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IN STOCK
01. Kunstkopf - #1
02. Kunstkopf - #2
03. Kunstkopf - #3
04. Kunstkopf - #4
05. Kunstkopf - #5
06. Kunstkopf - #6
07. Kunstkopf - #7
ARTIST
TITLE
7 Stucke 1998
FORMAT
LP

LABEL
CATALOG #
ET 938-03LP ET 938-03LP
GENRE
RELEASE DATE
3/29/2024

Kunstkopf was formed in 1995 by Manfred Machlitt, Dirk Specht, and Taymur Streng, and joined by Patrick Laschet shortly after, all musicians coming from very different backgrounds. Streng and Machlitt had been part of the underground electronic music scene in East Berlin. Streng had played in the dark-wave group Neun Tage Alt and at the same time experimented with synthesizers and sound-making devices in his home in the outskirts of Berlin. Laschet and Specht, on the other hand, came from a West German post-industrial DIY cassette scene but had been living in West Berlin for some time. Specht lives in Cologne today and is a member of the Therapeutische Hörgruppe Köln. Kunstkopf was formed from the members' shared interest in various manifestations of electronic and experimental music, and their curiosity for finding a mutual language and mode of exchange through or despite their disparate backgrounds. In live settings, the group always improvised, never developing a repertoire through rehearsing, but embracing the challenging and erratic performance situation, while still positioning themselves fundamentally as a fixed ensemble, not a loose collective like other improvisers did. After a hasty four-day recording session in 1996, the group decided to eschew their live approach in favor of recording an album over time in Manfred Machlitt's private studio in his apartment. The process extended over a period of almost two years and involved multitrack recording, sequencing, overdubbing, software programming and an extensive post-production phase. Sound sources used were a variety of digital and analog synthesizers, various instruments including a Bechstein grand piano and a heavily processed violin, and a number of household objects. The group was aiming to achieve a pluralism of sounds as rich in contrast and colors as possible, opposing the reductionism played elsewhere in the city but never falling into expressionist trappings. The pieces from Machlitt's home studio were finished in 1998 and have remained unreleased until now. Six of them are presented here, complemented by one live recording from the same year, thus making seven pieces. A unique artefact of their time and place, yet announcing and foreshadowing a profoundly different future. Edition of 300 in a beautiful black/white/silver sleeve with four-sided insert with photos and detailed liner notes.