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ET 938-04LP
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The Feedbackorchester (Feedback Orchestra/FBO) consists of eight electric guitarists who play exclusively feedback on their instruments. Situated at the intersection of rock music and sound art, the group was founded in Berlin in 1999 and has since been performing mainly in unusual locations with unique acoustic or architectural features, such as churches, stairwells, water reservoirs, ruins, barns, etc. After a number of self-released CD-Rs, this is their first vinyl album. The orchestra is always arranged in a circle to ensure the closest possible contact between the players, while the audience is free to move around and listen from different positions. The music has been described as meditative on the one hand, while at the same time showing an impressive physical presence, often drawing comparisons to forces of nature. It is a constantly flowing stream of vibrations, frictions, and of rising and falling walls of sound in which tones and harmonies constantly attract, break, and find each other again. In recent years, the FBO has settled on a permanent cast of members who have been making music in various bands and projects for decades. This LP was recorded in a Berlin church, the Zwingli-Kirche, on August 27, 2020, and features the players Herman Herrmann, Günter Schickert, Kerl Fieser, Zeppy Haus, Giles Schumm, Hendrik Kröz, Dirk Dresselhaus, and Ansgar Wilken. Edition of 300 in full-color sleeve with photos from the location and the performance.
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ET 938-05LP
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After the orchestral piece KlangWerk 11 in 2022 (ET 933-04LP), Edition Telemark presents the second LP from Berlin-based composer Erhard Grosskopf (b. 1934), featuring his two string quartets nos. 3 and 4 in previously unreleased recordings by the renowned Pellegrini Quartet, and pressed on multi-colored quadratic mirage vinyl. Like all of his seminal pieces, these quartets -- written after one another in 1998 -- exhibit Grosskopf's principle of composing in a space instead of on a timescale, thereby eschewing the development of a dramaturgy and instead trying to make the listener forget a sense of time passing. He utilizes so-called sound processes: layers of differing lengths that are looped and stacked according to mathematical principles, resulting in circling harmonic constellations that come to an end only when their end points coincide. Despite being meticulously planned out, the actual musical phenomena that establish themselves with this method seem unpredictable to the listener. String quartet no. 3 (op. 50) uses seven such layers mapped to the four instruments, resulting in a length of about 30 minutes. String quartet no. 4 (op. 51) on the other hand consists of 12 short pieces (five quartets, three trios, and four duos) that use a simpler algorithm, allowing the listener to observe the process in close detail. Both quartets were performed by the Pellegrini Quartet (Antonio Pellegrini, Thomas Hofer, Fabio Marano, Helmut Menzler) at the UltraSchall Festival in Berlin in 2007 and 2003, respectively. This particular recording of quartet no. 3 is unreleased, while quartet no. 4 has never been released before at all. The LP is pressed on bespoke blue and crystal quadratic mirage vinyl, optically mirroring the sound process layers. Full-color sleeve with artwork by Julia Antonia and liner notes by Matthias R. Entreß. Includes a postcard with the sleeve artwork.
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ET 938-03LP
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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.
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ET 938-02LP
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Christina Kubisch (b. 1948) belongs to the first generation of sound artists and is among the most prominent European artists working in sound installation and electroacoustic composition today. Many of her works involve ephemeral phenomena such as ultraviolet light, solar energy and electromagnetic induction. She transforms them to make them perceivable acoustically and visually, thereby reminding the spectator of their presence while also allowing their aesthetic qualities to crystallize. Among her most well-known works is a project called Electrical Walks which employs specially-built headphones that receive electromagnetic signals from the environment and convert them into sound. She uses these headphones for auditory dérives through any given territory, guided by the sounds that are inaudible to passersby, and stopping wherever they seem interesting. Things like light systems, wireless communication systems, ATMs, anti-theft security devices, surveillance cameras, neon advertising, etc., have proven to emit particularly strong signals worth of being explored, often even sounding quite musical. Finally, Kubisch compiles her findings into a map and allows the public to use the headphones themselves to set off for own journeys. One sound source that has shown to be particularly worthwhile, and surprisingly varied throughout different countries, is public transportation. Zenger Station thus focuses on the electromagnetic sound qualities of trams, buses and related infrastructure. Side A is taken by the "Zenger Station" suite of three single pieces, composed from recordings Kubisch made in Prague in 2021 and 2022 and titled after the transformer station of the same name. Side B has a piece from 2021 called "A bus meets a tram meets a trolley" including tram, electric bus and trolley bus recordings from Rome, Bangkok and Bratislava, respectively. Edition of 300 with full-color sleeve and four-sided insert with photos, liner notes and an extensive interview with Christina Kubisch by Christoph Cox.
