|
|
|
|
viewing 1 To 6 of 6 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
GRON 237LP
|
Hans-Joachim Roedelius is a pioneer in in the field of electronic music. He explains Drauf Und Dran: "The tracks released on this album originate from various creative periods of my career. They were recorded while I played Bösendorfer, Steinway and Yamaha grand pianos, and even my Young Chang Upright. They are not, however, in the chronological order in which they were recorded because I feel that the within and with the selection of tracks and with how the structures are strung together and the nature of each interpretation, the attentiveness to what one is hearing refocuses of its own accord. In a manner of speaking, this is intended to musically 'outwit' established listening habits and to expand and maintain the listener's attentiveness. I do this because my music is not about the perfect performance of long-popular models and producing masterly recordings. My actual profession is that of physical therapist, masseur and palliative caregiver. I'm musical, but have no formal training; my musical ignorance necessitated that I, as it were, make a virtue of embarking on practical adventures into the realm of sound experimentation. The wide array of racket-producing tools, such as hammers, adapted metal plates, rods and springs, the sounds of food processors and the other things I used in and with the band Kluster at the start of my career allowed me to create kind of 'noise factory' that was tagged 'musical Actionism.' That Actionism got on my nerves ever more as time passed, and, thank God, that led me right to the piano; it, or rather its expressive possibilities, is now my main interest. Drauf Und Dran is meant as a milestone and a guidepost, as a kind of musical peephole through the 'iron' curtain of what is familiar, perfected and conventional in music and into a sound universe that has officially only yet been explored cursorily. Varying piano string vibrations create interferences, overtones and undertones in the fading reverberation of pointedly accentuated."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GRON 030CD
|
Sol Seppy's The Bells Of 1 2 is the debut outing from the heart and mind of Sophie Michalitsianos. Born in England, and growing up between here and Australia she began writing songs at five years old. At sixteen, Sophie began writing music for television documentaries and swapping her vocal abilities for free studio time at the EMI studios in Australia. She received various offers from labels, but none which gave her the creative freedom she desired so Sophie politely declined. She was accepted into the Sydney Conservatorium of Music, where she studied contemporary composition and orchestration, she's a classically trained pianist and cellist. At twenty-three Sophie moved to the States and not long after touch down received word that Mark Linkous of Sparklehorse had heard her music and wanted her to join them for their tour with Radiohead. Sophie obliged, and afterwards found herself contributing to Sparklehorse's albums, Good Morning Spider (1998) and It's A Wonderful Life (2001). After her time with Sparklehorse, Sophie continued pursuing numerous musical avenues until she could afford a move to upstate New York and set up her own studio. After a few false starts, the catalysts for The Bells Of 1 2 finally materialized into a cohesive vision. As the sole voice and creator behind Sol Seppy, Sophie embraced the roles of writer, performer, engineer, and producer. The album's celestial romanticism glows in Sophie's enchanting vocals, reminiscent of Mazzy Star and the Cocteau Twins, each track a channel to some uncanny territory. "Slo Fuzz" beckons with an affectionately plaintive chorus bubbling over ethereal melody lines. "Wonderland" tells the story of an artist with the sinking feeling that a change will never come. "Come Running" is a curious ode to companionship. "Enter 2 Human" plays out as one of the most heartrending incitements in recent years. Each song is more than enough to get lost in. This enchanting album is prismatic by nature, "It's the discovery of beauty that inspires me the most," she says, clandestinely hinting at an endless impetus for the songs of Sol Seppy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GRON 212LP
|
