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viewing 1 To 12 of 12 items
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2CD
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KR 104CD
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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. Ereignishorizont sounds and feels like a soundtrack for a yet-to-be-made sci-fi movie and exposes the essence of Dresselhaus's 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 is the "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).
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2LP
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KR 104LP
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Double LP version. Includes download. 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. Ereignishorizont sounds and feels like a soundtrack for a yet-to-be-made sci-fi movie and exposes the essence of Dresselhaus's 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 is the "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).
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LP
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EMEGO 297LP
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LP version. Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid '90s. His latest opus is also his first for release for Editions Mego. With an extensive catalogue under his belt, one may wonder where this one takes us" The 8 Of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with Skoda Mluvit from 2006. In the age of scattered streaming listening habits, The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an "audio-movie". The "plot" revolves around a post-dystopian landscape which posits the make-up of reality in the future. The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological and technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic and digital possibilities that range from heavily processed acoustic and electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog and digital drum machines and effect units, hardware and software processing. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms and cascades based on the concept of chance attributed to the service of the song. The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the "I" or "me" is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalized voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. All the elements on The 8 Of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.
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CD
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EMEGO 297CD
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Schneider TM is the multidimensional music project of Dirk Dresselhaus which has been operating since the mid '90s. His latest opus is also his first for release for Editions Mego. With an extensive catalogue under his belt, one may wonder where this one takes us" The 8 Of Space orbits the realm of "pop" more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with Skoda Mluvit from 2006. In the age of scattered streaming listening habits, The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an "audio-movie". The "plot" revolves around a post-dystopian landscape which posits the make-up of reality in the future. The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological and technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic and digital possibilities that range from heavily processed acoustic and electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog and digital drum machines and effect units, hardware and software processing. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms and cascades based on the concept of chance attributed to the service of the song. The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the "I" or "me" is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalized voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. All the elements on The 8 Of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it's own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.
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LP+CD
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CY 985LP
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Original motion picture soundtrack by Schneider TM (Dirk Dresselhaus) for Omer Fast's acclaimed first feature Remainder (2015). A heuristic creative approach characterized the collaboration between Omer Fast and Schneider TM, where music and images beautifully intertwined in a compelling sonic structure. 180 gram vinyl; Includes CD; Edition of 500.
From the extensive liner notes by Thomas Venker: "Composition was about shared moments, a steady process of improvisation and interaction. They watched Remainder on loop until the sounds they were creating were an equal partner to the other aspects of the film and the life of its characters. Omer Fast describes the music as possessing the capacity to step into the gaps of a room, in between his characters who have somehow lost their own connection with society."
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CD
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BB 145CD
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"Sounds" series part two: electric guitar explorations. Dirk Dresselhaus aka Schneider TM turned building-site noise into music on Construction Sounds (BB 117CD/LP). On his latest offering, he explores the full potential of the electric guitar and an array of effects. Dresselhaus is no stranger to the instrument, it is fair to say. He played guitar in the 1990s for several experimental indie combos and has made liberal, idiosyncratic use of the instrument over the past couple of decades as Schneider TM in electronic music, film, radio plays, and various other sound projects. Technical perfection is not paramount on Guitar Sounds. The focus is on spontaneity, improvisation -- if the result is flawed in the classic sense of the word, this concerns him not one iota. Dresselhaus is interested in atmosphere, in the intensity and magic of the initial moment when decisions are made and played without knowing which direction they will take or where they might end -- music without a safety net, so to speak. Unleashed, the guitar sound takes on its own life, in the spirit of generative music. At the decisive moment, Dresselhaus reins it back, like a dog-owner tugging on the lead, thereby creating an energy field between tension and relief, harmony and disharmony, control and loss of control, construction and deconstruction, positivity and negativity, sobriety, and humor. Or to use a more striking image: surf-sound dualism. All tracks are improvised ("Instant Composition"), none composed in advance. Some pieces were inspired by films or were improvised to film (e. g. "Teilhard" by Christoph Ischinger). The basic "Überzahl" track and elements of "Landslide" were used in Carsten Ludwig's film In der Überzahl and completed with overdubs for this album. The equipment list runs as follows: various electric guitars and bass guitars, lap steel guitar, travel guitar, line amplifiers and combo tube amplifiers, reverbs, echoes, delays, looper pedals, octave effect boxes, pitch shifters, isolation cabinets, filters, cello bows and bottlenecks.