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ET 938-01LP
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Unbeknownst to the general public at the time and underappreciated until today, arguably the world's first punk record was recorded on September 28, 1966, in New York. On that day, The Godz got together to record their first album Contact High with The Godz in about 30 minutes, to be released on the avant-garde label ESP. It comprises eight rudimentary songs (plus one bizarre Hank Williams cover), played without prior rehearsals or repeats, sounding deliberately incompetent and completely lacking even the political undertones or avant-garde ambitions of other far-out music produced in New York at the same time. In 2008, Berlin-based musician and journalist Jacek Slaski met ESP owner Bernard Stollman in New York and learned the story behind the Godz' first album. He decided to trace and re-enact that historical moment and got together his band The Curators to perform a note-by-note replay of Contact High with The Godz. Again, without rehearsals or repeats. They set up (without audience) in the Festsaal Kreuzberg in Berlin on November 30, 2008, began by listening to the first Godz song, repeating it, then the next, then the next. The resulting first derivative of the original album was duly titled Contact High with The Curators and is finally released here after having laid around on external hard drives for 15 years. Edition of 200 with insert containing liner notes, and a beautiful sleeve design by Nathan D'Arcy. The Curators were formed in Berlin in 2007 by architect Anna Krenz and writer Jacek Slaski, who at the time ran the art space ZERO, and were joined by camera operator Patrick Classen. All three are non-educated and non-professional musicians. The Curators played in different venues in Berlin, Rotterdam, Vienna and Warsaw, and the band was dissolved around 2011. For this album, they were joined by songwriter and singer Doc Schoko.
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ET 933-06LP
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Dietmar Bonnen (b. 1958) is a German composer, pianist and singer whose music moves between the cornerstones of art rock, chamber music, blues, and new music. He has extensively collaborated with a large numbers of musicians in his hometown Cologne as well as internationally. Fries (German for frieze) was previously released on CD on Bonnen's own label Obst Music and is presented here on vinyl for the first time. Bonnen states that the piece's structure is "visually inspired by the wall frieze in its various forms from antiquity to art nouveau, musically by the chants of the Middle Ages moving around a central tone". It is performed by 11 musicians who play permanently during its 80-minute duration and so create a meditative atmosphere similar to drone or installation music. Twice during the course of the piece, each musician may break out of the soundscape by improvising around the repercussion note. Fries was composed in 2009 and recorded in 2010. The musicians are: Alexei Aigui (violin), Andreas Schilling (double bass), Bassem Hawar (djoze), Dietmar Bonnen (Rhodes), Erdal Aslan (bağlama), Gagga Deistler (electric guitar), Hans Martin Müller (flute), Lucia Mense (flute), Marei Seuthe (violoncello), Norbert Rodenkirchen (flute), and Phil Reptil (electric guitar).
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ET 933-04LP
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Erhard Grosskopf (b. 1934) is a Berlin-based composer of contemporary music who has been active since 1963. His works include chamber and orchestral as well as electronic music, and have been performed in the West German pavilion at Expo '70, by various radio orchestras, renowned string quartets, and avant-garde groups such as Gentle Fire or Agitation Free. A thread that runs through all of Grosskopf's works is the idea of composing not on a timescale but in a space. Grosskopf views himself as an architect who places sounds at various positions in a room, such that the resulting music is not perceived as moving past the listener's ears in time, but rather the listener moves within it as if within a space. To achieve this, he utilizes sound processes that are looped and layered according to specific temporal structures, resulting in what he calls process music, an approach that he originally developed at the Institute of Sonology in Utrecht for his electronic music and later expanded to instrumental works. However, Grosskopf doesn't just call his music abstract, he nevertheless strives for its spirit. In his own words: "As a composer I am like an architect who builds a house for music, hoping that music will move into it -- not like substance into form but like the spirit into the soul." Many recordings of his works originally remained unreleased and only recently, several CDs have appeared. This is his first LP, containing KlangWerk 11 for orchestra (2011), a work that epitomizes his method of building a sonic space, a sonic sculpture through sound processes. A different recording of the piece was published by Neos on a CD in 2018 (NEOS 11801CD). This is the first release of the world premiere of KlangWerk 11, played by the Frankfurt Radio Symphony in 2013. Full-color sleeve with artwork by Julia Antonia and liner notes by Stefan Fricke.
