas Weber
Studio: Kinda real cloudy, Karlsruhe, may 2018 – july 2022
Musick: Thomas Weber & Heike Aumüller, publisher: Future World
Mastering: Anne Taegert, D&M Berlin
Cover artwork: Heike Aumüller, deep in the woods
Stills: Iris Drögekamp
Graphic realization: kaidoh

hÄK/Danzeisen – same

Format: 180 gr LP incl. download code / Limited edition tape, 50 handnumbered items / download

Release date: april 28th 2023

https://karlrecords.bandcamp.com/album/h-k-danzeisen

Modular synthesizers / electronics + a drum kit enhanced with triggers and sensors: on its self-titled debut album, the duo hÄK / Danzeisen creates a sonic energy that oscillates between high-precision rhythm patterns, analogue sounds and frenzy climaxes.

One must imagine hÄK / Danzeisen as a man-machine apparatus. A collection of cables, resonating bodies and restless limbs that together question all routines. Who overthrow conventional role of instruments and explore the possibilities of a new sound language. Bernd Norbert Würtz alias hÄK operates modular synthesizers, self-soldered circuits and control knobs. Philipp Danzeisen plays a drum kit enhanced with triggers and sensors. These two poles are connected to an interdependent whole in which a constant musical dialogue takes place. The dependencies within this system have been meticulously defined by hÄK / Danzeisen: Drum rolls and sound modulations are interconnected in such a way that there is no contradiction between the strict technological structure and the creative outburst that is possible at any time.
What drives hÄK / Danzeisen is the basic idea that the contrast between acoustic drums and synthetically produced sounds must be overcome in order to create a new experience. Würtz, Danzeisen and their combined instrumentation simultaneously rub up against the same edges, finding a single, piercing voice.
Ideal manifestations of this approach are the duo’s live performances: raw energy that oscillates as precisely as it surprises between drones, abstraction and noise attacks, driven by an impudent take on jazz. Constantly oscillating between the registers of „composed“ and „improvised“, each performance by hÄK / Danzeisen ultimately becomes one of a kind. (Arno Raffeiner)

hÄK alias B. Norbert Würtz
Norbert is a Berlin based composer, producer and experimental electronic musician working primarily with DIY circuits, modular synths, and found sounds. The music he writes and performs could be placed stylistically somewhere between electroacoustic, noise music and cut up, musique concrète. Besides improvising and performing experimental electronics under the moniker hÄK he produces music for other artists, as well as composing and designing sound for films, visual media and installations.
Norbert has enjoyed successful collaborations with a range of musicians and artists including Marc Teitler, Ayu Okakita, VOOV-Systems and Sayoko Paris (Dosage).
He has scored numerous shorts, films and videos for directors such as Yves Geleyn, Alexander Herzog, Peter Dörfler and Luc Besson, and has been commissioned to create original works for institutions such as La Gaîté Lyrique in Paris and the Royal Opera House in London. In 2004 he co-founded the hÄnschenKlein Experimental Music-VideoProject with his longtime friend, the director Alex Herzog. Their works have been screened in numerous festivals such as Impakt Festival (NL) and European Media Art Festival Osnabrück (DE).
After living for ten years in Paris where hÄK was a regular in the experimental scene, releasing music on underground labels (KommaNull (,0), Exhibitronic), he returned to Berlin in 2018 and soon after co-founded the duo hÄK/Danzeisen with Philipp Danzeisen on drums and himself on his “Molekular Synthesizer”.

Philipp Danzeisen
Born in Essen / Germany, Philipp grew up in Frankfurt Main / Germany. Raised in a family of actors, he developed an interest in combining theatre, dance, and music early on. In 1994 he moved to New York to study drums at the New School University and received his BFA in 1998. 2006 he received a scholarship for the Sound Design program of the Theater and Dance department at UCSD where he studied for one year.
Philipp is based primarily in Berlin. Performing credits include appearances in pieces by Einar Schleef, Jan Fabre, William Forsythe / Ballett Frankfurt, Meg Stuart, Rabih Mroué / Dance On, Tom Kühnel / Schaubühne Berlin, and Walter Fischbacher (New York). In addition, he has designed and performed several of his own sound projects; for example, a piece at the Artaud exhibition at the Kunstpalast in Düsseldorf. He has also worked as a sound designer and musician for fashion shows like Costume National in Milan.
In 2005, Philipp toured his project „Ur Jazz Sonate“ in Europe and was invited for the Kurt Schwitters exhibition at the Museo de Arte Moderno in Mexico City. In 2015 he peformed at the ZERO exibition at the Gropius Bau in Berlin. In Januar 2018 he was performing with the Duo SHARPA (Elektro-Postrock/Pop).
Since 2019 he has been the drummer of the duo hÄK / Danzeisen.

