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CD
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ZKR 019CD
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The third collaboration between Keiji Haino, one of the most prolific artists of the Japanese experimental/noise scene, and the critically acclaimed zeitkratzer ensemble, comprising stunning interpretations of Stockhausen compositions. When Keiji Haino heard zeitkratzer rehearsing for their Stockhausen performance at the Ruhrtriennale festival, he spontaneously decided to join the group for that part of the program, in addition to the collaborative performance that was released in 2014 as zeitkratzer + Keiji Haino (ZKR 018CD) and Live at Jahrhunderthalle Bochum (KR 017LP). In the Stockhausen performance, Haino focuses on his voice while zeitkratzer creates the instrumental environment, applying their amplified extended techniques and unique skills as musicians. The ensemble proves its outstanding quality once again, having already earned its reputation with recordings of works by Throbbing Gristle, John Cage (ZKR 009CD, 2010), Alvin Lucier (ZKR 011CD, 2010), and Lou Reed (Metal Machine Music) (ZKR 016CD/KR 016LP, 2014) and collaborations with Carsten Nicolai aka Alva Noto (ZKR 004CD, 2008), Terre Thaemlitz (ZKR 005CD, 2008), and others. Aus den sieben Tagen features five pieces from Stockhausen's collection of 15 text compositions, composed in May 1968 in reaction to a personal crisis. Stockhausen characterized the pieces as "intuitive music" -- music primarily played by intuition rather than by the intellect of the performer(s), without a single defined note. zeitkratzer and Keiji Haino demonstrate beyond any doubt that they know how to use this free interpretive space. zeitkratzer, directed by Reinhold Friedl: Frank Gratkowski, clarinet; Hild Sofie Tafjord, French horn; Hilary Jeffery, trombone; Reinhold Friedl, piano; Maurice de Martin, drums and percussion; Marc Weiser, acoustic noise; Burkhard Schlothauer, violin; Anton Lukoszevieze, violoncello; Ulrich Phillipp, double bass. Keiji Haino, voice.
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LP
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KR 017LP
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LP version of 2014 release Zeitkratzer + Keiji Haino. 180 gram pressing, gatefold sleeve, limited to 500, includes download code. On his second release with Zeitkratzer, Keiji Haino concentrates solely on his voice. No electronics are used except for amplification. Nevertheless, this live recording is even more radical than the first one. Radical is the concentration on the very limited but frenetic musical material, worked out in detail, which is rarely heard in the noise context -- enabling Keiji Haino to sit on it, fly over, to merge or just to oppose. Zeitkratzer's amplified instruments, played with extended techniques as developed by the group and its outstanding musicians over more than a decade and Haino's incredible richness in voice timbres and noises complement each other perfectly. It's one of the closest and most natural cooperations Zeitkratzer ever had. Wild and beautiful. Shouting, scratching, screaming, piping, chattering, crying, rumbling, oscillating, roaring, clashing, juttering, tinkling, singing, ... and at the end, it's hilarious, powerful music, pure noise and pure melody. As the Chicago Reader noted: "The supernova finally occurs!" and The Wire agreed: "A real highlight, with Zeitkratzer enfolding Keiji Haino in its grasp like some tentacular kraken of the deep. Haino effectively becomes another member of the group." Rock-a-Rolla cheered: "Forceful and utterly compelling!" Nothing left to say than: listen! Zeitkratzer is directed by Reinhold Friedl: Frank Gratkowski (clarinets); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Reinhold Friedl (piano); Marc Weiser (acoustic noises); Maurice de Martin (percussion); Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); + Keiji Haino (voice); Recorded live at Jahrhunderthalle Bochum, Ruhrtriennale. Recorded & mixed by Martin Wurmnest . Mastered by Rashad Becker.
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CD
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ZKR 018CD
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On his second release with Zeitkratzer, Keiji Haino concentrates solely on his voice. No electronics are used except for amplification. Nevertheless, this live recording is even more radical than the first one. Radical is the concentration on the very limited but frenetic musical material, worked out in detail, which is rarely heard in the noise context -- enabling Keiji Haino to sit on it, fly over, to merge or just to oppose. Zeitkratzer's amplified instruments, played with extended techniques as developed by the group and its outstanding musicians over more than a decade and Haino's incredible richness in voice timbres and noises complement each other perfectly. It's one of the closest and most natural cooperations Zeitkratzer ever had. Wild and beautiful. Shouting, scratching, screaming, piping, chattering, crying, rumbling, oscillating, roaring, clashing, juttering, tinkling, singing, ... and at the end, it's hilarious, powerful music, pure noise and pure melody. As the Chicago Reader noted: "The supernova finally occurs!" and The Wire agreed: "A real highlight, with Zeitkratzer enfolding Keiji Haino in its grasp like some tentacular kraken of the deep. Haino effectively becomes another member of the group." Rock-a-Rolla cheered: "Forceful and utterly compelling!" Nothing left to say than: listen! Zeitkratzer is directed by Reinhold Friedl: Frank Gratkowski (clarinets); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Reinhold Friedl (piano); Marc Weiser (acoustic noises); Maurice de Martin (percussion); Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); + Keiji Haino (voice); Recorded live at Jahrhunderthalle Bochum, Ruhrtriennale. Recorded & mixed by Martin Wurmnest . Mastered by Rashad Becker.
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CD
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ZKR 006CD
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Presenting a third volume of collaborative works between European avant garde ensemble Zeitkratzer and modern electronic composers. On this release, Zeitkratzer cooperates with legendary Japanese noise artist, Keiji Haino. The Berliner Zeitung had the following to say about this mind-melting collaboration: "They had only rehearsed for three days, but the result was mind-blowing. Haino made music on the guitar and on the drums, on electronic devices, on two Theremins and with his wonderfully changeable tenor; Zeitkratzer infolded him, pushed him away, embedded him in noise and carried him through the sound space like on atomizing waves. Only one thing did not exist: the reconciliation between the soloist and his ensemble, which would have denied the differences in traditions and styles; the greatness of the sound, the richness of his textures was a result purely of the contrast and its dynamic."
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