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Search Result for Artist friedman
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12"
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NON 053EP
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Since 2018, João Pais Filipe (drums) and Burnt Friedman (electronics, synth) have investigated into automatic pattern -- composition rooted in doubling and halving; the unimpeachable laws of motion. The offer of freedom can be seen as a way to get in touch with necessity. On Mechanics Of Waving the attempt is made to succumb to such a mode of action, the drilling of a method, not through individual cunning or displayed musicianship. Through constant practice Friedman and Pais discover the principles of rhythmic phenomena while dis-associating the music from cultural idioms. Inspired by rare infrasound -- ratios ranging from 11 to 23, Nonplace releases the results of a four years long operation. Drums recorded and engineered by José Arantes. Mastered by Kassian Troyer, Dubplates & Mastering.
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12"
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NON 052EP
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2021 repress. Mohammad Reza Mortazavi (Tombak) and Burnt Friedman (electronics, synth) release their second EP YEK 2. "Equipped with one drum only and laser-pattern -- electronics, Mortazavi and Friedman produce delicate, yet archaic, trance -- inducing, transnational dance music with... hints of dust and grain..." --(Freq) Mortazavi and Friedman move hands and faders according to odd cyclical rhythms with incredible accuracy. The extreme dynamic range and rhythmic congruency of drum and electronics merge both, Mortazavi's and Friedman's repertoire entirely. Complete in [YEK], resisting cultural notions of folklore and territory.
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12"
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NON 050EP
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2021 repress. Eurydike is a four-track EP from Liebezeit & Friedman including two unreleased "Secret Rhythms" tracks in a picture sleeve! João Pais Filipe (drums) and Burnt Friedman (electronics) ultimately hypnotize their audience by activating cosmic mechanics. Both refer to it as "automatic music," yet their focus is on playing and exploring rare rhythmic modes; in Friedman's terms: "We organize pressure mediation according to mother nature." Friedman and Pais left behind the consensus artificial paradise of cultural musical idioms, developing an immersive, archaic next-level dance music, deeply rooted in natural laws of motion. Informed by the works of Jaki Liebezeit -- one of the most influential drummers of all time -- Friedman and Pais pursue a different path. On side two the listener is confronted with two more recent, unreleased "Secret Rhythms" contributions. The two Friedman & Liebezeit studio tracks were recorded in 2016 and were played lived frequently. Since his passing in early 2017, Liebezeit's drum theory has been carefully retrieved and presented to the public for the first time.
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LP
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BT 059LP
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Black Truffle announce the release of She's More Wild..., a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon, and Anne Klingensmith recorded at Mills College in 1981. Previously known only to cognoscenti through an obscure self-released three-track 7", this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monolog with live electronics. Starting life as a performance art piece described by the artists as "Western Performance Noir", the record centers on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious "Archetypal Unitized Seminar", a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith, and special guest Maggi Payne in forms ranging from spoken monolog to country and western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She's More Wild... is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a "pop" format: you hear the gliding, frequency-sensitive electronics familiar from Behrman's classic On the Other Ocean and the mutant hacked Speak n' Spell heard on DeMarinis' Songs Without Throats (BT 041LP, 2019) propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert's contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She's More Wild... is an essential document, both immediately gratifying and ultimately thought provoking. Gatefold sleeve with various texts and archival images; sleeve design by Lasse Marhaug. Mastered and cut by Kassian Troyer at Dubplate & Mastering, Berlin.
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2LP
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NON 048LP
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Double LP version. Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together. This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession. Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication. Chat Noir would like to thank the National Music Council For Comparative Studies And Documentation in Berlin, who contributed a large part of the financial assistance. Features Lucas Santtana and Hayden Chisholm. Photographs taken by the author for Musikethnologische Abteilung Des Museums Für Völkerkunde. Mastering by Rashad Becker, February 2019.
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CD
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NON 048CD
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Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together. This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession. Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication. Chat Noir would like to thank the National Music Council For Comparative Studies And Documentation in Berlin, who contributed a large part of the financial assistance. Features Lucas Santtana and Hayden Chisholm. Photographs taken by the author for Musikethnologische Abteilung Des Museums Für Völkerkunde. Mastering by Rashad Becker, February 2019.
