|
Search Result for Artist NAUJOKS CHRISTIAN
viewing 1 To 5 of 5 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
DIAL 024CD
|
After his self-titled debut of 2009, True Life/In Flames is the second album by Berlin-based Christian Naujoks. Recorded by Tobias Levin at the Laiszhalle Philharmony Hamburg. A dense concert atmosphere sets the tone. Stringent seriality is combined with a romanticism of the minor key which one also finds in a certain corner of modern 20th-century piano music, in the vein of Michael Nyman, Wim Mertens, Arvo Pärt, John Cage and György Kurtág. Deep contemplation and solemn expression paired with intellectual clarity. Each note has weight, and every sound a purpose. Unlike Naujoks' debut, True Life/In Flames completely relinquishes the use of any sort of electronically-generated sound. Instead, there is a consistent stylization of what one might call "organic sound." The figure of the bedroom producer is relieved here by that of the composer and pianist. There's a piano, played by Naujoks; there's the marimba of Martin Krause and then Naujoks' voice. This album could be designated as a suite with various movements, bracketed by the conspicuous reprise of its most song-like piece, "Moments I" and "Moments II," as well as by the economy of the unchanging instrumentation and the black and white cover photograph by Dirk Stewen that references the recording location: the Laeiszhalle of the Hamburg Philharmonic. Piano and marimba stand there on an almost cave-like stage, surrounded by music stands, microphones and stacked Egon Eiermann SE 68 SU chairs -- a company of genuine instruments. Again, Christian Naujoks embraces the world of contemporary music-loving connaisseurs. True Life/In Flames is a gift for all those hunting the unique, the deep, the outstanding. All's quiet at the beginning, as it is at the end.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIAL 024LP
|
Gatefold LP version. After his self-titled debut of 2009, True Life/In Flames is the second album by Berlin-based Christian Naujoks. Recorded by Tobias Levin at the Laiszhalle Philharmony Hamburg. A dense concert atmosphere sets the tone. Stringent seriality is combined with a romanticism of the minor key which one also finds in a certain corner of modern 20th-century piano music, in the vein of Michael Nyman, Wim Mertens, Arvo Pärt, John Cage and György Kurtág. Deep contemplation and solemn expression paired with intellectual clarity. Each note has weight, and every sound a purpose. Unlike Naujoks' debut, True Life/In Flames completely relinquishes the use of any sort of electronically-generated sound. Instead, there is a consistent stylization of what one might call "organic sound." The figure of the bedroom producer is relieved here by that of the composer and pianist. There's a piano, played by Naujoks; there's the marimba of Martin Krause and then Naujoks' voice. This album could be designated as a suite with various movements, bracketed by the conspicuous reprise of its most song-like piece, "Moments I" and "Moments II," as well as by the economy of the unchanging instrumentation and the black and white cover photograph by Dirk Stewen that references the recording location: the Laeiszhalle of the Hamburg Philharmonic. Piano and marimba stand there on an almost cave-like stage, surrounded by music stands, microphones and stacked Egon Eiermann SE 68 SU chairs -- a company of genuine instruments. Again, Christian Naujoks embraces the world of contemporary music-loving connaisseurs. True Life/In Flames is a gift for all those hunting the unique, the deep, the outstanding. All's quiet at the beginning, as it is at the end.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
DIAL 047EP
|
Part 1 of a 12" trilogy of releases by Christian Naujoks on Dial. Adoring the sound of pitched-down, pre-recorded strings dressed in deep, dub-styled echoes, "East End Boys" is a song dedicated to the raw and powerful sublimity of physical sound. On the B-side, Lawrence remixes his favorite Christian Naujoks tune, "Bloom." Both tracks also available here in instrumental versions.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
DIAL 013CD
|
This is Germany's Christian Naujoks' self-titled debut album for the Dial label. A composer of contemporary music, a singer/songwriter, an electronic music producer, a pop musician or maybe a conceptual sound artist -- either way you name it, you won't entirely grasp this artist. Starting off with a set of precisely-composed post-minimal pieces for piano and marimbas, flute and strings carefully recorded on analogue tape at Tobias Levin's Electric Avenue Studio, the album leads surprisingly and tenderly through a wide horizon of sonic impressions. From the indeterminate chamber music of "Two Epilogues" and the intimate vocals on the breathless revision of New Order's "Leave Me Alone," (re-titled "Off The Rose") to the subtle sound sculpturing of "Light Over The Ranges," which sounds like a neon-tinged sunrise, to the a cappella croon/Gregorian chant of "Bar 27," this release refuses to be defined, determined, or dissected. Despite all the disparity of this release, everything is in its right place, like the broken shards that assemble to create a cathedral's stained-glass window. Other surprises include a simply unheard-of 12-tone R'n'B piece "Bloom," in which Webern, Can and Prince seem to collide to form a blutopian party, as well as a concluding, fuzzed-out, half-coherent tribute to Bob Dylan's "It's All Over Now, Baby Blue." Can't wait for the future? Join the mean-time radio hour with your host Christian Naujoks. Contemplative, serious meditations that give your head room to breathe while ascending into pure bliss consciousness.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIAL 013LP
|
LP version. This is Germany's Christian Naujoks' self-titled debut album for the Dial label. A composer of contemporary music, a singer/songwriter, an electronic music producer, a pop musician or maybe a conceptual sound artist -- either way you name it, you won't entirely grasp this artist. Starting off with a set of precisely-composed post-minimal pieces for piano and marimbas, flute and strings carefully recorded on analogue tape at Tobias Levin's Electric Avenue Studio, the album leads surprisingly and tenderly through a wide horizon of sonic impressions. From the indeterminate chamber music of "Two Epilogues" and the intimate vocals on the breathless revision of New Order's "Leave Me Alone," (re-titled "Off The Rose") to the subtle sound sculpturing of "Light Over The Ranges," which sounds like a neon-tinged sunrise, to the a cappella croon/Gregorian chant of "Bar 27," this release refuses to be defined, determined, or dissected. Despite all the disparity of this release, everything is in its right place, like the broken shards that assemble to create a cathedral's stained-glass window. Other surprises include a simply unheard-of 12-tone R'n'B piece "Bloom," in which Webern, Can and Prince seem to collide to form a blutopian party, as well as a concluding, fuzzed-out, half-coherent tribute to Bob Dylan's "It's All Over Now, Baby Blue." Can't wait for the future? Join the mean-time radio hour with your host Christian Naujoks. Contemplative, serious meditations that give your head room to breathe while ascending into pure bliss consciousness.
|
|
|
|