tracklist:
A1. Aufwärts
A2. Kurve (part I & II)
B1. Abwärts
B2. Ungerade

credits:
Philipp Danzeisen: drums, percussion
B. Norbert Würtz alias hÄK: modular synth, electronics
all music by hÄK/Danzeisen
recorded by Ingo Krauss at Candy Bomber Studios, november 2021
edited by B. Norbert Würtz
Kurve / Aufwärts mixed by Ingo Krauss
Abwärts / Ungerade mixed by B.Norbert Würtz
mastered & lacquer cut by Ruy Mariné at D&M, Berlin
cover photo by Beat Halberschmidt
artwork concept by Thomas Herbst
layout by kaidoh

SARA PERSICO – Boundary

Format:Limited edition tape, 100 handnumbered items / download

Release date: march 10th 2023

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

After several years of intense performance activity, the Italian sound artist and vocalist SARA PERSICO releases her debut EP “Boundary”, to be followed by a full album.

Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth experimenting on the fringes of Naples’ fiery underground experimental/noise scene, developing a technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master’s Degree from the Conservatory of Bologna and gained several residencies and scholarships like Temp Studio, Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro – V2 Unstable, Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity Festival, Radical DB, Life Libertas Festival, among others.
As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN SAYLOR’s vocal ensemble for CATERINA BARBIERI’s acclaimed “light-years” show at Rewire Festival and London’s Southbank Centre, and worked on projects alongside THE EX’s ANDY MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI, RECORDAT, and many others.
She’s also a fearless DJ who’s able to straddle vastly different worlds, offering just as much attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal experiments. She is currently a resident on Bethlehem’s Radio Alhara.
All this energy and experience radiates from her solo debut “Boundary”: PERSICO’s expressive vocals play a central role, but her command of precisely sculpted electronic textures and dynamic rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense introspective work that explores intimately the boundaries of the self. Identity rupture as a survival technique, a voice-research climax with an unconventional approach – multi-faceted ideas melt in a heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.

Tracklist:

1. Fugace
2. Boundary
3. Exit
4. Terra Mala
5. Under The Raw Light
6. Umbilical

Credits:
All tracks written by Sara Persico
Produced by Koenraad Ecker and Sara Persico
Mixed by Koenraad Ecker
Mastered by James Ginzburg
Baritone saxophone on Exit by Sofia Salvo
Artwork by Mothanna Hussein

PITA / FRIEDL – same

Format: 2x 180gr LP /download

Release date: february 17th 2023

https://karlrecords.bandcamp.com/album/pita-friedl

Electronic music legend and head of Editions Mego, Peter Rehberg, teams up with zeitkratzer mastermind Reinhold Friedl. 3 side-long pieces melting electronic / contemporary avantgarde. Uncompromising.

When Peter »Pita« Rehberg and Reinhold Friedl first met each other, they did not like each other »at all,« as Friedl emphasises with a hearty laugh. The two would however eventually bond over the years thanks to a mutual respect for each other’s music. In the summer of 2021, they entered the studio together for the first time. Their joint album for Berlin’s Karlrecords is a faithful document —no editing, no overdubs—of their improvisations during two recording sessions shortly before Rehberg’s sudden and untimely passing on July 22nd of that year. The three pieces see Rehberg working with electronics and Friedl with his inside piano, proving that they had indeed managed to find a common ground—up to a point where it at times becomes hard to tell who plays what on this record.
Friedl ran into Rehberg in Zbigniew Karkowski’s tiny Tokyo apartment in 1999 while organising the first edition of the Off-ICMC that was set to take place in the following year. »I came uninvited and slept a night at Zbigeniew’s before Peter arrived and I had to move out,« remembers Friedl, who ended up inviting the Mego founder to perform at the Off-ICMC even though he found it hard to relate to his music. »We had very different backgrounds: he came from industrial and I had roots in classical music and improv, a high-brow prick!« After having met several times at different concerts without ever really speaking to each other in the following years, a concert in Vienna in the late 2010s marked a turning point in their relationship (or lack thereof). Playing their sets back to back and loving every second of what the other was doing, the two finally clicked on musical level.