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CD
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NON 045CD
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Anthology 1980-2017 is a compilation spanning a period of 37 years featuring Burnt Friedman's releases and edits thereof from vinyl-only labels (Latency, Marionette, Dekmantel, amongst others), plus four hitherto unreleased tracks. This compilation surveys Friedman's music from 1980 to 2017 and covers a broad spectrum of played and programmed rhythmic styles that traverse club music from techno, electro, and dub, but, above all, it traces Friedman's own artistic development; A trajectory that owes a lot to his long-standing collaboration with Can drummer Jaki Liebezeit, who died at the age of 79 in 2017. Like Liebezeit, Friedman already explored even and uneven rhythms back in the late 1980s. This selection of 17 tracks documents this pursuit while bringing rough or discarded tracks to light, which did not fit onto any album or were intended for the Nonplace label. The compilation runs the entire gamut of his work on percussion, keyboard, samplers, and toys of all kinds, using various production methods (tape, Atari, MIDI, sampler, hard disk recording, digital audio tape). Studio work (instant-composition, programming, and recording) underwent major technological changes and revolutions in the 1980s and 1990s, but Friedman's distinctive signature style prevails throughout. Surprisingly danceable tracks, interrupted by alien atmospheric periods, defy any genre. "An essential retrospective that shows how Burnt Friedman has been reinventing rhythms for over two decades." --Resident Advisor
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12"
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NON 044EP
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What Mortazavi and Burnt Friedman have in common is their shared expertise in uneven, cyclical rhythms -- the foundation of their trance-like art music, which is both subtle and ecstatic. Through repetition and improvisation in the studio they create "numbers" -- groove-based pieces played on a variety of drums mixed with electronics. This results in a precisely timed harmony between the electronic sounds and live grooves. Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Friedman's signature sound and repertoire, which seems to belong to no specific place or time.
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12"
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MARIONETT 005EP
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"Another utterly brilliant salvo from Friedman -- after the future-classic 'Masque', and the Pestle EP for Latency. Six kinds of musical occultism -- transcendent and nocturnal, geometric but intuitive, like a djinn testing a logic map -- nodding to Solomon and West's compendious book about near-death experiences."
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LP
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LTNC 010LP
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"Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman's elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto."
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12"
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AMEL 709EP
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Samuel Rohrer's arjunamusic label is becoming a distinctive voice in musical experimentation, finding the common ground between the improvisational impulse and the rhythmic architecture of electronic dance music. Tyler Friedman's original mix of "YYY" is led by a bouncing and playful set of melodic figures, featuring an intimate timbral quality like a hybrid kalimba and vibraphone. Friedman and Rohrer's drum and vocal dub bring the voice of Tora Augestad into the picture, capturing the cascading feel of the original with a gritter instrumental vocabulary.
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12"
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NON 040EP
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With the Clock EP Burnt Friedman and Daniel Dodd-Ellis offer two pared down, extended club tracks and two short word-and-sound poems that feature "microscopically detailed textures, deceptively funky-sounding odd meters, and dubby production techniques." All four tracks are exclusive to this vinyl edition!
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CD
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NON 038CD
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The impact of these eleven sound poems, or poetry tracks, derives less from intentional meaning and symbolism than from fortuitous coincidences, cut-ups, and flashes of inspiration in the course of handling the audio material. Rather than a composed narrative, the tracks reflect the inner reality of the authors Burnt Friedman and Daniel Dodd-Ellis. Moods and impressions from B. Friedman's Sub-Saharan concert tour in 2013 as well as fragments of memories of an imaginary future fuse together in the music and text of all eleven tracks. These responses to real-life "kpafuca" ("things falling apart") -- conditions in African metropolises -- collapse into grooves and phrases reminiscent of Chris Marker's sci-fi apocalypticism (La Jette, Sans Soleil). This polyphony of non-places also includes the spirit of sound explorers such as the musical-ethnological practitioners Hartmut Geerken and Roman Bunka (Embryo), whose visions and musical activities refuse to succumb to reductionist and essentialist staging. In Cease to Matter, Friedman intuitively pits the liberating power of noise, of über-mensch-maschinen music, against those cultural landscapes repeatedly automatically inscribed into music. Odd beats and random technical defects -- that is to say, disobedience -- are pitted against the normative interpretational supremacy of musical world maps. The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever. The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line "Skies are blue inside of you" comes from Aldous Huxley's novel Brave New World, which appeared in 1932. Tracks 04 and 09 ("Cease to Matter") contain a piano sample edit based on a composition by Georges Ivanovich Gurdjieff (1872-1949).
