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SYNC 009LP
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Memory Code is a project with the central focus on the human memory. Originally developed as an audio/video live performance the duo Schnitt based their research for this work on the decoding of their personal memory. During the composition of the album, Schnitt undergoes an inspection and analysis of their own conserved information, automatisms, and intense emotional states connecting them with their current state of mind. The album Memory Code is developed in nine tracks, each one dedicated to a certain type of memory in which successions of layers gradually become visible and emerge in the sound structure generating a balance between subtle personal sensations and vibrations. For the realization of the album Memory Code, Schnitt extends their work inviting several international artists to participate with their personal sound memory to the project, asking them to send one or more "memory sound files" in order to integrate and open the project to other artistic influences, different cultural backgrounds, national origins and generations. The "memory file" contributions received by the eleven guest artists are integrated as a micro ignition of memory into the sound structures previously developed by Schnitt, as well as being an initial input for new compositions in behalf of the Memory Code album. Features: Caterina Barbieri, I.A. Bericochea, Tilman Ehrhorn, Anders Ilar, Incite/, Vitor Joaquim, Ran Slavin, Tacit Group, Frans De Waard, Pavel Zhagun, and Herman Kolgen.
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SYNC 004LP
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Schnitt develops in Synchropath a method of composing based on the synchronism of video and audio files. The generated files come from several different sound and video sources. Schnitt selects 42 audio sources and 28 video sources from which they extract 678 audio files and 234 video files. The single files will be processed, assembled, and synchronized between themselves and build up the basic structure of this work. The initial inspiration for the realization of the project Synchropath can be found in the impact of the disorder and chaos generated by the invasive and oppressive presence of sound and visual sources which surround our everyday lives. Schnitt questions the status of the image, an exploration between communication systems post -- television, public screens, websites, home movies, surveillance cameras, service monitors, etc. In the audio/video performance Synchropath, Schnitt activates a process of addition/subtraction which is taking position beyond from the image itself. During the interaction between sound and light the captured images reveal only in some parts their own figurative origin, the eight tracks continue along between balance and abstraction, harmony and obsession. Each part refers to a certain type of synchronization using its single basic color for the chromatic development of the video part. The audio part is composed simultaneously to the visual part and is developed by a selection of more than 600 sound fragments which have been extracted especially for this project from the examined 42 sound sources. The sound of Synchropath is the result of assembling and overlapping sound work, a sort of utopian harmonic organization between communication systems. The sound of electronic origin builds up on rhythmic structures which Schnitt defines in accordance with the external inputs. Synchropath is produced and released by Sync. Edition of 300.
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N 069LP
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Any trademark, any defining trait is a double-edged sword: it is, of course, the catchy part, the kind of stuff people will remember, but in turn they tend to miss some of the other feats, some of the actual details and intricacies. Look at Schnitt, a truly unique duo hailing from Augsburg in Southern Germany. Comprising Moritz Illner and Markus Christ (formerly Kitty Empire), who've been adding to their sizable arsenal of sonic tools (e.g. trumpet, bass clarinet, prepared flugelhorn, Rhodes, pedals, turntables, drums) since 2012, the former is responsible for the band's signature "shtick": His sole instrument is actually a vinyl-cutting machine. A contraption that allows them to go massive, to go meta: live-cutting his multi-instrumentalist partner's live parts to then add them as samples, in order to create even richer, thicker walls of sound, wilder improvisations. It's a spectacular approach -- because it's probably the most haptic and Rube Goldbergian way to manually pull off what a sampling device normally does. No wonder they picked it as their name: "cut" translates to "schnitt" in German. And yet, apart from how they do it, there's a lot more to discover on Wand, the group's sophomore offering (its first for Alien Transistor) -- because after all it's about how they sound, part sonic installation, part beat-based exploration at the intersection of postrock, jazz, minimal music and noise. Starting off as an incremental brass collage, opening/title track "Wand" sees Schnitt create crisp and scratchy units of sound, which are then aligned and rearranged along the track's steady groove. With "Unwucht" -- meaning dynamic unbalance -- things indeed go off-kilter for a static-filled moment, yet there's always a way out: There's the laid-back minimalism of "Raus", some improvised contortions ("Torso"), wonderfully catchy lacunas between interlocked brass melodies ("Konstrukt"), and wild excursions even amateur bass-clarinetist André 3000 would endorse ("Tumult"). Almost radio-friendly and cinematic: The duo's delicately moving "Saum", the perfect cut for nighttime cruising. Elsewhere, there's more steady beats that almost feel like a reprise to the hey-days of Mo'Wax and the '90s: the thumping bass drum of "Splitter" is complete with a shimmering, slow-moving hint of a tune on top, or the jazzed-out, head-nodding crackle of "Fragment". So naked, so banging. Schnitt have created an album that's 100% deep cuts. Includes download code; edition of 300.
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