RSD 2019 release. For Ohio-based Tim Story, American neo-classical composer and expert in synth-assisted exploration, the Lunz collaborative project is a lifelong dream. His partner in the sublime is Hans-Joachim Roedelius, the man behind Brian Eno's favorites Cluster and a musical maverick whom Story has longed to work with ever since he first heard the cerebral, eerie, proto-Aphex strains of Germany's Cluster in the '70s when all around him was hairy, lairy rock n' roll. "Rock n' roll was king and I was getting restless," explains Story. "Discovering this new German electronic music was a blast of fresh air to the handful of us who managed to find it. As a friend of mine put it, Cluster's music was like 'some heavenly music except the primary instrument appears to be a coffee percolator.' What I was, and still am drawn to, is that Roedelius has the most intuitive approach to music of anyone I've ever met. Whether he's playing a translucent piano improv, or experimenting with the most jagged, dense electronics, there's this undeniable humanity and uniqueness to his work." The two first met when Story, traveling Europe to plug his first solo albums in 1983 and still obsessed by his hero, "made a point to swing through Austria to meet him." Story ended up staying with Roedelius for a week, camping in the beautiful, forested area that would eventually give them their collaborative name. Since that first meeting, the two have remained close, exploring a kindred spirit for composing "emotionally ambiguous" soundscapes and for wine, something that delayed them actually working together until 1996: "Whenever we got together," says Story, "we were always having too much fun to actually start!" They finally got to it when Roedeluis and Cluster made their American touring debut in 1996. First to come from this musical partnership was the hallucinatory musique concrète of The Persistence of Memory (2000), followed by acclaimed 2003 album Lunz (2002), followed by 2008 album Inlandish (2008). Now, 11 years later, they finally recorded a new album together.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
GRON 030LP
|
RSD 2019 release. Sol Seppy's The Bells Of 1 2 is the debut outing from the heart and mind of Sophie Michalitsianos. Born in England, and growing up between here and Australia she began writing songs at five years old. At sixteen, Sophie began writing music for television documentaries and swapping her vocal abilities for free studio time at the EMI studios in Australia. She received various offers from labels, but none which gave her the creative freedom she desired so Sophie politely declined. She was accepted into the Sydney Conservatorium of Music, where she studied contemporary composition and orchestration, she's a classically trained pianist and cellist. At twenty-three Sophie moved to the States and not long after touch down received word that Mark Linkous of Sparklehorse had heard her music and wanted her to join them for their tour with Radiohead. Sophie obliged, and afterwards found herself contributing to Sparklehorse's albums, Good Morning Spider (1998) and It's A Wonderful Life (2001). After her time with Sparklehorse, Sophie continued pursuing numerous musical avenues until she could afford a move to upstate New York and set up her own studio. After a few false starts, the catalysts for The Bells Of 1 2 finally materialized into a cohesive vision. As the sole voice and creator behind Sol Seppy, Sophie embraced the roles of writer, performer, engineer, and producer. The album's celestial romanticism glows in Sophie's enchanting vocals, reminiscent of Mazzy Star and the Cocteau Twins, each track a channel to some uncanny territory. "Slo Fuzz" beckons with an affectionately plaintive chorus bubbling over ethereal melody lines. "Wonderland" tells the story of an artist with the sinking feeling that a change will never come. "Come Running" is a curious ode to companionship. "Enter 2 Human" plays out as one of the most heartrending incitements in recent years. Each song is more than enough to get lost in. This enchanting album is prismatic by nature, "It's the discovery of beauty that inspires me the most," she says, clandestinely hinting at an endless impetus for the songs of Sol Seppy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
12"
|
|
GRON 145EP
|
After recording his debut EP with Rob Ellis (PJ Harvey/Anna Calvi) and Conor O'Brien of Villagers, Patrick O'Laoghaire aka I Have a Tribe was then hand-picked to tour Europe with Calvi, opened for Villagers' Irish homecoming show, and performed at Electric Picnic and CMJ in New York. I Have a Tribe's blend of plaintive pop and folk-tinged melancholia has never been more evident than on "Yellow Raincoats," which caught the attention of Frank Wiedemann (Âme, The Howling); his remix turns the track into a pop jewel.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
4CD BOX
|
|
GRON 123CD
|
"Tribute to legendary, German producer Conny Plank. Includes a selection of Plank's most iconic work, along with a series of productions that exemplify his unique sound design. CD 3 features reworks by a host of contemporary artists of the original 24 track, magnetic tapes found in the Plank-archive. As a previously unreleased gem, the box contains a live concert by Moebius / Steffen / Plank recorded on tape while touring Mexico in 1986."
|
|
|
|