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ET 933-08LP
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In 2019, at the age of 85, reductionist composer Ernstalbrecht Stiebler began an improvising duo, himself on piano, with cellist Tilman Kanitz. What at first glance seems an uncommon move turns out to be a logical continuation of his minimalist compositional style that has been covered extensively on Edition Telemark and other labels. Kanitz, who was trained in classical western music but gathered musical experiences around the world and especially in India, considers his music-making and performance practice a meditative process centering on abstraction. This obviously is a perfect fit for Stiebler, whose music aims to create inner spaces in accordance with his credo that "music is too important to burden it with emotions". Thus, it comes as no surprise that their improvisations, which began as private musical conversations in Kanitz' studio, do not exhibit the talkativeness shown by many other improvisers but center around pitch, harmony and the relationships between single notes. This makes them unique even in today's manifold world of improvisational practices and history. This LP is a selection of recordings made between 2020 and 2022 in Tilman Kanitz's studio in Berlin-Pankow and pairs four improvisations with two short pieces by Stiebler. It is intended as a companion to the CD The Pankow-Park Sessions Vol. 1 on Another Timbre which features a different selection without overlap. Artwork by Aurélie Nemours. Liner notes by Matthias R. Entreß.
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ET 933-05LP
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Norbert Eisbrenner (1935-2022) was a German improvising painter and musician. During the 1960s, he became involved with the West Berlin underground music scene and has played in the free-form group Human Being that evolved around the Zodiak Free Arts Lab, as well as in the trio MND (Moderne Nordeuropäische Dorfmusik), with Sven-Åke Johansson and Werner Götz, and in Schlangenfeuer, MND's later incarnation that was covered previously on Edition Telemark (ET 903-07LP, 2020). After having started out as a saxophone player, Eisbrenner quickly became interested in the electric guitar and, because he couldn't play it the regular way, put it on his knees instead and so became one of the very first improvisers to employ a free-form table-top guitar technique that can be heard on the MND recordings. In the 1970s, he moved to the countryside and has lived in the village of Glentorf in Lower Saxony from 1983 onwards. There, his artistic focus shifted towards painting, but he continued making music intermittently, often employing a special technique of playing the electric guitar with his hands and simultaneously a synthesizer with his feet. Eisbrenner's later recordings have remained unreleased, a selection from the 2000s is presented for the first time on this double-LP. Included are four solo recordings, two tracks with local musician Zoot Horner, and a side each of duos with his former trio partners Götz and Johansson. Full-color sleeve and inner sleeves with reproductions from his series of paintings "Ton in Ton".
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ET 933-07LP
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After Spontaneous Music in 2018 (ET 864-01LP), Edition Telemark presents Space Music by Japanese Fluxus artist Takako Saito (b. 1929) who has been living in Düsseldorf, Germany, since 1979. Similarly to the previous LP, the recordings featured here deal with everyday things and actions which Saito transforms through unique and deliberately crafted artistic interventions. For Space Music, pieces were selected whose acoustic outcomes involve the characteristics of the spaces in which they were recorded. Side A features two performances from 2020 in the church Kunst-Station Sankt Peter in Cologne: In "Klangkleid", Saito and co-performers Bei Li Zhou and Thomas Rhiemeier move and dance in Saito's sound dresses -- jumpsuits onto which she sewed empty plastic and metal packagings to produce sounds while moving. For "Kugelmusik" ("ball music"), she chose balls made from various materials and asked audience members to roll them across the floor towards each other. Side B contains a selection of 1980s recordings that had been left out on Spontaneous Music and are arranged here as a sound walk: After "Chewing" ("Kauen") at her kitchen table, Saito steps outside onto the construction site "Böhlerweg" near her home to record her voice in a former factory building. Finally, she walks on the street ("Auf der Straße") towards the Oberkassel district of Düsseldorf to buy her daily needs. Includes one insert with liner notes and three postcards; the sleeve and the postcards feature a series of drawings by Takako Saito from 1985; edition of 300.