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LP+CD
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NON 038LP
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LP + CD version. Gatefold sleeve. The impact of these eleven sound poems, or poetry tracks, derives less from intentional meaning and symbolism than from fortuitous coincidences, cut-ups, and flashes of inspiration in the course of handling the audio material. Rather than a composed narrative, the tracks reflect the inner reality of the authors Burnt Friedman and Daniel Dodd-Ellis. Moods and impressions from B. Friedman's Sub-Saharan concert tour in 2013 as well as fragments of memories of an imaginary future fuse together in the music and text of all eleven tracks. These responses to real-life "kpafuca" ("things falling apart") -- conditions in African metropolises -- collapse into grooves and phrases reminiscent of Chris Marker's sci-fi apocalypticism (La Jette, Sans Soleil). This polyphony of non-places also includes the spirit of sound explorers such as the musical-ethnological practitioners Hartmut Geerken and Roman Bunka (Embryo), whose visions and musical activities refuse to succumb to reductionist and essentialist staging. In Cease to Matter, Friedman intuitively pits the liberating power of noise, of über-mensch-maschinen music, against those cultural landscapes repeatedly automatically inscribed into music. Odd beats and random technical defects -- that is to say, disobedience -- are pitted against the normative interpretational supremacy of musical world maps. The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever. The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line "Skies are blue inside of you" comes from Aldous Huxley's novel Brave New World, which appeared in 1932. Tracks 04 and 09 ("Cease to Matter") contain a piano sample edit based on a composition by Georges Ivanovich Gurdjieff (1872-1949).
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12"
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NON 037EP
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With Skies Okay Blue Nonplace offers two pared-down vocal tracks from Burnt Friedman & Daniel Dood-Ellis that place subtle and unexpected rhythms alongside the manifest regularity of electronic dance music. Measuring in at DJ-friendly 122 to 128 bpm, the seemingly straightforward grooves turn out, on closer listening, to be intertwined with uneven beats. Extra-long versions of both tracks were mixed for this 45rpm super-sound EP. The third track is a 2-minute sound-poem featuring Friedman-typical xenophile instrumentation. All three tracks are exclusive to this vinyl edition.
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2LP
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NON 035LP
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Double LP version. This the fifth release in Burnt Friedman & Jaki Liebezeit's Secret Rhythms series. Central to the Secret Rhythms concept is Liebezeit's radical drum code in unison with Friedman's range of archaic metal percussion and synth instruments. The two musicians live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least. Jaki Liebezeit numbers among the world's foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about. Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: "I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project." Includes a remix by Romain Sygroves and Friedman.
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CD
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NON 035CD
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This the fifth release in Burnt Friedman & Jaki Liebezeit's Secret Rhythms series. Central to the Secret Rhythms concept is Liebezeit's radical drum code in unison with Friedman's range of archaic metal percussion and synth instruments. The two musicians live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least. Jaki Liebezeit numbers among the world's foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about. Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: "I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project." Includes a remix by Romain Sygroves and Friedman.
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2LP
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NON 034LP
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This is the extension and second installment of Bokoboko (NON 033CD/LP) from earlier in 2012. Double vinyl-only release in a picture sleeve; it will not be available as a CD or digital download. With its non-placed devices and hard-to-pin-down aesthetic falling between electronic and psychedelic music and the warm-hued sounds of traditional acoustic instruments, Burnt Friedman's Zokuhen (trans. "second edition"), produced exclusively for vinyl, may be considered an extension (or second installment) of Bokoboko (released in February 2012). On this new double EP, too, the music focuses on uneven rhythms that dictate the groove for all the participating musical elements and display a formal logic to which all the instruments gladly succumb. With its even rhythm and proximity to dub reggae, the track "Kon Ki" shows that exceptions to the rule are permitted among the six new tracks and two re-worked Bokoboko themes that round off this follow-up.
