aufabwegen welcomes stock11!

stock11 is an artist collective focussing on the strength of collaborative work.
stock11_003 is their latest portrait CD showcasing some of the group’s latest works, including pieces by Jennifer Walshe, Hannes Seidl, taste, Christoph Ogiermann & Jürgen Palmtag, Uwe Rasch and Maximilian Marcoll.
The CD comes in a full colour artwork designed by Christa Marek with an essay by Tim Schomacker. The CD was mastered by Sebastian Schottke at ZKM | Karlsruhe.
It is available directly from us for 13 EUR plus postage.

A U F  A B W E G E N  RELEASE INFO

CD audio
release date: 25.02.2013
artist:  SIMON WHETHAM
title: Hydrostatic
order no.: aatp39
Label code (LC): 01291
time: 53:24
full colour digifile paper sleeve designed by Whetham. Mastered by Miguel Carvalhais. Limited to 300 copies

13,00 € plus postage. Available directly from us!
On “Hydrostatic”:
‘Hydrostatic’ was commissioned by the McNeill Street Pumping Station New Music Festival, Shreveport, Louisiana, USA in November 2011, and presented as a multi-channel performance.
Simon Whetham spent more than a week exploring the site, capturing the sounds of the space, the vibrations of the buildings, the spirit of the community and perhaps the echoes of past activity…
Mastered by Miguel Carvalhais..
Simon Whetham – Biography 2013

Over the past eight years Simon Whetham has developed a practice of working with sound recordings as a raw material for composition. These are often environmental sounds he has captured employing a variety of methods and techniques, in order to obtain discreet or obscured sonic phenomena.

In removing sound from it’s source, sometimes amplifying it significantly, it becomes abstract – familiar yet otherworldly. More recently, when presenting work in a performance or installation, for him the space and the objects within become instruments to be played.

Simon has a large number of works published through many specialist organisations, including Touch Music, Cronica, Dragon’s Eye, Monochrome Vision and Entr’acte; has performed extensively internationally; collaborated with artists from musicians to performance artists, painters to video artists, dancers to poets; has run listening and field recording workshops in UK, Colombia, Chile and Australia; and received a large number of commissions and awards for projects and installations – notably ‘Active Crossover’. Supported by the Arts Council England and PRS for Music Foundation, the project comprises sound installation, performance, collaboration and workshops. ‘Active Crossover’ has toured six cities in the UK, and also been hosted in Estonia, Argentina, Australia, Chile and Colombia, with future residencies in Germany and Norway in 2013.

www.simonwhetham.co.uk
www.activecrossover.co.uk

Sound sample:

Reviews

Bad Alchemy 77:
SIMON WHETHAM, dem wir zuletzt als Eyjafjallajökull-Gestrandeten im April 2010 in Lissabon begegnet sind, treffen wir wieder im November 2011 in Shreveport, Louisiana. Das dort stattfindende McNeill Street Pumping Station New Music Festival hatte ihn mit einem Beitrag beauftragt. Er verbrachte eine ganze Woche in dem einstigen Pumpwerk, um den hydrophonen und postin­dustrialen Genius loci oder Hausgeist zu begegnen. Das Rauschen von Was­ser, der Geschmack von Eisen, Rost und Patina wurden zu Ingredienzen sei­nes Dröhnscapes Hydrostatic (aatp39), den nicht zuletzt der Fluss der Zeit durchströmt. Pfeifende Laute und geisterhaft summende evozieren dabei et­was Älteres als das Industriezeitalter. Hölzernes und metallisches Gestöber suggeriert eine verlassene Geisterstätte, eine Ruine, die nach noch Brauch­barem durchsucht wird. Organum hat schon auf Vacant Lights solche Klänge eingefangen, Ephraim Wegner hat kürzlich ähnliche in verlassenen Hotelrui­nen gefunden. Immer ist damit ein ‘Danach’ verbunden, ein ‘Vorbei’. Latten scharren über den Boden, der Wind faucht, als wollte er noch den letzten Eindringling verjagen. 1887 in Betrieb gegangen, wurde bis 1980 dampfbe­trieben, heute ist das McNeill-Pumpwerk ein National Historic Civil Enginee­ring Landmark. Whetham erschafft mit droneüberwölbtem Getröpfel und Ge­plätscher die Illusion einer Quelle, des verborgenen Anfangs einer Lebens­ader, die hier mit nahezu kultischer Aura widerhallt und wieder als pumpende Mechanik zu ‘atmen’ beginnt. Das Elementare, das das vermeintlich so ratio­nale und funktionale Maschinenzeitalter ignoriert und verdrängt hat, kommt wieder im Denkmal zum Vorschein, nachdem die Funktionalität modernisiert und inzwischen noch unbewusster geworden ist. Ich glaube, es war Ernst Jünger, der zuletzt Zweifel an einer Freiheit hatte, die davon abhängt, dass Wasser, Strom und Gas in unsichtbarer guter Hand sind. [BA 77 rbd]