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ET 923-08LP
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Third release by the Maciunas Ensemble on Edition Telemark after 1976 (ET 314-07LP, 2015) and the self-titled 50th anniversary LP from 2018 (ET 785-08LP). The group had been founded in Eindhoven, The Netherlands, in 1968 with the aim of realizing the score Music for Everyman by Fluxus initiator George Maciunas, which they interpreted as allowing total freedom in the sounds being produced. The group met regularly, usually once a week during their heyday, and improvised on instruments that were at hand. Every session was recorded to be played back and discussed before the next session. This method meant that small changes and subtle new ideas could be integrated from one session to the next, eventually leading into completely new directions over a longer course. Paul Panhuysen linked this approach to the oral traditions of folk music. One of their most productive periods were the early 1980s where, after settling on a stable line-up of Paul Panhuysen, Jan van Riet, Leon van Noorden and Mario van Horrik, the group developed their own brand of minimalist rhythmic music, inspired in equal parts by rock, post-punk, drone and minimal music of the time. A selection of named pieces had crystallized from the improvised sessions that were worked on and refined, many of them having long durations and featuring wordless vocals by Paul Panhuysen that added another unique rhythmic layer to the music. Phill Niblock, while visiting the ensemble's home base Het Apollohuis in Eindhoven, called some of these pieces "rhythmic drones", drones produced by repetitive rhythmic strokes, simultaneously on various instruments. Some recordings from this period can be heard on the LP Music for Everyman 861 (1986, Apollo Records) and the self-titled LP. Virtually unknown until now have been five more pieces that were released by the band in 1983 and 1984 on two cassettes named YoplaBoum and Permanent Wave. They are re-released here for the first time, with a double LP featuring the whole YoplaBoum cassette -- the 43-minute title piece split across the first two sides, the two others on sides C and D -- and a CD including the two tracks from Permanent Wave. Single sleeve with two printed inner sleeves featuring liner notes by Leon van Noorden and Mario van Horrik, and a selection of photos and artwork from the period; includes CD in cardboard sleeve; edition of 300.
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ET 923-07LP
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Christopher A. Williams (born 1981) is a contrabassist, composer and theorist of experimental and improvised music whose artistic research takes the form of both academic publications and practice-based projects. On Perpetual (Musical) Peace? (PMP) is one of his projects -- an experiment in musical cohabitation with large improvising ensembles. It is inspired by Immanuel Kant's essay "Zum Ewigen Frieden: ein Philosophischer Entwurf" which speculates that nations do better for themselves by sorting out their differences through an international federation instead of through warfare, thus proposing a path to lasting peace. (It later influenced the UN Charter and EU Constitution.) Williams argues that Kant's idea of hospitality, publicity (transparency), and perpetuality (sustainability) may help players in improvising ensembles to articulate and transform their ways of playing and thinking, thus opening up new ways of interacting with each other. Composing in this way becomes less about giving the players a compositional structure to realize, and more about tweaking inherent constellations that are already present within the ensemble. This LP features the results of PMP realized in Mexico City in 2019 with Liminar, a Mexican ensemble that works at the boundaries between composed and improvised music, performance and sound installation, and regularly performs in Mexico City's main chamber music halls as well as in museums, galleries and alternative venues. An extensive PMP concert took place at Bucareli 69, an art and concert space in a late-19th-century villa near the city's historical center. The recordings for this LP were made afterwards in the studio NAFF. LP on UN-charter-blue vinyl; printed inner sleeve; edition of 300.
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ET 923-06LP
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A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel. Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza. Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy -- in a performative lecture with a lot of humor. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece. Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting eight-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972. The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers. Printed inner sleeve with insert of transcript of side A and liner notes; edition of 300.
"Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." --Conrad Schnitzler
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ET 923-09LP
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Daniela Fromberg and Stefan Roigk are multidisciplinary artists working at the borders between acousmatic sound collages, sculptures, installations, and graphical scores, often combining different types of media into one single composition. Many of their works deal with fragments of everyday life that are presented in narrative stage-like installations. One such work is Unfamiliar Home which began life in 2012 when the house the artists live in got renovated as part of a gentrification process in the Prenzlauer Berg district of Berlin. What used to be their home turned into an estranged hostile place that they were forced to inhabit while the wooden windows were wrecked, the roof stripped, all plumbing ripped out and the whole five-story building blindfolded in construction foil. During two years of living on a permanent construction site, the artists collected 400 hours of audio recordings of that novel sonic experience, out of which they formed a 12-channel mixed media installation with a sculpture made out of vintage wooden window sashes. The installation Unfamiliar Home was presented at Ausland, Berlin in December 2018. This LP mix merges the original sound collage with on-site recordings of the installation. Sound sources: tremors, hollow scratching, resonating gas-heaters, droning jackhammers, crumbling ceiling plaster, wind, chimney sweeping, blow torches, rustling plastic cover, elevator buzzing, dismantling of the scaffolding. "The ephemeral sound of an urban Berlin -- too soon to be history, when all vintage construction materials have fallen prey to real estate funds." --Daniela Fromberg & Stefan Roigk. Full-color outer sleeve, inner sleeve and three LP-sized inserts with photos of the installation; edition of 200.
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ET 933-01LP
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After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. In Falten (folds), Engelen asks musicians to play and interpret pieces of folded paper. Falten scores exist in different sizes, ranging from about 60cm x 30cm up to works that are ten meters long. They consist of a piece of paper with stave-like lines drawn on it. The paper has been folded -- sometimes with origami-like proficiency that adds a sculptural element to each Falten score -- so that the lines collide, intersect, crisscross, disappear into folds, etc. The staves then represent sound, the parts of the paper that have disappeared represent pauses. The musician should interpret this paper environment like a choreography for their movements on their instruments. The actual notes don't count, but rather their parameters like intensity, timbre, vibration, etc. While this seems like total freedom at first sight, the staves and folds in fact give each performance a time structure that even allows for Falten to be played by ensembles. Falten scores have been realized on numerous occasions, from performances for orchestra to solo electric guitar. This LP contains "Falten for string quartet", performed in 2012 by Sonar Quartett, and "Falten for percussion", performed in 2013 by Talujon Percussion Quartet. Photos of Falten scores and liner notes by Dagmara Genda; edition of 300.
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ET 933-03LP
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After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. Gebrauchsspuren (signs of wear) is a composition from 2016. It consists of the sounds of a CD player skipping on a piano track, transcribed for piano. The idea for this piece occurred to Engelen while he was listening to a CD of piano pieces by György Kurtág, Béla Bartók et al., when the CD player suddenly started skipping back and forth randomly on a track, repeating some notes and skipping others, thereby creating rhythms and additionally making its own noises. Because he was drawing, he couldn't get up immediately to remedy the situation. Rather, he was forced to listen to what became the CD player's own music. Engelen made an audio recording of the situation, transcribed the notes and noises, and asked pianist Benoît Gagnon to perform the resulting score. This LP contains two versions of the piece, both recorded by Gagnon in 2018. Edition of 300.
