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CD
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KRANK 205CD
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"From Steve Hauschildt: 'Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they're bending through time. It's also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ' From Kranky: 'Graceful compositions flow throughout Steve Hauschildt's fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener 'Horizon of Appearances,' to the pulsing hypnosis of 'Ketracel,' and on to the searing grandeur of album closer 'Die in Fascination,' throughout, Steve remains restrained and in complete control of his sound.' "
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LP
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KRANK 205LP
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LP version. "From Steve Hauschildt: 'Strands is a song cycle that is about cosmogony and creation/destruction myths. The title alludes to the structural constitution of ropes as I wanted to approach the compositions so that they consisted of strands and fibers which form a unified whole. This was so the songs could have the appearance of being either taut or slack without being fundamentally locked to a grid. So the sounds/tones have a certain malleability to them and sound like they're bending through time. It's also grittier and more distorted than my previous albums. I wanted to try and capture that moment in nature and society where life slowly reemerges through desolation, so it has a layer of optimism looming underneath. The music represents this by seemingly decaying at times but then reforms and morphs in a fluid way back to its original state. I was also inspired by the movement of rivers, particularly their transformative aspect and how they're in a state of flux and change, in particular the Cuyahoga River in Cleveland where I live, which notoriously caught on fire thirteen times because of industrial pollution in the 1960s and before. I was very interested in the dichotomy of oil and water and the resulting, unnatural symptoms of human industry. It's a very personal record for me as it is a reflection of my hometown where I grew up and where it was mostly recorded. ' From Kranky: 'Graceful compositions flow throughout Steve Hauschildt's fourth release for Kranky following his Where All Is Fled full length from late summer 2015. The songs fluctuate from the serene calm of album opener 'Horizon of Appearances,' to the pulsing hypnosis of 'Ketracel,' and on to the searing grandeur of album closer 'Die in Fascination,' throughout, Steve remains restrained and in complete control of his sound.' "
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2LP
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KRANK 198LP
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Double LP version. "Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."
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CD
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KRANK 198CD
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"Steve Hauschildt's new album is his first since the late 2012 release of Sequitur. Although Where All Is Fled sonically harkens back to his earlier albums such as Rapt for Liquid Minister and Tragedy & Geometry, it slowly becomes apparent that it is also a divergence from those recordings. Both the artwork and the music on this new work were heavily inspired by surrealist landscape paintings, early alchemical emblems, and recurring visions Steve had from dreams. The result is a pristine series of cascading melodies, fantastical terrains of layered lattices, and overlapping patterns of synthesizers superimposed with orchestral instrumentation. Hidden in the crevices of the album are processed crowd sounds, re-sampled text-to-speech synthesis, piano, and animal noises which reveal themselves after repeated listens and blur together notions of artificial and natural sound. While slowly unfurling, each sound is given it's own place and space, never hurried, never cluttered. The album is a modern kosmische milepost, and the most accomplished statement of Steve Hauschildt's vision yet."
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2CD
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EMEGO 178CD
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S/H is an anthology of rare and unreleased solo works by former Emeralds member Steve Hauschildt. Handpicked from eight years of home recordings, S/H is an archival work which delves into the inner workings of both his own music and his contribution to Emeralds' sound. Much of Steve's work has lay dormant for many years, but S/H gives the listener a personal tour of his canon from 2005-2012. Steve's music was initially born out of the mid-2000s Midwestern noise scene. But instead of creating harsh noise, he reconfigured and reappropriated techniques from the Berlin School, drone, new age and other forms of electronic music to create something wholly his own. This two disc set ranges from short electronic sketches to full-blown synthesizer suites. Most of this material is unreleased, with a few essential rarities that appeared on cassette and CD-r releases for such imprints as Mike Pollard's Arbor, Chris Madak's Deception Island and Hauschildt's now-defunct label, Gneiss Things.
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CD
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KRANK 172CD
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"From Steve Hauschildt: 'This new album was recorded in both Vancouver and Cleveland. I used almost 20 different instruments, from every decade from the 60's to the present, most of them synthesizers, drum machines and effects. This gives the album a much wider palette than my last, Tragedy & Geometry, and it also gives it a more classic/new sound, yet it is still a logical follow up to that LP. I also used some techniques in the studio where I controlled older instruments with the computer and this opened up new ways for me to explore their potential as well as their innate idiosyncrasies. I was very interested in the artificiality of vocal or choir-like sounds that emulate a person or group singing, and how this has evolved with the advancement of musical technology over the years. I also sang myself, and used a vocoder, not to sound robotic, but to remove the connotations of gender. Those sounds are androgynous because they carry both masculine and feminine characteristics. I was inspired to carry this idea into music mainly because of the work of Camille Paglia and Donna Haraway. I feel that the album in a sense treads the imaginary boundary between nature and artifice. It is postmodern, but not necessarily a post-Freudian statement on cyborg theory or feminism. Rather it is a musically mimetic domain where these ideas freely collide and coalesce.' Exactly one year on from his last album, Steve Hauschildt returns with his most commanding work to date. Dense and lush arrangements conjure a retro-futuristic soundscape for a time that never was, or one that may yet arrive."
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LP
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KRANK 172LP
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CD
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KRANK 160CD
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"Perhaps the least prolific and quietest of the three members of Cleveland trio Emeralds, Steve Hauschildt is usually found at their live performances playing the serious scientist as foil to the other two members more animated stage presence. As a teen, Steve bypassed the typical young music fan obsessions over punk and hardcore musics, drawn instead towards mid-late '90s techno/electro-revivalism and finding himself alone in an electronic universe of his own choosing. Steve has always considered himself more of an artist than a musician, and sees his work both in group and solo settings as much a visual experience as it is an aural one. The title Tragedy & Geometry is an ambiguous but subtle reference to Melpomene (Muse of Tragedy) & Polyhymnia (Muse of Geometry), or more specifically the collision/overlap of what they invoke. The opening track is also a direct reference to 'Polyhymnia, Muse of Eloquence,' the painting by the French artist Charles Meynier on display at the Cleveland Museum of Art. The album is a treatise on the idea that technology is becoming more disposable as it's becoming more accessible, and how this circumstance has a more evident/direct effect on the interpersonal, i.e. relations, with others in the so-called 'Age of Information.' What results is a gorgeous, flowing, floating world of post-kosmische musik, Steve Hauschildt's first widely available release, and his first major statement as a solo artist."
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