A U F  A B W E G E N  RELEASE INFO

cd-audio box set
release date: 15.12.2012
artist:  ASMUS TIETCHENS / ROLF ZANDER
title: TARPENBEK
order no.: aatp34
Label code (LC): 01291
time: ca. 47:00 min

Available for 38,00 € directly from us!

CD in LP Box.
Diese enthält: 12 Drucke mit Reproduktionen von Radierungen des Künstlers
Rolf Zander – jedes Motiv korrespondiert mit einem Track der CD. Drei
weitere Textblätter mit Erläuterungen von Rolf Zander zur Entstehung der
Arbeiten und seiner Methodik. Ein Textblatt mit einem Essay von Kai U.
Jürgens zur Genese des gemeinsamen Projekts von Tietchens/Zander plus
Trackinfos zur CD.
Handnummeriert 300 Exemplare.
Es gibt auch eine ART EDITION in einer Auflage von 30 Exemplaren (römisch nummeriert), die je eine Originalradierung von Rolf Zander enthalten, nummeriert und signiert vom Künstler. Preis für diese Ausgabe: 120 EUR + Porto.

Zu dem audiovisuellen Projekt Tarpenbek von Asmus Tietchens und Rolf Zander Auszüge aus dem Begleittext von Kai U. Jürgens

