|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
TO 103LP
|
Conceptualized (2010-2013), composed and produced (2014-2017) by Carl Michael von Hausswolff in Palma (Majorca) and Stockholm. Still Life - Requiem is a musical piece consists only of sounds emitted and extracted from physical matter using emission spectroscopy as the sole basic technology. Acknowledgements to Linköping University (IFM), Sweden. Still Life - Requiem consists of one piece with the same title and is divided up into two to fit the LP format. The piece is, as the title suggests, a requiem and its contents are solely composed by sounds captured from a specific physical solid state material. The composer has used a technique called "emission spectroscopy" whereby the frequencies generated from the material was analyzed and transferred into, for humans, a listenable pitch (between 15 and 14000Hz). This captured organic sound material has been stretched, looped, equalized, and composed to produce the recording. A requiem is a piece of music dedicated to certain sole or several restless souls that wander our worlds looking for a place to call home. A requiem radiates calm, peace and perhaps comfort for tormented spiritual beings -- it's a piece dedicated to promote and insert tranquility and transcendence. This requiem also provides the listener with a certain feeling of connection -- perhaps a connection with the unknown and with the energy field clusters and mental abilities of post-mortem life forms that would be the incorporeal essence of a living being. Carl Michael von Hausswolff (born 1956 in Linköping , Sweden) has a long history within the communities of contemporary music and visual art. His first records were released in early '80s while the most recent saw the light just a few years ago. In recent years, he has been collaborating with Leslie Winer -- (1) (MONO 005LP, 2015) -- and Hans-Joachim Roedelius -- Nordlicht (2017). He has also instigated and curated the collective sound-installation "freq_out" during 2003-2017, which includes artists such as Jana Winderen, JG Thirlwell, Finnbogi Petursson, Christine Ödlund, and others. Artwork and photography by Jon Wozencroft and Carl Michael von Hausswolff. Mastered by Jason at Transition.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
TTW 071CS
|
C.M. von Hausswolff used to co-run DS Art Gallery and the publisher/record company/organizer Radium 226.05 in Göteborg, Sweden, during the 1980s. Meanwhile, he was also a part of the duo Phauss with Erik Pauser as well as engaged in the rock bands Blue For Two, Psychonauts and Evil Dead Goofball. He was also active in the visual art group VAVD and the combo Elggren, Liljenberg, Pauser And von Hausswolff, doing mainly live-installations and performance art.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
TO 082CD
|
This is Carl Michael von Hausswolff's first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography.
CM von Hausswolff says: "I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called 'Jag är en annan,' (trans. 'I Is Another') stemming from the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud's life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud's life and as he had connections in Ethiopia and in the small city of Harar, he said: 'why don't you go to Harar for 10 days and see what you can find?' So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material. There are two tracks. On the first track, which consists of three 'parts' I have used material from Harar. The long dronic sounds are taken from an instrument that I, after searching for days, bought in Harar -- it's called a 'krar' and is a stringed instrument. As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there are also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds -- just the wind, insects, some kids. The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to record this. On the second there are only oscillators used ... several of them ... AND using one low-pitch oscillator I ran a sound filtered through. This sound is the low 'rhythm' you can hear, and it's a low-pitched Morse code signal... and the text is the famous poem Rimbaud wrote in his youth called 'Le Dormeur Du Val' (trans. 'The Sleeper In The Valley'). This poem is a beautiful text starting off in nature, where a person is sleeping in the grass. Slowly, Rimbaud zooms in and we read that it's a soldier and at the very end we are told he has two red wounds on his chest -- the guy is dead!." Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
DIESTADT 031EP
|
"Two unreleased tracks recorded in 2006 for this 7" meant as a companion release to the repress of DS31 LP. The 7" comes in a full colour sleeve reproducing the original artwork of the LP. 500 copies on clear vinyl."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
R-N 067CD
|
Originally released in 2006. With his works, the Swedish artist Carl Michael Von Hausswolff takes interest in revealing and using acoustic, visual, social and cultural phenomena. For the CD Leech, he acts as a parasite on works by Olafur Eliasson, Carsten Höller, Tommi Grönlund/Petteri Nisunen and Richard James. On the first three pieces, he sucked energy/sound out from the electric functions of those works; sounds that normally cannot be heard. On James' work, he bruises the skin's surface as leeches usually do before they penetrate the body. This is a new way of sampling; a reading of the un-readable in certain types of art works. It might be a "L'art pour l'art" production, but this was unavoidable as this "search for the real" continued. Leech is the second release by Carl Michael Von Hausswolff on Raster-Noton.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
SR 217CD
|
...An Unbalanced And Quite Dangerous Airport And An Abandoned Church. "This second complete CD followed his Rays of Beauty and will build a subtle trilogy work for Sub Rosa. By visiting Lagos in 1983, Tokyo in 1999, 2000 and 2001, Bangkok several times between 1986 and 2002 and Mexico City in 2002 and 2003, CM von Hausswolff came, as thousands of other people, to the conclusion that something is running amok. An uncontrollable avalanche consisting of the construction of houses, streets and in-between spaces develops in large cities as independent do-it-yourselves-organisms. They're places we like because of their 'anything can happen'- status. They're places we hate, because they remind us of what lousy creatures we actually are. How long will they last? Maybe as long as the feedback sustains? A conclusive statement rolled over the above-mentioned composer when he stumbled over an abandoned church in Chicago. This sad place, once illuminated by Marin Luther King, is now in the hands of soaptalkshowcommander Oprah Winfrey's chef Art Smith ... Maybe it's a sign of something good. At least we know the quality of his desserts ... This new release, following his A Lecture On Disturbances In Architecture (Firework Edition Records, Stockholm, 2002), deals with these matters in a formal way. The rest is up to you ...."
|
|
|
|