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LP
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NMN 182LP
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$25.00
PREORDER
RELEASE DATE: 5/16/2025
Paul and Limpe Fuchs at the peak of their creativity and power, tense and radically pursuing freedom with every texture, tone and beat. This LP issued in an edition of 300 copies finds Anima-Sound at the crossroad between sound art/sculpture, radical free jazz and the German sonic avant-garde. Anima-Sound has been defined as "finding authentic sound combinations together" -- and you can hardly describe it tighter. The music of Paul and Limpe lives on such dialectical tensions in many ways, as these 1987 recordings in the municipal gallery in Rosenheim demonstrate. Tension in the musical dialogue between the two, tension between traditional music and the spontaneous sound formation that arises from the moment, tension between conventional instruments and Paul Fuchs' "sound sculptures," tension between the sound of instruments and voice, between metals and woods, between strings and membranes. In order to create as much freedom as possible, Paul and Limpe developed most of the instruments themselves. Sound sculptures like the "pendulum strings," heavy metal rods that hang from piano wires under resonating drums. When struck, bowed or plucked, bell effects, flooding or rough rubbing surfaces of sound are created. Sometimes the vibrations and beats become more concentrated, as if there was a constant cloud of sound over the room. Or the "fox horns," boldly looped wind instruments that again resemble the shape of prehistoric animal horns, or the "tube drums" and other idiosyncratic percussion instruments, such as the circular saw blade used as a cymbal or a simple, flexible bronze plate with a sliding tone scale when brought to swinging with the drumsticks from Limpe, held by Paul. As Limpe recalls: "In the Anima duo with Paul Fuchs beside the drum set I used iron tools and metal sheets from the workshop. Instead of the hi hat cymbals I had a metal ring with five strings and plucked them by foot with a plectrum. Paul had built the Fuchsharp with two pickups and glided up and down the scale." Paul and Limpe Füchs in Baummusik managed to maintain the creative tension, a deeply resonant space and sound, throughout the whole performance: a rise and fall of dynamics and rhythmic intensity, the change of the respective "leading sonority," the choice of timbres were so obvious, as if this music were the reflex of organic life, like breathing. And both the moments of complete silence as well as the outbursts of uncontrolled chaos fit logically into the flow of the music.
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LP
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PL 100LP
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About this record and how Limpe and Paul Fuchs got together with Friedrich Gulda: In 1968, the Austrian classical and jazz pianist Friedrich Gulda organized the First International Music Forum of Ossiachersee with the theme "Improvisation in Music -- Yesterday, Today and Tomorrow". During the third edition of the festival, Gulda got to know the band Anima Sound and was fascinated by their "absolute free music", which they played on home-made instruments. Anima Sound was Limpe and Paul Fuchs, who had already released two albums in 1971, Stürmischer Himmel (Stormy Heaven) on Rolf-Ulrich Kaiser's OHR label and the self-released Musik für Alle. Musik für Alle developed during a 4,000-kilometer tour throughout Europe when the band and their two children hitched a handmade mobile home and stage to an old Hanomag tractor, bringing their anarchic, uncompromising improvisations to an impromptu public, free of charge. German documentary filmmaker Helga Tiedemann captured part of the tour for the film Mit 20 km/h durch Europa. Gulda and Anima Sound often toured together throughout the '70s and the band became regulars at Gulda's festivals of free music. In 1972, they released the simply titled LP Anima. In 1973, Tiedemann captured one of the shows, and the film Gruppe Anima in Salzburg. The International Music Forum of Ossiachersee ended in 1974. In the same year, Gulda and Limpe and Paul Fuchs went on tour with some of their festival musicians and recorded the double-LP It's Up To You. Gulda and partner Ursula Anders's festival in Ossiach attracted top-class guests, including among others Pink Floyd, Weather Report, Tangerine Dream, and many great jazz and world music musicians. The follow-up festival, Tage Freier Musik (Days of Free Music) at Castle Moosham in the Lungau region of Salzburg, Austria in 1976 again offered a high-class bill. A year later in 1977, the guests were Don Cherry and Moki, The Revolutionary Ensemble, Günther Rabl, Makaya Ntshoko, among others, and Anima Sound with Limpe and Paul Fuchs. The recordings here were made during the 1977 festival and have been restored and are released for the first time ever. The music critic Baldur Brockhoff wrote for Süddeutsche Zeitung about the Anima Sound concert: "Paul and Limpe Fuchs played superbly. As archaic as the instruments may seem (sand shovel, circular saw, hand-knitted crumhorn, sheet metal), as simple as the musical patterns and structures are, far from all virtuosity, the two have meanwhile found a complete harmony in making music together. The most beautiful thing about this music is probably the unfamiliar; no role model is used here."
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