»We met for dinner on each of the three following nights!,« remembers Friedl. The two would go on to become good friends, meeting regularly to discuss music and everything else while both were living in Vienna just a few minutes away from each other. Rehberg put out Friedl’s collaboration with Eryck Abecassis, »Animal Électrique« on his Editions Mego label in 2020 and eventually they entered the studio twice for sessions that were completely improvised with no prior preparation. »Caciara,« »Chiasso,« and »Clamore«—named retrospectively after three Italian words for »noise«—capture the spontaneity of two artists who had always been outliers in their respective fields finding a common ground in sprawling dynamics and sonic intensity as well as enabling each other to expand their individual sound palettes. »Peter gave me cover,« explains Friedl. »I had the feeling that I was able to do things I otherwise wouldn’t play.«
If there is one thing that united them, Friedl adds, it was listening, and throughout these roughly 64 minutes, you can indeed hear them listening closely to each other, giving each other space and reacting to what the other is doing. Even though they unfortunately never managed to get together for a planned third session, these recordings—carefully mixed by Dirk Dresselhaus, but otherwise virtually untouched—perfectly encapsulate the energy unleashed by two free spirits coming together over a shared love for pushing the envelope of improvised noise music, unlocking the sensory potentials of it. It is quite fitting that this veritable onslaught of noise would end in the most understated way: »The computer says stop,« quips Rehberg. »That’s enough!« The rest is laughter.
(Kristoffer Cornils)

tracklist:
A Caciara [21:14]
B Chiasso [19:58]
C Clamore [23:01]

credits:
Peter Rehberg: electronics
Reinhold Friedl: inside piano
recorded july 2021 at Studio Aichhorn, Vienna
mixed by Dirk Dresselhaus at ZONE, Berlin
mastered & lacquer cut by Kassian Troyer at D&M, Berlin
cover concept by Thomas Herbst
layout by kaidoh

MARTINA BERTONI – Hypnagogia

Format: 180gr LP / limited edition tape, 50 handnumbered items /download

Release date: january 20th 2023

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

Cello player and electronic artist Martina Bertoni returns with her 2nd album for Karl: Hypnagogia delivers six new, masterfully crafted tracks between experimental ambient, drone and modern composition.

Cellist and composer Martina Bertoni started playing the cello at a very young age. Classically trained, her career further developed around experimental and film music, for which her cello has been featured in numerous records, works and soundtracks for films and series. After two EPs and her debut full length All The Ghosts Are Gone (2020), Bertoni joined the Karl roster where she released Music For Empty Flats in January 2021 to critical acclaim (a.o. one of the Top Ten drone albums of 2021 / Acloserlisten.com).
On her new album Hypnagogia she continues to explore the sonic possibilities of her cello which she uses as primary source for composition and sound processing through reverbs, feedbacks and sub-bass frequencies, thus crafting sonic sculptures, rich of atmospheres and frictions, fed by ambient as much as drone and modern composition.
In the words of Martina Bertoni:
„The six tracks that constitute Hypnagogia have been written during 2021 and partially inspired by the reading of Stanislaw Lem’s book Solaris. The title refers to a transitional state of consciousness from wakefulness to sleep, during which one might experience sensorial hallucinations and lucid dreaming, and can tap into the pristine structures of the subconscious.
Hypnagogia portraits an imaginary cosmic journey of the Self that crash ends into a blinding sun.”

Tracklist:

1. Inversion
2. Collided
3. From E To W
4. Orchid
5. Hemisphere
6. Your Sun

Credits:
Martina Bertoni: cello, electronics, voice
all music composed and produced by Martina Bertoni
mixed by Boris Wilsdorf at andereBaustelle Tonstudio, Berlin
mastered & cut by Ruy Mariné at Dubplates & Mastering, Berlin
cover painting by Ted Berglund
artwork by kaidoh

zeitkratzer – James Tenney

Format: 180gr LP

Release date: november 4th 2022

https://karlrecords.bandcamp.com/album/james-tenney

By zkr director REINHOLD FRIEDL’s personal request now available on vinyl for the first time: zeitkratzer’s critically acclaimed interpretations of groundbreaking compositions by JAMES TENNEY.

