What the hell is the sound of Nonplace? Isn't it "difficult easy listening," music that stands at the apex of those traditions that really matter in the history of music: power, beauty, invention, insurrection?
On recordings and performances by Burnt Friedman & The Nu Dub Players, Jaki Liebezeit (Can), Flanger, Replicant Rumba Rockers (Señor Coconut), Root 70, Freeform and Shank, you hear compassion and anger, vulnerability and strength, but deepest of all, a sadness that would be almost unendurable if it were not examined and transformed, somehow, into beauty.
Nonplace serves an avid audience that doesn't subscribe to predetermined musical belief systems: an audience, happy to shirk the dance imperative and groove to dislocating rhythms. Its pleasure is its unabashed sense of experimentation with an overall sense of integrity and humor.
The performances you hear on Nonplace releases have gone through much effort to collect, modify, and arrange the equipment necessary to achieve the consistently nutty, crisp Nonplace sound.
Visit www.nonplace.de
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12"
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NON 053EP
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Since 2018, João Pais Filipe (drums) and Burnt Friedman (electronics, synth) have investigated into automatic pattern -- composition rooted in doubling and halving; the unimpeachable laws of motion. The offer of freedom can be seen as a way to get in touch with necessity. On Mechanics Of Waving the attempt is made to succumb to such a mode of action, the drilling of a method, not through individual cunning or displayed musicianship. Through constant practice Friedman and Pais discover the principles of rhythmic phenomena while dis-associating the music from cultural idioms. Inspired by rare infrasound -- ratios ranging from 11 to 23, Nonplace releases the results of a four years long operation. Drums recorded and engineered by José Arantes. Mastered by Kassian Troyer, Dubplates & Mastering.
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12"
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NON 052EP
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2021 repress. Mohammad Reza Mortazavi (Tombak) and Burnt Friedman (electronics, synth) release their second EP YEK 2. "Equipped with one drum only and laser-pattern -- electronics, Mortazavi and Friedman produce delicate, yet archaic, trance -- inducing, transnational dance music with... hints of dust and grain..." --(Freq) Mortazavi and Friedman move hands and faders according to odd cyclical rhythms with incredible accuracy. The extreme dynamic range and rhythmic congruency of drum and electronics merge both, Mortazavi's and Friedman's repertoire entirely. Complete in [YEK], resisting cultural notions of folklore and territory.
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CD
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NON 051CD
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This is the second edition of instrumental soundtracks, composed and edited for film or television companies, tagged (on CD sleeve) and conducted conveniently to provoke absorption. All pieces were produced by Burnt Friedman and/or Hayden Chisholm as part of sessions with The Embassadors and Friedman's score recording-sessions with contributions from The Embassadors, Root70 (playing The Nu Dub Players), Hayden Chisholm, Flanger, Daniel Dodd-Ellis, and Friedman's 90s outlet, Drome. It's not only a wild mixture of various jazz-centered quality tunes, but a continuously surprising assembly of sound substance under extremely different musical idioms. You hear compassion and anger, vulnerability and strength, but deepest of all, perhaps, a sadness that would be almost unendurable if it were not examined and transformed, somehow, into beauty. File under: instrumental soundtracks, golden-era jazz, outernational, magic realism, electronica, commercials. Also features Joseph Suchy.
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12"
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NON 050EP
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2021 repress. Eurydike is a four-track EP from Liebezeit & Friedman including two unreleased "Secret Rhythms" tracks in a picture sleeve! João Pais Filipe (drums) and Burnt Friedman (electronics) ultimately hypnotize their audience by activating cosmic mechanics. Both refer to it as "automatic music," yet their focus is on playing and exploring rare rhythmic modes; in Friedman's terms: "We organize pressure mediation according to mother nature." Friedman and Pais left behind the consensus artificial paradise of cultural musical idioms, developing an immersive, archaic next-level dance music, deeply rooted in natural laws of motion. Informed by the works of Jaki Liebezeit -- one of the most influential drummers of all time -- Friedman and Pais pursue a different path. On side two the listener is confronted with two more recent, unreleased "Secret Rhythms" contributions. The two Friedman & Liebezeit studio tracks were recorded in 2016 and were played lived frequently. Since his passing in early 2017, Liebezeit's drum theory has been carefully retrieved and presented to the public for the first time.
