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LP
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GLR 013LP
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$56.00
PREORDER
RELEASE DATE: 3/28/2025
Coinciding the cinema release of Der Wald in mir, the soundtrack by Gregor Schwellenbach is released in an exclusive edition in high-quality screen-printed covers by director and artist Sebastian Fritzsch. Microtonal strings in dialogue with electronic sounds, noise music, drones and ambient, complemented by improvisations by experimental string wizards Emily Wittbrodt and Matthias Kaiser. These different worlds of sound are linked by melodic motifs that come together in the final end credits song. This closing track was created in collaboration with indie artist Jungstötter, "a singer, whose intense aura I associate with the sensitivity and emotional depth of the main character Jan, just as I hear the strength and unflinching devotion of the character Alice in co-singer Isabelle Pabst" --Gregor Schwellenbach.
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CD
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GLR 006CD
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The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. Live im Haus des Rundfunks documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich and Terry Riley's Six Pianos / Keyboard Study #1 (FILM 002CD/LP).
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LP
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GLR 006LP
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The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. Live im Haus des Rundfunks documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich and Terry Riley's Six Pianos / Keyboard Study #1 (FILM 002CD/LP).
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7"
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GLR 002EP
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"Maybe that is something unique to Cologne, a good balance between the human and the machine. This was an idea to find people particularly from Cologne, I think that there is a scene here. Just parachuting me in and seeing what will happen, you know. It's all about finding people who think alike." Kurt Wagner (Lambchop). In 2016 Week-End Festival invited Lambchop's Kurt Wagner to perform songs from his album FLOTUS (2016) in new version with musicians from Cologne. Here are two songs he did with Gregor Schwellenbach. Recorded live at Stadthalle Köln-Mülheim.
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LP
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GLR 001LP
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For the dance film essay The Body as Archive Gregor Schwellenbach chose a simple yet radical approach: he created a kind of catalog of sounds, clearly structured, presented with sobriety and boldness. The sounds are not embedded in the familiar frame of rhythm-harmony-melody; rather, they are introduced smoothly, presented one after the other, sometimes going together, then standing alone. It is a sensual approach, at the same time executed strictly systematically. Or vice versa: Schwellenbach's composition is strictly systematical, giving maximum space for sensuality and the unfolding of sounds. Schwellenbach strives to create a system that doesn't become rigid, by treating the material gently and with sincerity. In composing The Body as Archive he sets clear rules: everything is played by hand, he only uses instruments he plays himself: keyboards (Rhodes, piano, synthesizer) and double bass. Almost all material is played in the same key, the chords can be used in any combination, everything fits to everything. The ten parts of The Body as Archive, mastered by Taylor Deupree, could be played all at the same time without sounding cacophonous. Everything is pure presence, a gently woven stream of elegance and attentiveness. The organization of sounds -- usually an action of preparation, didactic and discipline -- turns into poetry.
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