Es ist ein ungewöhnliches Objekt, das der Komponist Asmus Tietchens und der
bildende Künstler Rolf Zander vorlegen – ein Zyklus aus zwölf Graphiken und
ebenso vielen Musikstücken, verpackt in eine Kartonschachtel. Die Tarpenbek
ist ein etwa zwanzig Kilometer langes Gewässer, das von Norderstedt kommend
einige Außenbezirke Hamburgs durch- und teilweise auch unterquert, um
schließlich in die Alster zu münden. Tarpenbek besteht als Projekt weder aus
akustischen Bildern noch aus bildlich umgesetzter Musik. Den Anfang machte
der Künstler und Kunsterzieher Rolf Zander, der von 1975 bis 1977 den
Radierzyklus Tarpenbek – 12 Vertonungen erarbeitete. Dabei griff er auf den
Begriff der »Vertonung« zurück, den er einem alten Seehandbuch entnommen
hatte, und der eine »Kartographierung nach Augenschein« bezeichnet. Während der Kolonialzeit waren die Kapitäne der Handelsschiffe angehalten,
Küstenstriche zeichnerisch aufzunehmen; hierzu gab es extra »Vertonungsblöcke« mit Millimeterpapier. Gezeichnet wurde nur das, was
vom Schiff aus sichtbar war und nachfolgenden Seeleuten als Ansteuerungsmarke nützlich sein konnte, also im wesentlichen umrißhafte
Konturen. Genau dies war der Ansatz, den Rolf Zander auf die Tarpenbek
übertrug – wenn auch stets vom Ufer aus.
Gearbeitet wurde vor Ort und auf Zinkplatten, die bereits durch den
ständigen Transport erste Gebrauchsspuren herauszubilden begannen. Sie
wirkten rasch unfrisch und wie mit nicht entzifferbaren Zeichen überzogen.
Zander akzeptierte dies nicht nur, sondern beschloß, nur die untere
Seitenlinie der jeweiligen Platte zu bearbeiten, um die fragilen Texturen
nicht zu beinträchtigen. Die Beschaffenheit des Materials rückte auf diese
Weise in den Mittelpunkt. Asmus Tietchens teilt diesen Ansatz. Auch er
zeigte sich schon lange von der Tarpenbek fasziniert, deren Ufer er von
vielen Begehungen her kennt. Tietchens vermaß die Reproduktionen der
Radierungen, addierte die Höhe mit der Breite und bestimmte die ermittelten
Summen zu den Dauern seiner zwölf Stücke. Was dann entstand und als
Gesamtheit schlicht den Titel Tarpenbek trägt, resultierte gleichermaßen auf
Eindrücken, die bei Spaziergängen gesammelt wurden, und einer eingehenden
Beschäftigung mit Zanders Blättern. Tatsächlich lassen sich die zwölf
unbetitelten Stücke als Annäherungen begreifen. Ihr erstes Merkmal ist die
geringe Ereignisdichte. Sparsam, fast karg arrangiert der Komponist sein
Material, als wolle er vorschnelle Schlüsse vermeiden. Kein pathetischer
Weltentwurf wird hier zelebriert, sondern eine behutsame Bestandsaufnahme
vorgenommen, die mehr auf eine Darstellung von Mikrostrukturen als auf große Gesten setzt. Doch wie die Tarpenbek selbst kennt auch diese Musik Untiefen und überraschende Erweiterungen.
Tarpenbek bringt als audiovisuelles Gesamtvorhaben zwei Perspektiven zur
Deckung, die unterschiedlicher nicht sein könnten, sich aber fast von allein
zu einer überraschenden Ganzheit fügen.

www.tietchens.de
www.bildergalerie-zander.de

Sound example:

Reviews

Bad Alchemy 77:
Tarpenbek (aatp34, CD in LP Box + 12 Radierungen) spricht als audiovisuelles Gemeinschaftswerk von ASMUS TIETCHENS & ROLF ZANDER neben dem Ohr der Tietchens-Liebhaber auch das Auge von Kunstinteressierten an. Zwar gibt es von dem 1934 in Hamburg geborenen Zander neben Schnitt-, Radier- oder Fundstücken auch schon Hörstücke wie ‘Sonore für Laura’, das mich an die Poesie von Uli Trepte erinnert, oder Beiträge für Radio Inferno, die nacht­eulige Liebhaber philosophischer Notturnos anzusprechen gedachten. Aber auch seinen Tarpenbek-Zyklus (1975-77) hat er ‘Vertonungen’ betitelt, wobei er für seine Inaugenscheinnahme des eponymosen Flüsschens, das Hamburg anschneidet und in der Alster mündet, einen alten Fachausdruck aufgriff, nämlich für die seemännische Kartografierung von Küstenstrichen. Zander arbeitete mit Zinkplatten, wobei er deren Gebrauchsspuren integrierte und lediglich die unteren Streifen bearbeitete, so dass sich gefundene Mikrostruk­turen mit bewussten ergänzen zu wässrig bläulichen oder blau- und braun­grauen Eindrücken vor allem des Himmels über der Tarpenbek. Für seine Vertonungen dieser ‘Vertonungen’ vermaß Tietchens die Radierungen und bestimmte danach die Länge seiner Stücke. Tietchens Klänge evozieren et­was wässrig und luftig Elementares, eine unscheinbare Wildnis, die sich im Kleinen verbirgt. Tuckernde Mikroimpulse und funkeliges Beinahenichts umspielen den gewellten grauen Faden, hinterlassen klingende Hieroglyphen auf Fotoplatten. Bildanstöße und eigene Eindrücke als Spaziergänger, dazu Tietchens’ Ohr für die unsichtbaren Anteile der Dingwelt vereinen sich zu einem rein elektronischen Pixeln, Wispern, Schimmern, Knistern, Pfeifen, Klicken und Zirpen, jedenfalls zu Etwas, das allemal einen synästhetischen Beschreibungsversuch rechtfertigt. [BA 77 rbd]