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12"
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NON 049EP
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Juxtaposing his trademark torrent of rapid-fire sliced processed audio with the warmth of the human voice, Wolff Parkinson White's first 12" release on Nonplace, relies on comparatively familiar song structures and answers the question of what a collaboration between Björk and Venetian Snares would sound like, if both were more aware of the drawbacks of both diatonic tedium and ceaseless harmonic wasteland, respectively. The six tracks were handpicked by label owner Burnt Friedman (Flanger) from the full 13-track album release. Jochen Rueckert, jazz drummer hiding behind the moniker "Wolff Parkinson White" also appears on Heaps Dub" (NON 020CD/LP, 2006) by Root 70 and Coptic Dub (NON 027CD, 2009) by Hayden Chisholm's recording project The Embassadors.
Norah Jones appears courtesy of Blue Note Records. Also features Josh Mease, Clare Manchon, Natalie Beridze, Pascal Le Boeuf, and Desmond White.
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2LP
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NON 048LP
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Double LP version. Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together. This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession. Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication. Chat Noir would like to thank the National Music Council For Comparative Studies And Documentation in Berlin, who contributed a large part of the financial assistance. Features Lucas Santtana and Hayden Chisholm. Photographs taken by the author for Musikethnologische Abteilung Des Museums Für Völkerkunde. Mastering by Rashad Becker, February 2019.
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CD
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NON 048CD
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Burnt Friedman with Explorer Series Vol. 4, original ethnic music of the peoples of the world/full spectrum stereo dominance. With such a complicated amalgam of races, religions, and language as there is in central Europe, it is not surprising, that the musical life is endless in variety. Before the upheavals engendered by immigration policies, the introduction of 5 G technology, and the gaining of maximum self-expression, the separation of cultures must have been even more noticeable, yet now in the sphere of music one can see them drawing more closely together. This is especially true of an under-populated melting pot such as Berlin, where the sense of beauty is innate and one hardly meets a white male or a woman not being a painter or a dancer, or a musician. The system of scales, and also the fact that the western central Europeans rely on recorded or written script in order to conserve the themes of their music, could lead us to look upon it as a form of art music. Remarkably enough, traditional house or techno which existed 30 years ago, still flourishes today. Moreover, all the time new forms and musical styles are being discovered, tried out and eventually overlooked. The present record can offer but a modest sampling of extinct splendors, political or individual sufferings, gloomy sadness, love, resentment, exquisite delicacy, laughter and delectable wisdom of rural and urban central European music. Burnt Friedman's essential function is to perform music that ensures the repose of the dead and render their ghosts harmless; in the case of whole communities, to dispel evil spirits and restore to Berlin its pristine purity; and in the case of individuals, to expel the demands of possession. Despite the limited scope of sound carriers, these ten highlights of central European culture contain an emotional force and documentary value of inestimable importance. Although it would be incorrect to consider the various selections contained herein as authentic ethnological documents insofar as the performances were for the most part "mystified", on the other hand one can certainly consider them significant examples of the attempts of white males to develop their own modes of expression and communication. Chat Noir would like to thank the National Music Council For Comparative Studies And Documentation in Berlin, who contributed a large part of the financial assistance. Features Lucas Santtana and Hayden Chisholm. Photographs taken by the author for Musikethnologische Abteilung Des Museums Für Völkerkunde. Mastering by Rashad Becker, February 2019.
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12"
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NON 047EP
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After 30 years, Nonplace is now rereleasing the A side of the much sought-after maxi single "Elephant's Easy Moonwalk Through The Night" by Manos Tsangaris together with a new B side, created especially for this release in 2017. Manos Tsangaris is also a member of Drums Off Chaos. Manos Tsangaris is a traveler and a radical. That is why his tracks are like journeys, flights, or escapes. They dazzle, they drive ahead, they drift away while staying rooted to their foundations. The same applies to Tsangaris's experimental internationally acclaimed musical theater works and installations.
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12"
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NON 046EP
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Six-track mini-album from Drums Off Chaos, a project centered around Jaki Liebezeit All tracks on their second EP revolve around a vacant space in the middle. A center that is filled with nothing. The focus is on abstract, grooving drum music. Rhythms are reduced to their elementary nucleus to such an extent that they can be perceived as clearly singular but also as universal. And something emerges that follows universal laws such as gravity, ergonomics and acoustics. The album centers on rhythms that are based on simple numerical relationships allowing their richness to unfurl from within.