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CD
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NON 033CD
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Burnt Friedman presents his fourth solo album. Bokoboko is an entirely instrumental recording, impossible to pinpoint to existing genres of music. "Bokoboko" comes from the Japanese, like the other track titles, and means "uneven," "hollow-sounding" -- adjectives aptly describing the album's crooked, dynamic grooves as well as the many percussively-resounding instruments. Friedman, recognizable more or less by the sound of the ten instrumental tracks, plays prepared oil barrels/steel drums, all kinds of wood and metal percussion, gongs, monochord, a home-made rubber-band guitar, organ, synthesizer, and electric guitar. He is sometimes joined by Hayden Chisholm (wind instruments), Joseph Suchy (guitar), Daniel Schröter (bass), as well as, making his first guest appearance, Takeshi Nishimoto, a Berlin-based Japanese musician playing the sarod, a traditional Indian string instrument. The uneven types of rhythm, which provide the specific oscillation on which all the tracks are based, in principle obey all the components: melodies, noises, monophone sequences and dub echoes inserted into pre-sketched, programmed basic tracks. "Deku No Bo" and "Sendou" follow the same rhythmic formula, the same seven-part cyclic groove, even though it is hard to discover any superficial resemblance between the two. The same is basically true of the three parts of "Rimuse": here, an even groove is superimposed over the one divided into ten. "Bokoboko" follows the rhythmic pattern of 11 (divided into eight and three). The ten tracks on Bokoboko were recorded and mixed in Friedman's Berlin studio over the past three years. The cover shows a detail from a work by Theo Altenberg.
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2LP
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NON 033LP
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Double LP version. Burnt Friedman presents his fourth solo album. Bokoboko is an entirely instrumental recording, impossible to pinpoint to existing genres of music. "Bokoboko" comes from the Japanese, like the other track titles, and means "uneven," "hollow-sounding" -- adjectives aptly describing the album's crooked, dynamic grooves as well as the many percussively-resounding instruments. Friedman, recognizable more or less by the sound of the ten instrumental tracks, plays prepared oil barrels/steel drums, all kinds of wood and metal percussion, gongs, monochord, a home-made rubber-band guitar, organ, synthesizer, and electric guitar. He is sometimes joined by Hayden Chisholm (wind instruments), Joseph Suchy (guitar), Daniel Schröter (bass), as well as, making his first guest appearance, Takeshi Nishimoto, a Berlin-based Japanese musician playing the sarod, a traditional Indian string instrument. The uneven types of rhythm, which provide the specific oscillation on which all the tracks are based, in principle obey all the components: melodies, noises, monophone sequences and dub echoes inserted into pre-sketched, programmed basic tracks. "Deku No Bo" and "Sendou" follow the same rhythmic formula, the same seven-part cyclic groove, even though it is hard to discover any superficial resemblance between the two. The same is basically true of the three parts of "Rimuse": here, an even groove is superimposed over the one divided into ten. "Bokoboko" follows the rhythmic pattern of 11 (divided into eight and three). The ten tracks on Bokoboko were recorded and mixed in Friedman's Berlin studio over the past three years. The cover shows a detail from a work by Theo Altenberg.
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12"
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HJP 060EP
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2017 repress. Another installment in this series of A-team producers reworking Honest Jon's acclaimed Shangaan Electro compilation. Theo Parrish roars into a fierce, uglier-than-ugly edit, with no let-up for thirteen minutes, when it crashes to a standstill: a hurtling, mesmerizing ride, multi-layered and clustered with synth washes, bleeps and alarms, galloping drums, clattering percussion. Burnt Friedman's Shangaan variation is perforce more chilled, lithe, reverberating. The crafted drum programming is fresh and funky, with moody vocal interjections and haunting keys, chocka with dub thrills and spills, lethal with the bass.
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12"
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NON 032EP
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This is the first vinyl edition of Friedman & Liebezeit's Secret Rhythms remix series, entitled Secret Rhythms+. Sam Shackleton remixed or actually recomposed the track "255-7" from the recent album Secret Rhythms 4 (NON 030CD). Rashad Becker, known as the Nonplace label's permanent mastering engineer has mixed "The Sticks," originally released on Secret Rhythms 2 (NON 019CD) released in 2005.