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ET 933-02LP
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After Today, The Organ Has Played Beautifully Again (ET 864-05LP) and 32 bpm (ET 864-09LP) from 2019, Edition Telemark presents three new LPs by Dutch sound artist William Engelen, released on the occasion of his exhibition "Klinkt goed" at Kunstmuseum Den Haag. All three LPs are released separately but may be listened to as a whole because they portray three work groups that are representative of Engelen's compositional methods: Falten, Verstrijken, and Gebrauchsspuren. The Dutch word "verstrijken" means the same as its German counterpart "verstreichen": the time that passes. It is the name of a compositional method that William Engelen has been using since 2005. For a Verstrijken piece, he asks one or more musicians to keep a diary for a defined time period, usually a week. He then transforms each diary into a graphical score for the particular instrument played by each musician, where every hour is translated into eight seconds of sound. For the purposes of the composition, every activity described in the journal must belong to one of four general categories: sleeping, eating, working and free time. These will be represented by different colors in the score and later by different types of sounds. The quality of each individual sound is influenced by the quality of the particular activity, e.g. if the player slept well or not, how a particular meal tasted, etc. In this way, the musician performs a kind of self-portrait. Due to the nature of the composition, every score belongs to the particular player who has written the underlying journal and must only be performed by themselves. It is possible to perform Verstrijken in ensembles, though in this case each musician essentially performs solo and must not listen to the other players. Verstrijken has been realized for a large number of musicians and instruments. Some recordings have been released in 2008 on CD as part of the catalog Verstrijken (Audio Works 1999-2008) by Verlag für Moderne Kunst Nürnberg. This LP pairs two unreleased solo recordings: Verstrijken for Ko Ishikawa (2010) and Verstrijken for Luc Döbereiner (2007). Edition of 300.
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ET 903-09EP
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Andrea Tippel was born in 1945 in Hirsau in the Black Forest and grew up as the middle of three sisters in Bremen. Her parents were the architects Maria Alexandra Mahlberg and Klaus Tippel. In 1971, Tippel moved to Berlin and began creating drawings, objects, composites, texts and books, as well as a few oil paintings. Tippel was appointed as a professor at the Hochschule für Bildende Künste Hamburg in 1997 and co-founded the Dieter Roth Academy (DRA) in 2000. She passed away in 2012 in Berlin. From the early 1990s onwards, Andrea Tippel frequently recorded audio works including readings, songs and field recordings. Her literary centerpiece undoubtedly is Ich Und Sie, a novel composed entirely of three-letter words (TA 160CD). This 7" single collects three improvised songs, originally titled seltsame Lieder/improvisiert, recorded to cassette tape presumably in the mid-to-late 1990s. All three tracks are playful and funny, but at the same time they unfold three philosophical topics, typical of Tippel's dry humor: The first song, "hotduiknow", is a sprechgesang loop of the epistemological question "How do I know?", without a final universal answer: How do we know that we know what we know? "Herr Kurzweil + Herr Frommherz" is based on a children's song well-known throughout Germany: "Der Kuckuck und der Esel" (The Cuckoo and the Donkey). Its lyrics, describing a quarrel between a cuckoo and a donkey about who of the both was the better singer, are by Hoffmann von Fallersleben, who also wrote the text of the German national anthem. Tippel transformed the two 19th-century animals into two 20th-century futurists, asking who has the better vision of the future: Ray Kurzweil, scientist, book author, and now a director of engineering at Google, or Fridolin Frommherz, a fictional German scientist from the novel Vom Mars zur Erde (1914) by utopian Albert Daiber. Frommherz, living in the year 2222, decides to stay on Mars as the only member of an expedition group, deeply impressed by a higher civilization found on the red planet. The last song, "when i die please do what you want (Testament)", brings up another philosophical question: Who decides over my body when my mind is absent? and is it still my body? But the song turns the Descartes body/mind question into a kitsch chanson, a stereotypical imitation of a "foreign", sexually attractive woman, unfortunately with a dead body. Reproductions of drawings by Andrea Tippel on the sleeve and on the labels; includes postcard; Edition of 200.
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7"
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ET 923-01EP
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Brianne Curran is an improvising violinist from Sydney (Guringai Country, Australia), and is currently based in Berlin. She was leader of the world/jazz quintet Takadimi and has worked in groups such as the Splinter Orchestra and the Krakow Improvisers Orchestra, as well as in numerous projects with saxophonist/clarinetist Luc Houtkamp. Of major interest in her approach to music making is the relationship between artist, environment, and audience. Between 2004 and 2007, while living in Canberra, she regularly visited a place called Canyonleigh in Gundungurra Country, staying out in the bush, often in isolation, exploring ways to express and connect with the surrounding landscape and space through music. On the last day before moving to Berlin in 2015, she decided to visit Canyonleigh one last time, hung a recorder in a Eucalyptus tree, and made these recordings. Full-color sleeve with insert, with photos from Canyonleigh and liner notes; edition of 200.