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CD
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NON 045CD
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Anthology 1980-2017 is a compilation spanning a period of 37 years featuring Burnt Friedman's releases and edits thereof from vinyl-only labels (Latency, Marionette, Dekmantel, amongst others), plus four hitherto unreleased tracks. This compilation surveys Friedman's music from 1980 to 2017 and covers a broad spectrum of played and programmed rhythmic styles that traverse club music from techno, electro, and dub, but, above all, it traces Friedman's own artistic development; A trajectory that owes a lot to his long-standing collaboration with Can drummer Jaki Liebezeit, who died at the age of 79 in 2017. Like Liebezeit, Friedman already explored even and uneven rhythms back in the late 1980s. This selection of 17 tracks documents this pursuit while bringing rough or discarded tracks to light, which did not fit onto any album or were intended for the Nonplace label. The compilation runs the entire gamut of his work on percussion, keyboard, samplers, and toys of all kinds, using various production methods (tape, Atari, MIDI, sampler, hard disk recording, digital audio tape). Studio work (instant-composition, programming, and recording) underwent major technological changes and revolutions in the 1980s and 1990s, but Friedman's distinctive signature style prevails throughout. Surprisingly danceable tracks, interrupted by alien atmospheric periods, defy any genre. "An essential retrospective that shows how Burnt Friedman has been reinventing rhythms for over two decades." --Resident Advisor
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12"
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NON 044EP
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What Mortazavi and Burnt Friedman have in common is their shared expertise in uneven, cyclical rhythms -- the foundation of their trance-like art music, which is both subtle and ecstatic. Through repetition and improvisation in the studio they create "numbers" -- groove-based pieces played on a variety of drums mixed with electronics. This results in a precisely timed harmony between the electronic sounds and live grooves. Thanks to the extreme acoustic range of the Tombak and his extravagant technique, Mortazavi merges perfectly with Friedman's signature sound and repertoire, which seems to belong to no specific place or time.
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12"
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NON 043EP
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Drums Off Chaos was one of the central and on-going projects of the recently deceased drummer Jaki Liebezeit (CAN). In the early 1980s, he had initiated a loose collective of drummers, who created a rhythmic concept on the basis of simple, strictly binding codes that enabled expansive improvisations. Over the years, the ensemble refined its collaboration to repetitive patterns and their variations. Liebezeit, with colleagues Reiner Linke, Maf Retter, and Manos Tsangaris, earmarked some tracks for imminent release on vinyl and CD -- on different compilations. Mastered by Rashad Becker at Dubplates & Mastering.
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12"
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NON 042EP
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With Spinner EP, Flanger continues to explore a techno-infused notion of nuclear jazz. The three-track EP contains arguably destructive synths on "Spinner", an insane 5-beat derived from the Flanger's "Spin" off of their 2015 album Lollopy Dripper. Both the 12 minutes lavish groove-intricacy "Loose Joints" and the one, straight tittle titled "It From Bit" are Atom TM & Burnt Friedman 2016 originals, adding to the most compelling and witty electronic collaborative utterings to date.
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2LP+CD
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NON 041LP
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Double LP version. Includes CD. Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.
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CD
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NON 041CD
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Flanger is back! Ten years after their 2005 Spirituals album (NON 018CD/LP), Atom TM and Burnt Friedman have composed and produced their fifth album. Ignoring genre-limits, both artists have progressed from the considerable skills shown on their 1999 debut album as a duo, Templates -- a work of intangible, mutating, jazzy electronic sound beyond the constraints of time and space. They've since returned to Burnt Friedman's Berlin studio several times to release new energies in the form of Spirituals and Outer Space/Inner Space (2001), which incorporate decomposed jazz instrumentation and midi-fied electronic processing. Apart from Hayden Chisholm's saxophone contributions on two tracks, this is how it works again on Lollopy Dripper: 50/50-duo-mode composition with in-house, boosted equipment -- similar to the set-up in 1997, when the duo produced their first tracks over one week in Santiago, Chile -- but with a naturalistic jazz-trio sound.
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12"
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NON 040EP
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With the Clock EP Burnt Friedman and Daniel Dodd-Ellis offer two pared down, extended club tracks and two short word-and-sound poems that feature "microscopically detailed textures, deceptively funky-sounding odd meters, and dubby production techniques." All four tracks are exclusive to this vinyl edition!