artists:  MATTIN & RICHARD FRANCIS
title: Lisa Says
LP clear vinyl 33 rpm
release date: 18.09.2012
order no.: aatp38
Label code (LC): 01291
time: ca. 50 min

Available from us! 16,00 € plus postage.

sleeve designed by Richard Francis, comes with text insert. Clear vinyl 300 handnumbered copies.

On “Lisa Says”:

This LP captures the transcontinental collaboration between artists Mattin and Richard Francis with sounds recorded in Stockholm, Berlin and Auckland, NZ. The mixdown portrays the current state of affairs in improvised noise noise: filtered gritty sound blocks flow and float with no seeming direction when sudden breaks puncture the structure and create something like a melody. Well, almost. The music is accompanied by a text insert that documents a skype conversation between the two artists discussing the methods and aesthetics connected to this release and their ways of working in general.

Mattin Bio

www.mattin.org

Mattin is a Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental music production through live performance, recordings and writing. Using a conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea

of “freedom” and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between musicians and instruments, but as a situation involving all the elements that constitute a concert, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive audience, producing a sense of strangeness and alienatio in that disturbs this relationship.

Richard Francis Bio

www.richardfrancis.net.nz

Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose sound works. He has released solo and collaborative music on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists.

In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recording and performance with many artists, and has had recent published collaborative CDs with Jason Kahn (USA/Swiss) and Francisco Lopez (Spain). Collaborations for recording and/or performance: Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike.

Sound example:

REVIEWS:

from Vital Weekly_

> RICHARD FRANCIS & MATTIN – LISA SAYS (LP by Auf Abwegen)
> A project in two parts, one the actual music, as recorded on July 3 2008 in Berlin and one the conversation as a piece of text from August 31 2011 in which Richard Francis and Mattin talk about the recording from three years before, about their methods of working together but also with others. A fascination they have in common is about white and pink noise, and sustaining those sounds. It’s an interesting text to read, as it clears up some interesting things but it’s not entirely necessary to read the text to like the music I should think. The buzzing, cracking and sustaining sound, which sometimes hoovers closely above the threshold of hearing, reminds the listener of your ventilator or heater buzzing, or the faint noises from afar late at night. If I understand right, this record is for Francis an end to the way he working and for Mattin the start of a new working method, a more conceptual approach if you will. This record contains some very minimal music, with very few sound elements, but are fascinating to hear. Crackles of vinyl (not from the pressing), field recordings very remotely humming and the white/pink noise slowly washing ashore and moving away. All of this in a very quiet and contemplating way. If you think Mattin is all about noise then you should surely try this record for a change. Maybe this is more what you would expect from somebody like Richard Francis, but this is a great improvised electronic record. Excellent head space music. (FdW)
Address: http://www.aufabwegen.com

A U F  A B W E G E N  / DIE STADT RELEASE INFO

cd-audio
release date: 01.09.2012
artist:  ASMUS TIETCHENS
title: STUPOR MUNDI
order no.: aatp41 / DS 114
Label code (LC): 01291
time: 51:15 min

part 14 in the TIETCHENS reissue series

jewel case with full colour poster booklet, reproducing the original artwork plus new photograph and liner notes by Asmus Tietchens, 4 bonus tracks from the period
600 copies / co-released by Die Stadt +aufabwegen