JAMES TENNEY (1934 – 2006) was a composer, music theorist and pioneer especially in the field of microtonal music, being an influential part of the so-called New York avantgarde scene (CAGE, FELDMAN). Besides his compositonal work, TENNY was teacher at various universities with students like CHARLEMAGNE PALESTINE, CARL STONE or CATHERINE LAMB, and a close friend with ELIANE RADIGUE.
This album by zeitkratzer presents three compostions by TENNEY whose music has been part of zeitkratzer’s repertoire since their beginning:

# „Critical Band“ – TENNEY’s late classic – with maximum clarity and precision of bearing tone rhythms and microtonal tuning as light effect.

# the first recording of „Harmonium #2“.

Both works demonstrate the remarkable power and resplendent sharpness which TENNEY achieved with his microtonal settings.

# „Koan: Having Never Written A Note For Percussion“ (incl. in the download) is an orgiastic listening experience in the form of a huge crescendo on a tam-tam – from whispering to singing, culminating in shrill roaring and blustering – and it’s dark decay.
zeitkratzer’s approach to TENNEY’s music as a sensual sound adventure, finally available on vinyl!

Tracklist:
A. Critical Band,
B. Harmonium #2,
DL only track: Koan: Having Never Written A Note For Percussion

zeitkratzer:
Frank Gratkowski clarinet
Hayden Chisholm alto saxophone
Matt Davis trumpet
Hilary Jeffery trombone
Reinhold Friedl piano, e-bow
Maurice De Martin bowed marimba, tam-tam
Burkhard Schlothauer violin
Anton Lukoszevieze cello
Ulrich Phillipp double bass
Ralf Meinz sound

Credits:
recorded live at Philharmonie Luxembourg, October 3rd 2009
mixed and mastered by Ralf Meinz and Reinhold Friedl
produced by Burkhard Schlothauer
executive producer: Reinhold Friedl
vinyl cut by Kassian Troyer at D&M, Berlin

GIULIO ALDINUCCI – Real

Format: 180gr LP / limited edition tape, 50 handnumbered items /download

Release date: october 14th 2022

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

Italian sound artist GIULIO ALDINUCCI returns with his 4th album on KARL: “Real” 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), “Disappearing In A Mirror” (2018) and “Shards Of Distant Times” which all made it onto several year’s best lists.

With now his 4th album for Karl, the sound artist from Siena / IT has proved a steady and prolific artist on the label roster. And each time, GIULIO ALDINUCCI delivers a new ambient masterpiece that clearly carries his signature as composer / producer and yet reveals a slightly different approach to his modus operandi. ALDINUCCI’s massive layers of sound, built from field recordings and an array of electronic gear, blend droney ambient with heavenly voices / sacred music that create an atmosphere of a consolatory melancholy – alien, but with a graspable presence of human souls. And each album deals with a topic that ALDINUCCI came across in his observations of and reflections about today’s society.
In the words of GIULIO himself:
“The digital media we live with shape and define reality by filtering it, letting us run the risk of living without our personal and unique one. My new album expresses a need of something unmediated and authentic. “Real” is a reflection on the endless possibility of sonic transformation, the ability we have to create new realities transmuting the soundscape around us and the inner soundscape inside us, even only by imagining it. A (deep) real experience permeated by dreamy lyricism.”

Tracklist:
A1. Deep Space Shelter
A2. Come In Un Respiro
A3. As The Horizon Disappears
A4. Smoke Over The River
B1. Mythological Void
B2. Every Word, In Summer
B3. Hyperobject A
B4. Asymptotic Embrace

Credits:
all tracks composed and produced by Giulio Aldinucci
mastered & vinyl cut by Kassian Troyer at D&M, Berlin
artwork concept by Thomas Herbst
layout & design by kaidoh
cover photography by Giulio Aldinucci

zeitkratzer – Alvin Lucier

Format: 180gr LP

Release date: september 16th 2022

https://karlrecords.bandcamp.com/album/alvin-lucier

By zkr director REINHOLD FRIEDL’s personal request now available on vinyl for the first time: zeitkratzer’s critically acclaimed interpretations of compositions by ALVIN LUCIER.