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LP+CD
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BB 145LP
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LP version. Includes a CD copy of the album. "Sounds" series part two: electric guitar explorations. Dirk Dresselhaus aka Schneider TM turned building-site noise into music on Construction Sounds (BB 117CD/LP). On his latest offering, he explores the full potential of the electric guitar and an array of effects. Dresselhaus is no stranger to the instrument, it is fair to say. He played guitar in the 1990s for several experimental indie combos and has made liberal, idiosyncratic use of the instrument over the past couple of decades as Schneider TM in electronic music, film, radio plays, and various other sound projects. Technical perfection is not paramount on Guitar Sounds. The focus is on spontaneity, improvisation -- if the result is flawed in the classic sense of the word, this concerns him not one iota. Dresselhaus is interested in atmosphere, in the intensity and magic of the initial moment when decisions are made and played without knowing which direction they will take or where they might end -- music without a safety net, so to speak. Unleashed, the guitar sound takes on its own life, in the spirit of generative music. At the decisive moment, Dresselhaus reins it back, like a dog-owner tugging on the lead, thereby creating an energy field between tension and relief, harmony and disharmony, control and loss of control, construction and deconstruction, positivity and negativity, sobriety, and humor. Or to use a more striking image: surf-sound dualism. All tracks are improvised ("Instant Composition"), none composed in advance. Some pieces were inspired by films or were improvised to film (e. g. "Teilhard" by Christoph Ischinger). The basic "Überzahl" track and elements of "Landslide" were used in Carsten Ludwig's film In der Überzahl and completed with overdubs for this album. The equipment list runs as follows: various electric guitars and bass guitars, lap steel guitar, travel guitar, line amplifiers and combo tube amplifiers, reverbs, echoes, delays, looper pedals, octave effect boxes, pitch shifters, isolation cabinets, filters, cello bows and bottlenecks.
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CD
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BB 117CD
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With Construction Sounds, Dirk Dresselhaus aka Schneider TM processes a time when he was surrounded by constant clatter, noise, sawing, drilling, hammering, chipping, etc., in the former working-class district of Prenzlauer, Berlin. It happened like this: While improvising at home with his electronic equipment, Dresselhaus at some point noticed that his music was increasingly beginning to imitate the sounds and structures of the construction site noise that surrounded him daily for up to 15 hours at a time and periodically brought him to the brink of a nervous breakdown. Perhaps as a kind of defense-mechanism, he began to record the sounds and patterns produced by the construction workers and their machines, and even began to have fun in doing so. Gradually, he had the feeling that the workers, whether consciously or unconsciously, were using their tools much like musical instruments, even interacting, as if they were producing improvised music. Construction Sounds combines these moments with the electronic recordings that Dresselhaus made during this period. He only minimally processed the recordings, as he wanted to make "those beautiful moments, generated by unknown construction workers, which I sometimes even heard as cosmic music" available to a wider audience as faithfully as possible. Under no circumstances should one confuse Construction Sounds with industrial music, which either uses conventional instruments to sound like factory noise (like Kluster in 1970) or uses industrial noises as mere atmospheric or rhythmic additions to music made using instruments, as Einstürzende Neubauten did in the early '80s. For Dresselhaus, the sounds of construction are the music itself. Important: This album is not a statement, it's just beautiful music. Anyone delving into these sounds will experience it much like Dresselhaus: From the cacophony, a symphony.