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LP
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ET 923-02LP
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Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer, and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017 (ET 628-05LP), this is his second LP on Edition Telemark. 10 x 15 = 30 is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title Fünf Mal Dreißig Ist Sechzig (5 x 30 = 60). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box), and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a program of solo pieces but a collective improvisation with musicians and visual artists. Being skeptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky -- and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between two and ten minutes. Their length and distribution was decided by chance. Within their sections, players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, five videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to two parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into two equal parts, mixed down and cut into two halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract -- a new composition. Regular version comes in glossy sleeve with artwork by Dietmar Bonnen; edition of 240.
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LP+CD
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ET 923-02LTD-LP
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LP version. Includes the Obst Music CD with the full-length recording, both in their regular sleeves, and a numbered card signed by all musicians. Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer, and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017 (ET 628-05LP), this is his second LP on Edition Telemark. 10 x 15 = 30 is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title Fünf Mal Dreißig Ist Sechzig (5 x 30 = 60). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box), and Lucia Mense (recorders). What Behrendsen had in mind for the concert was not a program of solo pieces but a collective improvisation with musicians and visual artists. Being skeptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky -- and the feet on the ground": between individual freedom and preconceived rules. The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between two and ten minutes. Their length and distribution was decided by chance. Within their sections, players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, five videos by visual artists were projected in random order, again without any intended correlation between sound and video. For the LP, the concert recording had to be adapted in length, i.e. reduced to two parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into two equal parts, mixed down and cut into two halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract -- a new composition.
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LP
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ET 923-04LP
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Two previously unreleased recordings from Philip Corner's Gong/Ear series of works. Side A was recorded on a South German night train ride in 1990, side B in the Alps in 1994.
"Riding the rails. Down the Rhine at-night alone in a compartment making music for my-self with those Korean-shaman-cymbals given as a gift from Ho-Sun Cheon (husband of Hong-Hee Kim who later will organize the festival 'The SeOUL of Fluxus' and invite-me come-and-participate) when he was cultural attaché to Denmark and came to the 'Fantastics' festival in Roskilde) ... yes consider them part of the Gong/Ear series of (call them) Metal Meditations which started manyyear befor from HighSchool teaching, an Experimental Music wher i turnd-out to be the lerner, reducing the possibl-abilitys of all resonant metals to a rezonant essensetial, and so following me my whole life into now. In to the Rail Road wher outersound ov an other kountry enters into my manipyulayshunz ov those sacred circles. At othertimes that sound going-out to be ears of other dancers and so their bodys body'smove-ments coming bak to me as a kind-ov audiovisual feedbackloop---many ov such artistic lovers, until coming in-a-way to that same Korea sound enshrined forever on the 'Gong/Ear: Shaman' recording: The Wormhole CD completing a circl in-a-way even bak to Korea. Later, as progresses (one coud say) in all my creativwork-concepts-becoms the greater generlizayshun 'Withinstacys'---a fulfillment of 'extasy'---wher every notesoundaction must be perfect, by immediate and uncontrovertabl certeinty." --Philip Corner
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LP
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ET 923-03LP
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The Festival Experimentelle Musik is a music festival in Munich, organized by Stephan Wunderlich and Edith Rom, that has been held annually in December since 1983. One of the festival's unique characteristics is the way the performances are organized: Each is limited to 20 to 25 minutes and all take place in direct succession without pauses, on previously set-up small stages. In 2017, Seiji Morimoto and Yan Jun performed after each other. Seiji's piece was called "Ring + Balance", he used small speakers, microphones and amplifiers on a table to create feedback rings that were eventually distorted by alarm clocks. Yan performed "Solo With Background" in which he sat on a chair making vocal and body gestures and had two audience members announce the elapsed time every three or five minutes, respectively, according to their own inner clocks. As a spectator, Edition Telemark felt that the two performances had something in common. Their very quiet and experimental nature -- in the sense that it was impossible to anticipate what would happen and when, if at all -- made the audience listen not only to the sounds but also to the situation that had been evoked. When the label met Seiji a few weeks later in Berlin, it turned out that he had a similar feeling. Edition Telemark asked Yan and the idea was born to make a split LP of both recordings. The performances were recorded by Albert Dambeck and carefully mastered for vinyl by Werner Dafeldecker. Audience noises are an intended part of the recordings. Seiji Morimoto (b. 1971) is a Japanese sound artist and performer living in Berlin. He is interested in uncertain acoustic appearances between usual objects. Yan Jun (b. 1973) is a Chinese musician and poet based in Beijing. He works with field recordings, electronics, voice, body movement etc.: sometimes funny --always simple. Edition of 300.