ALVIN LUCIER (1931 – 2021) was one of the most influential American minimalists. Some call him „sound physician“ as his compositions are often based on acoustic research settings. His pieces tend to turn inside-out the properties of space and instruments: poems based on acoustic settings!
zeitkratzer worked with the composer in Dijon, France in 2008, and presented his music in various places. These recordings have been realized at Philharmonie Luxembourg that turned out to be the ideal space for this music.
On this album you can hear how LUCIER enables zeitkratzer to create sounds a lot of people have never heard before. Ringing overtones, a singing piano, a thrilling concert triangle, pencils on little objects, and how irritating a violoncello, a viola and a piano can sound together creating shifting sonic interferences. Sound phenomenology, evoking a sensual
listening experience.

Tracklist:
A1 Fideliotrio (1987) 12:10
A2 Violynn (2001) 9:50
B1 Music For Piano With Magnetic Strings (1995) 13:37
B2 Opera With Objects (1997) 10:59
Silver Streetcar For The Orchestra* (1988) 10:03
digital only, included in the download

zeitkratzer:

Burkhard Schlothauer: violin (A2), viola (A1), objects (B2)
Anton Lukoszevieze: violoncello (A1), objects (B2)
Ulrich Philipp: objects (B2)
Reinhold Friedl: piano (A1, B1), objects (B2)
Maurice de Martin: triangle (*), objects (B2)
Frank Gratkowski: objects (B2)
Hayden Chisholm: objects (B2)
Matt Davis: objects (B2)
Hilary Jeffery: objects (B2)
Ralf Meinz: sound

credits:
recorded live at Philharmonie Luxembourg, October 3, 2009 (A1, B1, B2, *)
and at GreenHouseStudios Schwielowsee, Germany, June 2010 (A2).
mixed and mastered by Ralf Meinz and Reinhold Friedl
produced by Reinhold Friedl
vinyl cut by Kassian Troyer at D&M, Berlin

KONSTRUKT & PETER BRÖTZMANN – Dolunay

Format: 2x 180gr LP / download

Release date: august 26th 2022

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

The ongoing series / tradition of a KONSTRUKT release in august this time returns to the early beginning: the overdue double vinyl reissue of the Turkish free-formers’ studio meeting with the German Free Jazz titan PETER BRÖTZMANN from 2008. Remastered for vinyl by KASSIAN TROYER at D&M, Berlin.

As written in several info sheets before, the Istanbul-based collective led by multi-instrumentalist UMUT ÇAĞLAR (also member of KARKHANA) and reeds player KORHAN FUTACI has since its formation in 2008 created an impressive catalogue including collaborations / performances with significant musicians like KEIJI HAINO, JOE MCPHEE, WILLIAM PARKER, AKIRA SAKATA, MARSHALL ALLEN, EVAN PARKER, THURSTON MOORE, MICHAEL ZERANG, ALFRED HARTH or ALEXANDER HAWKINS – and PETER BRÖTZMANN. The German Free Jazz titan was invited to the Deneyevi Studio in the Turkish capital in november 2008 where they recorded „Dolunay“, an album that was released three years later on a small label in Turkey only. Back then a quartet with drums AND percussion, guitar, reeds but NO bass player, KONSTRUKT and their iconic guest took off on a session full of fire and fury: shrieking reeds, thundering drums andandand … Free Jazz of the wildest, most energetic and kathartic (afterwards) kind! Just as they did a few months before (may 2011) in a former church as documented on „Eklisia Sunday“ and then once more in february 2014.

Remastered for vinyl, „Dolunay“ is now finally available as double LP and also via regular distribution – and shouldn’t be missing in any proper jazz collection!

tracklist:
A. Dolunay 10:26
Siyah 10:57
B. Kurtlar 10:16
C. Makinalı 13:18
D. Tepe 3:27
Nokta 9:18

musicians:
Korhan Argüden drums
Özün Usta percussion
Umut Çağlar guitar
Korhan Futacı tenor & baritone saxophone
Peter Brötzmann alto & tenor saxophone, clarinet

credits:
all music by Konstrukt & Peter Brötzmann
recorded by Ergin Özler & Taylan Özdemir at Deneyevi Studio, Istanbul on 13.11.2008
mixed by Tansu Kaner & Özün Usta
remastered & lacquer cut by Kassian Troyer at D&M, Berlin
woodcut by Peter Brötzmann
layout & design by kaidoh