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CD
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NON 039CD
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Nonplace presents Nonplace Soundtracks: Scenes 01-25, the first volume in a series collecting instrumental tracks that were edited for film or television companies or created to be used in conjunction with moving images. All pieces were produced by Burnt Friedman and/or Hayden Chisholm as part of sessions with The Embassadors, or during Friedman's numerous score recording sessions with a cast of musicians that included Joseph Suchy on electric guitar. The set also includes a track by Flanger, Friedman's duo with Uwe Schmidt, and a track by Chisholm's group Root 70. This disc contains an abundance of musical components in a dense, seamless mix of 25 short, cinematic scenes. The musical styles featured range from odd dub rhythms to classical chamber orchestra arrangements to subtle electro-acoustic soundscapes.
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CD
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NON 038CD
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The impact of these eleven sound poems, or poetry tracks, derives less from intentional meaning and symbolism than from fortuitous coincidences, cut-ups, and flashes of inspiration in the course of handling the audio material. Rather than a composed narrative, the tracks reflect the inner reality of the authors Burnt Friedman and Daniel Dodd-Ellis. Moods and impressions from B. Friedman's Sub-Saharan concert tour in 2013 as well as fragments of memories of an imaginary future fuse together in the music and text of all eleven tracks. These responses to real-life "kpafuca" ("things falling apart") -- conditions in African metropolises -- collapse into grooves and phrases reminiscent of Chris Marker's sci-fi apocalypticism (La Jette, Sans Soleil). This polyphony of non-places also includes the spirit of sound explorers such as the musical-ethnological practitioners Hartmut Geerken and Roman Bunka (Embryo), whose visions and musical activities refuse to succumb to reductionist and essentialist staging. In Cease to Matter, Friedman intuitively pits the liberating power of noise, of über-mensch-maschinen music, against those cultural landscapes repeatedly automatically inscribed into music. Odd beats and random technical defects -- that is to say, disobedience -- are pitted against the normative interpretational supremacy of musical world maps. The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever. The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line "Skies are blue inside of you" comes from Aldous Huxley's novel Brave New World, which appeared in 1932. Tracks 04 and 09 ("Cease to Matter") contain a piano sample edit based on a composition by Georges Ivanovich Gurdjieff (1872-1949).
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LP+CD
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NON 038LP
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LP + CD version. Gatefold sleeve. The impact of these eleven sound poems, or poetry tracks, derives less from intentional meaning and symbolism than from fortuitous coincidences, cut-ups, and flashes of inspiration in the course of handling the audio material. Rather than a composed narrative, the tracks reflect the inner reality of the authors Burnt Friedman and Daniel Dodd-Ellis. Moods and impressions from B. Friedman's Sub-Saharan concert tour in 2013 as well as fragments of memories of an imaginary future fuse together in the music and text of all eleven tracks. These responses to real-life "kpafuca" ("things falling apart") -- conditions in African metropolises -- collapse into grooves and phrases reminiscent of Chris Marker's sci-fi apocalypticism (La Jette, Sans Soleil). This polyphony of non-places also includes the spirit of sound explorers such as the musical-ethnological practitioners Hartmut Geerken and Roman Bunka (Embryo), whose visions and musical activities refuse to succumb to reductionist and essentialist staging. In Cease to Matter, Friedman intuitively pits the liberating power of noise, of über-mensch-maschinen music, against those cultural landscapes repeatedly automatically inscribed into music. Odd beats and random technical defects -- that is to say, disobedience -- are pitted against the normative interpretational supremacy of musical world maps. The voice of Daniel Dodd-Ellis, a Berlin-based performer and vocalist from Texas, was first heard on Burnt Friedman's 2007 album First Night Forever. The lyrics stem from both artists and were cut-up and re-assembled several times over by Friedman during production in 2013 and 2014. The line "Skies are blue inside of you" comes from Aldous Huxley's novel Brave New World, which appeared in 1932. Tracks 04 and 09 ("Cease to Matter") contain a piano sample edit based on a composition by Georges Ivanovich Gurdjieff (1872-1949).
