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| | | para disc (japan) #pa 13 cd rlw “tonlose lieder” compact disc - rid me of... (3:41)
- zuckende strichelchen (1:07)
- feuerblume & blutblume (2:32)
- immer rin o'rhin (2:58)
- schema 2aa (1:36)
- am liebsten las er suizidgeschichten... (3:50)
- ...und verliess kriechend den raum (6:00)
- loahh (2:13)
- pios (3:04)
- islak (2:41)
- waving goodbye to friendly gods (3:10)
- errata digitalis # 910207 (1:02)
- w1x1 (1:08)
- die kleinen strolche metzeln wieder (0:32)
- zerlegung, grimassierend (3:16)
- kriemhild did it again (2:13)
- allsoh rin rhein immer rin orin (2:09)
- affentheater (0:59)
- beinschwunde kopfverquer (3:26)
- jazz, jazzband
- bandwurn (1:12)
- konterkant (2:29)
- un peu de freezing air (4:36)
| | para disc press release... |
| release date : september 2004
rlw
"tonlose lieder"
pac013
cd
total time 56:58
--------------------
all instruments,sounds,improvisations & compositions
by rlw
with the participation of
stefan schmidt (sts) : keyboard on 3,12,14,15,16,20,21
roger schnauer : scratching on 5
johann simon schmid-paede : voc on 19
restauration, edits etc. by rlw 2003
remarks :
this cd is like a sketchbook from the years 1990/91.
it builds the missing link between p16.d4s last release, the acrid acme of p16.d4 cd(1989) and rlw's first cd, achit (1992), not only because od the time of its recording(1990/91, one piece - #22 - from 1992).
it also bridges the gap between p16.d4's more collage-orientated style and rlw's more subtle and radical reductionist ways of composition. of course, a strict separation of these approaches is mere theory.
but the tonlose lieder concentrate for a last time on processes of synthesis, whereas later recordings are based on the results of these processes, undergoing new transformations continuously in discontinuous steps.
so the most typical track of this cd might be #21, an amalgamation of elements, which may come or come not from pieces by shostakovitch, messiaen, xenakis, hendrix, taylor, blount, siemers, the electric prunes or the comedian harmonists.
of course, you won't exactly find them there, not even on an ives record, or another jewel of the archive.
...
and these are tracks :
1) it's early 1990. skipped extracts from maba, 1st track of p16.d4's acrid acme cd, open for fresh recordings of bass and inside-piano. extracts from these recordings later built the core of acht's first track, restless occludion.
2) the first recording using midi instruments (musical instruments digital interface - a standard to mediocritise popular music even more as it was before), therefore the working title was track 1. midi plays funny moods. at hand were factory-built piano and oercussion samples, so what you hear is what you get... combined with a scratching of p16.d4's bruitiste lp-side, recorded the same month.
3) sts improvises on a midi-keyboard in shostakovichian mood. a set of orchestral samples gives the cheesy sound, added by first self-made samples (derived from self-destructing strings and a vacuum-cleaner), playing the same file.
4) another piece using midi instruments, this time composed. trumpet, percussion and strings. the rin series was presented first at peter wiesenthaner's tage experimenteller musik in koblenz 1990.
5) an extract from an hour-long piece grouping and re-grouping sampled scratches, slightly changing over time. another schema-piece used musik-type organ-extemporisations instead of the scratches. none of the schema-piece has survived on tape or disk in its full length.
6) piano and percussion again. as sterile as factory-built samples can be,they give the perfect sound for this sombre excursion. solo-voice: inside-piano.
7) holding a rhythm for more than a few seconds - what a strange concept! it should never be done again.
8) another version of that piece later made it unto acht (kleine blaue hybriden)
9) self-programmed tone-generator + a scratched improvisation, using p16.d4's distruct lp.
10) the compositional process for islak started with a midi-file by bernhard günter (bandes dessines period). for the new instrumentation all data were completely re-organised.
11) the melody is based on jimi hendrix's piece voodoo chile. - another version of this track appeared on: treat the gods as if they exist (cd, aa 1996)
12) piano, organ, bass. maybe dedicated to a.v.webern.
13) an assemblage of extracts from some noisy sampler and synthesizer improvisations from early 1991.
14) this piece was layed down on organ and turntable after having experienced a 4 and a half hour long performance of feldman's for philip guston.
15) a collage of some organ-pieces, which were recorded during a visitof stefan schmidt in koblenz.
16) seeing fritz lang's nibelungen epos again evoked fairly medieval associations. another version of this piece appeared on: klng #2 (cd, fognin and one brain records 2001.
17) another piece from the o'rin-series.
18) this track presents the sounds of a synth preset called "house". using cheap electric instruments against the intentions of their designers always was a part of selektion's philosophy.
19) parts of the tom jones-recitation on this piece have been used as source-material for the piece 325 painful moments (treatment cd - rrrecords 1996).
20) the solo entertainer playing for an audience of one. both drunk.
21) not exactly a summary, but lots of midi-files heard on other tracks of this cd reppear - in more or less bizarre modulations.
22) it's mid 1992. the sound sources of #1(bass; piano-inside) shine up again after having undergone some transformations. the realisation of ...freezing air... (rlw), un peu de neige (bg) and ...ocean de certitude (rlw & bg) is not far... |
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