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12"
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NON 031EP
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Burnt Friedman presents a preview of his forthcoming new solo album. He uses instruments and rhythms not usually found in electronic music, rattling pots and pans and also presenting his latest technological breakthrough in the form of the rubber band guitar. Guest appearances come from Joseph Suchy (electric guitar), Daniel Schroeter (bass), Hayden Chisholm (reeds) and Takeshi Nishimoto (sarod). The limited edition sleeve artwork was created by Berlin artist Theo Altenberg.
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CD
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NON 030CD
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The fourth album release in the Secret Rhythms series by Burnt Friedman and Jaki Liebezeit (Can) results from a 10-year collaborative project encompassing live performances and studio sessions. What began as a rehearsal for a concert delivered at the Cologne Triennale 2000 turned into a long-term exploration of the laws governing rhythm. Therefore, this fourth CD is based, like its predecessors, on a variety of rhythms seldom heard elsewhere. Extreme manipulation, percussive overdubs and Friedman's sequence-like guitar and synthesizer (Korg MS20, in this case) provide accompaniment for music to which the notion of domination is foreign. The six hypnotic instrumentals are driven by Liebezeit's cyclic drumming. In Secret Rhythms 4, the interplay of reduction and maximization is elevated to an aesthetic principle, the sound distributed dynamically over background and foreground. Fusing electronic and acoustic, improvisation and postproduction, Friedman and Liebezeit move further away from Anglo-American models. And although the duo's preference for repetition is evidence of a refusal to flaunt virtuosity, the revived notion of Krautrock seems wholly inappropriate for Friedman and Liebezeit. Be it in concert or in the studio, the swing emerges naturally from the rhythmic pattern. That Mark Ernestus (Basic Channel) was invited to mix and co-produce the second track on the album is no coincidence: he played an important part in producing club tracks (e.g. Rhythm & Sound) unsurpassed in their bold minimalism and refined quality of sound. In the early 1990s, Liebezeit dispensed with his pedal-operated bass drums and hi-hats. After his ride cymbal met the same fate, he went on to develop a new style of drumming (repeating the feat he pulled off when a member of Can). Friedman: "No more than a few of these rhythms survived over the years, but the ones that did provided a core structure for various ongoing transmutations on each of the four albums and during live shows. Jaki sometimes joked about 'secret' rhythms, because in fact the rhythms are obvious, the opposite of hidden! The fact is, they are simply seldom heard in our country, and in clubs especially you don't hear them at all." While the three preceding albums were dominated by guest contributions, the new production is devoted almost exclusively to Liebezeit's drum set and the Friedman-typical combination of keyboards and string instruments, all kinds of percussion and the computer. There are two appearances by Joseph Suchy, whose unmistakable guitar sound has left its mark on all the Secret Rhythms releases. Rashad Becker has been responsible for mastering all Nonplace titles since the first production in 2000. For the first time, Friedman and Becker co-mixed one of the album titles, a spin-off from "Entsafter" (Secret Rhythms 3), a track whose groove was previously used in "Obscured by 5" and "The Librarian" (Secret Rhythms 1 and 2). The story ends with two unworldly musicians who make music for music's sake, while others, using the benefits of technology, have "moved on" and know what they want to sell with their music. Other guest musicians include Tim Motzer (E-Fuzz guitar), Hayden Chisholm (flute, saxophone) and Daniel Schroeter (bass guitar).
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NON 029EP
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Restocked. Friedman & Liebezeit present two pieces in their "Secret Rhythms" project. Both tracks, one mixed and co-produced by Mark Ernestus (Rhythm & Sound) and one by Burnt Friedman, testify less to post-processing and editing techniques than to the physicality of the instruments played. The post-Can Liebezeit created his own cycle-based drum system and developed an innovative drumset. Friedman's percussive, synthetic or acoustic sound sequences adhere to the same understanding of rhythm, allowing the two sound generators to perfectly intermesh. Cover artwork by Theo Altenberg.
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