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12"
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NON 037EP
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With Skies Okay Blue Nonplace offers two pared-down vocal tracks from Burnt Friedman & Daniel Dood-Ellis that place subtle and unexpected rhythms alongside the manifest regularity of electronic dance music. Measuring in at DJ-friendly 122 to 128 bpm, the seemingly straightforward grooves turn out, on closer listening, to be intertwined with uneven beats. Extra-long versions of both tracks were mixed for this 45rpm super-sound EP. The third track is a 2-minute sound-poem featuring Friedman-typical xenophile instrumentation. All three tracks are exclusive to this vinyl edition.
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12"
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NON 036EP
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Tohuwabohu are Saam Schlamminger (aka Chronomad) and Burnt Friedman. The first joint four-track EP was produced in Friedman's studio in summer 2013. Saam Schlamminger (aka Chronomad) learned to play numerous instruments such as frame drums and lutes in various regions of the world. He is an expert in rhythms and tunings and repetitive contemporary electronic dance music and in styles that are disappearing from the cultural sonic memory. Burnt Friedman -- Nonplace owner, producer, sound and drum machinist -- is fascinated by rhythm and meter, by straight and odd time signatures. Together, Schlamminger and Friedman create spaces of resonance and dissect takes of sonic memory with origins lying in drums and flutes.
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2LP
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NON 035LP
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Double LP version. This the fifth release in Burnt Friedman & Jaki Liebezeit's Secret Rhythms series. Central to the Secret Rhythms concept is Liebezeit's radical drum code in unison with Friedman's range of archaic metal percussion and synth instruments. The two musicians live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least. Jaki Liebezeit numbers among the world's foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about. Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: "I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project." Includes a remix by Romain Sygroves and Friedman.
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CD
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NON 035CD
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This the fifth release in Burnt Friedman & Jaki Liebezeit's Secret Rhythms series. Central to the Secret Rhythms concept is Liebezeit's radical drum code in unison with Friedman's range of archaic metal percussion and synth instruments. The two musicians live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least. Jaki Liebezeit numbers among the world's foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about. Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: "I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project." Includes a remix by Romain Sygroves and Friedman.
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2LP
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NON 034LP
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This is the extension and second installment of Bokoboko (NON 033CD/LP) from earlier in 2012. Double vinyl-only release in a picture sleeve; it will not be available as a CD or digital download. With its non-placed devices and hard-to-pin-down aesthetic falling between electronic and psychedelic music and the warm-hued sounds of traditional acoustic instruments, Burnt Friedman's Zokuhen (trans. "second edition"), produced exclusively for vinyl, may be considered an extension (or second installment) of Bokoboko (released in February 2012). On this new double EP, too, the music focuses on uneven rhythms that dictate the groove for all the participating musical elements and display a formal logic to which all the instruments gladly succumb. With its even rhythm and proximity to dub reggae, the track "Kon Ki" shows that exceptions to the rule are permitted among the six new tracks and two re-worked Bokoboko themes that round off this follow-up.
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NON 033LP
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Double LP version. Burnt Friedman presents his fourth solo album. Bokoboko is an entirely instrumental recording, impossible to pinpoint to existing genres of music. "Bokoboko" comes from the Japanese, like the other track titles, and means "uneven," "hollow-sounding" -- adjectives aptly describing the album's crooked, dynamic grooves as well as the many percussively-resounding instruments. Friedman, recognizable more or less by the sound of the ten instrumental tracks, plays prepared oil barrels/steel drums, all kinds of wood and metal percussion, gongs, monochord, a home-made rubber-band guitar, organ, synthesizer, and electric guitar. He is sometimes joined by Hayden Chisholm (wind instruments), Joseph Suchy (guitar), Daniel Schröter (bass), as well as, making his first guest appearance, Takeshi Nishimoto, a Berlin-based Japanese musician playing the sarod, a traditional Indian string instrument. The uneven types of rhythm, which provide the specific oscillation on which all the tracks are based, in principle obey all the components: melodies, noises, monophone sequences and dub echoes inserted into pre-sketched, programmed basic tracks. "Deku No Bo" and "Sendou" follow the same rhythmic formula, the same seven-part cyclic groove, even though it is hard to discover any superficial resemblance between the two. The same is basically true of the three parts of "Rimuse": here, an even groove is superimposed over the one divided into ten. "Bokoboko" follows the rhythmic pattern of 11 (divided into eight and three). The ten tracks on Bokoboko were recorded and mixed in Friedman's Berlin studio over the past three years. The cover shows a detail from a work by Theo Altenberg.
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