| $13.44
back in stock as of
may 11th, 2010
first in stock on
february 6th, 2007
threads:
electro-acoustic-composition
musique-concrète
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| | | anomalous (usa) #nom 27 cd rlw “views” compact disc - #1 (21:13)
- #2 (9:43)
- #3 (9:25)
- #4 (10:30)
| | anomalous press release... |
| rlw
views
in the 25th year of ralf wehowsky's recording career, anomalous records presents his first truly solo release featuring four new compositions based on instrumental improvisations. using simple devices (tone-generators, percussion toys, music boxes, an electric toothbrush and an electric guitar) played in unusual ways, he builds up layers of each sound to create a suite of textural pieces. each of the four tracks takes on an identity unique from the others, as the first three each focus on one of the sound sources while the last combines elements from the previous three to make something else. the disc opens with a 20-minute piece of mysterious and drifting electronic tones. other tracks highlight very tactile sounds and bring a much more 'live' element to his work, while retaining his skillful use of dynamics and placement of silence which have gained him so many fans. previous releases by rlw have seen him collaborate with such diverse artists as achim wollscheid, bernhard günter, andrew chalk, david grubbs, jim o'rourke, kevin drumm, and bruce russell. he is the founder of the now defunct group p16.d4 and the still active label selektion. other releases of his work have appeared on table of the elements, trente oiseaux, streamline, perdition plastics, swill radio, meeuw muzak, and metamkine.
after a recording career that already stretches over 25 years, involving collaborations with achim wollscheid, bernhard gunter, andrew chalk, david grubbs, jim o'rourke, kevin drumm and bruce russell, not to mention his own p16.d4 ensemble, ralf wehowsky finally presents his first solo collection. presented without titles but with detailed notes on the methods and practices behind each, the four tracks represent subtly shaded perspectives on studio performance and procedures.
spontaneous event and reconstruction shadow each other closely here. four self-programming occillators, controlled by wheels rather than a keyboard, interact to create a densely striated corridor or sound on the protracted opening composition. shorter, more understated but no less arresting, the next two pieces have the feel of secret rituals conducted in private. on the first, four spontaneous musical actions, mostly involving orff percussion instruments designed for children, are reworked into a profoundly meditative sequence, marked by the chiming of bells. the second, in which two music boxes are manipulated, squeezed and muted, transforms the mechanistic renderings of half-forgotten tunes into a series of encrypted memories. coming in on a single thin line of feedback, the fourth and final composition combines elements of the previous three, plus recordings of electric guitar run backwards and forwards into an uncluttered but complex series of structures and interactions....
views was conceived in january 2003.
recordings were done for track: 1 in january,
for track: 2 in february,
and for track: 3 and 4 in march 2003.
final mix: april 2003.
all 4 pieces are based on three or four instrumental improvisations by rlw, re-constructed by spontaneous mix afterwards.
track: 1 is recorded with tone-generator (tg 77) using self-programmed sounds. an early version of the sounds had been created for the cd" acht (1992). the programs have been designed to be controlled via wheels, not by keyboards. the tuning is in 1/8 tone, every sound consist of up to four sound-sources (oscillators), that respond in different ways to the controllers.
track: 2 is based on four spontaneous recordings of musical actions in the recordings room, mostly with orff percussions instruments (designed for children) plus some other tools lying around.
track: 3 uses two musical boxes, which were not used by playing along, but seen as instruments, for instance creating wahwah-sounds by squeezing the boxes. the only external instrument was an electrical toolbrush.
track: 4 is based on one feedback version each from tracks: 2 and 3, one tone-generator track from the recordings of track: 1, plus two additional recordings of electric guitar (played back and forth). |
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