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LP+2CD
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ET 923-05LP
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Night Music unearthes Sven-Åke Johansson's very first recordings from 1964 -- made with his Tandberg tape recorder in the Kronenburg Bar, a dive bar in the red-light district in Münster/Westfalen (West Germany). There he performed jazz versions of popular songs and standards with Uwe Wegner (piano) and Gerold Flasse (double bass), sometimes joined by Dutch singer Jenny Gordee. Young Udo Lindenberg was a frequent guest at the Kronenburg Bar. Side A of the LP features seven songs from the Kronenburg Bar. Selected in addition, on side B and two CDs, are a later jazz quartet and a quintet: "I Hear Music -- Mighty Fine Music", recorded 2001 in the b-flat club in Berlin with Axel Dörner, Henrik Walsdorff, Felix Wagner, Stephan Bleier, and Johansson. Finally, "In the Heat of the Night" from 2012 with the Coolquartet (Dörner, Zoran Terzić, Jan Roder, Johansson), from the club Naherholung Sternchen in Berlin. Full-color sleeve with artwork by Karl Horst Hödicke on the front and labels, and eight-sided booklet; edition of 300.
"The performances at the Kronenburg Bar were inspired by a belief in the absolute healing message of jazz (even in a red-light bar). During the pauses, a Hungarian Jew performed alone; she sang the Israeli folksong 'Hava Nagila' in this red-light milieu, very disconcerting in post-war Germany circa 1964." --Sven-Åke Johansson
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2LP
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ET 903-07LP
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The Kollektiv für Kommunikative und Ästhetische Forschung was an artist commune that existed for about two years around 1970 in a former monastery in Mariental (Lower Saxony), West Germany, close to the then inner-German border. It was founded by members of the West Berlin free art and music scene, many of them having been part of the scene based around the short-lived Zodiak Free Arts Lab. Among the residents were drummer Sven-Åke Johansson, guitarist Norbert Eisbrenner and bassist Werner Götz who had formed the experimental trio MND (Moderne Nordeuropäische Dorfmusik, Modern North European Village Music) in West Berlin in 1968. One of the communal activities was to jointly make music, thereby including both the trained musicians as well as the inexperienced players and non-musicians. This led to the formation of a larger communal group around the MND core, named Schlangenfeuer (Snake Fire) by Eisbrenner; other names like Norddeutsche Dorfmusik Mariental appeared on concert posters, too. The concept of bringing together players from different backgrounds in order to improvise was followed elsewhere at that time, too, though many of such enterprises evolved around one or more leaders who clearly left their mark on the resulting sounds. Unlike such groups, the Mariental undertaking was distinctly egalitarian, with the experienced players giving leeway to the others to express themselves, while never overreaching with disproportionate virtuosity or soloing. For these reasons, their music sounded different from many jazz-based free improvisations, rather closer to early Faust or, more specifically, Kluster, Eruption, and Human Being, similar endeavors from the West Berlin underground music scene. "... The more complex and in a different way expressive free jazz which we were pursuing at the same time was somewhat put aside in favor of a joint performance of the 'commune'. The result was a new kind of monastery music, nourishing the youth in their longing for community." --Sven-Åke Johansson Double-LP containing a full concert recording from the festival "Art Information 71" in Kiel in June 1971, one of three public performances of the Schlangenfeuer group. Players: Norbert Eisbrenner (el. guitar), Peter Dyck (cello), Rita Eisbrenner (vocals), Elke Lixfeld (vocals), Boris Schaak (vocals, bassdrum, bell), Werner Götz (double bass, viola), Sven-Åke Johansson (drums, oboe d'amore). Gatefold sleeve with photos and extensive liner notes by David Toop; Includes a reprint of the festival poster; Edition of 300.
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