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LP+CD
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BB 117LP
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180 gram LP version with CD. With Construction Sounds, Dirk Dresselhaus aka Schneider TM processes a time when he was surrounded by constant clatter, noise, sawing, drilling, hammering, chipping, etc., in the former working-class district of Prenzlauer, Berlin. It happened like this: While improvising at home with his electronic equipment, Dresselhaus at some point noticed that his music was increasingly beginning to imitate the sounds and structures of the construction site noise that surrounded him daily for up to 15 hours at a time and periodically brought him to the brink of a nervous breakdown. Perhaps as a kind of defense-mechanism, he began to record the sounds and patterns produced by the construction workers and their machines, and even began to have fun in doing so. Gradually, he had the feeling that the workers, whether consciously or unconsciously, were using their tools much like musical instruments, even interacting, as if they were producing improvised music. Construction Sounds combines these moments with the electronic recordings that Dresselhaus made during this period. He only minimally processed the recordings, as he wanted to make "those beautiful moments, generated by unknown construction workers, which I sometimes even heard as cosmic music" available to a wider audience as faithfully as possible. Under no circumstances should one confuse Construction Sounds with industrial music, which either uses conventional instruments to sound like factory noise (like Kluster in 1970) or uses industrial noises as mere atmospheric or rhythmic additions to music made using instruments, as Einstürzende Neubauten did in the early '80s. For Dresselhaus, the sounds of construction are the music itself. Important: This album is not a statement, it's just beautiful music. Anyone delving into these sounds will experience it much like Dresselhaus: From the cacophony, a symphony.
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CD
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EARSUG 004CD
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Remixes by Schneder TM of: Pulseprogramming, Margo, Lamb, Rechenzentrum, Turtle Bay Country Club, The Faint, Phillip Boa & the Voodooclub, Ruby, Lambchop, Alc Levora, Boss Hog, Turner. "Some of Dirk Dresselhaus' favourite music includes The Velvet Underground, Sonic Youth, Richard D. James, Autechre, Sun Ra, Shuggie Otis and Daniel Johnston. One of his particular favourites is Neil Young's 1982 album Trans, where nearly everything was played through a vocoder. 'It's definitely one of my main influences for doing the Schneider TM stuff. It's a really strange record, really great.' Schneider TM's acclaimed second album Zoomer was recorded in Dirk's Berlin living room studio and released on the City Slang label in September 2002. Since then he has travelled Zoomer around the world with a 3-piece band comprising of longtime friends and collaborators Kpt Michigan and Christian Obermaier. 'The way I do music, for example, it's very much a reflection of life. Basically it's folk music I would say. From the main vibe, telling strange fluid stories about whatever and everything you see, or I see, or we see or whatever, somehow affects the music very much. It's difficult to do political music but music is more often alternative to politics because music connects people so well.' There are many more stories, have a listen."
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CD
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CITY 20198CD
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Last copies, reduced price. "Schneider TM returns to mess with your minds with the release of 'Frogtoise', a limited edition single which features one of the stand out tracks from his album Zoomer. Inspired by a dream in which Schneider dreamt he had surgically spliced together a frog and a turtle, the single contains four radically different versions of the song. The lead Frogtoise Exploitation Edit blossoms vividly with a rich palette of sounds, a killer melody and a timbre that Schneider memorably described (flippantly, possibly) as 'post-Timbaland'. The Frogtoise Vredus Remix is a more electro-pop friendly version, drier and glossier and not a million miles away from a more avant-garde Pet Shop Boys! The Frogstears Schneider FM Remake sees Schneider TM take an acoustic approach to the song -- something that he is also able to do with any of the songs on Zoomer, and which he probably will -- while Fruktos sees Schneider's live companion KptMichigan tear the song apart in a glitch and crackle style." This CD version adds a video clip.
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12"
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CITY 20198
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12" version. Last copies, reduced price.
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