Asmus Tietchens about the album:
The opener of the album cites: ‘Gitarren spielen kann ich leider noch nicht…’ (‘Unfortunately I can’t play any guitars yet…’). Today, 23 years later, I could reveal the name of the person confessing this, but nothing would be more unfair, even two and a half decades later. Only this: It’s not the voice of a Punk (a Punk would have omitted the ‘yet’), and it’s also not my own voice, even though I can’t play guitar either. Maybe it was this flaw though that was responsible for the general construction of all the tracks here, which consist of short looped samples and further adaptions of the same.
In the end ‘Stupor Mundi’ was my last LP on the label Esplendor Geometrico and also my last solo LP until 1995. The very next release of mine was already a CD. At lot changed at the time. Esplendor Geometrico wasn’t doing well financially, a fate, many more small enthusiastic Labels shared with them, as the real Independents were always in danger of facing financial ruin. As a result EG was looking for someone to co finance ‘Stupor Mundi’.
The person who helped out is a colleague of mine with a well known name today, but only just started his first musical attempts back then at the end of the 80′s. He asked not be mentioned in the credits of the album cover, but requested to have the schematic diagram of an insect placed in the lower right hand corner of the cover.
There’s yet another, third name, I won’t reveal. The final words on the LP are: ‘My friends’. For piety reasons I won’t explain the original context of the voice, nor reveal the identity of the woman, who speaks these words. Besides, it’s a damn long time ago anyway, and mystifications were no longer a part of my repertoire after ‘Stupor Mundi’.
Asmus Tietchens 2012

Info:
www.diestadtmusik.de
www.tietchens.de

A U F  A B W E G E N  RELEASE INFO

2x CD audio
release date: 25.02.2012
artist:  RLW & DAS SYNTHETISCHE MISCHGEWEBE
title: Die Eisenbüglerin
order no.: aatp36
Label code (LC): 01291
time: CD1: DSM & RLW 57:06; CD2: RLW & DSM 47:55
LP sized sleeve, reproducing an original drawing by Guido Hübner; layout and design Rainer  Frey. Limited to 300 copies

Available for 18,00 € directly from us!

On “Die Eisenbüglerin”:
The idea for this project was in the air since the late 1980´s. There was an intense, though short-lived, (snail) mail contact between DSM and P16.D4, RLW´s group in those days, which  fell into sleep for reasons unknown today. 20 years later the contact lived up again. After getting themselves informed about the actual respective state of work, methods and techniques and sounds, the recordings for the project started.
RLW cd:
The basic recordings were done by rlw from early to mid 2009, sound sources are instrumental (piano, trombone) and household objects. First detailed sketches of the compositions (autumn 2009) include heavily treated versions of these recordings, cross-modulations with sounds supplied by DSM and with DSM-variations of the RLW sounds sent to Caen. Fine-tuning of the compositions took until fall 2010.
DSM cd:
With very few exceptions I used only the original sound recordings of RLW, discarding most of his own processing that he provided me with as I wished for treatments only what would be conceived to be already into the realm of the compositional strategies I fancied for these works. So up to which degree a processing of a sound turns it into an autonomous new one is a question without answer.  In consequence resulted a collaboration starting with extremely few basic recordings. However as they had been particularly distinctive by their material character as well as the audible space of the recordings and the variation of their physical intensity as they all resulted from manual efforts they provided me with what was needed. Besides dynamical treatments and cleaning up, my sound processing is not only mostly analogue or equivalent too, but mostly even mechanic. Playing back recordings through ‘no-fi equipment’ and recording them again, while manipulating mechanically reproduction and recording devices is what I employ most.
Ralf Wehowsky
founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. they developed concepts of materialaustausch long before the term remix was even coined. for their live appearances they were equally at home at punk and no wave festivals as at the holy grails of academic avantgarde like the Ferientage Neuer Musik, Darmstadt. since the early 90s Wehowsky worked under his own name (rlw). his quiet, highly complex style of composition, based on artifacts of instrumental and electronic lateral noises is influential for numerous artists in the fields of electronic and improvised music. some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O´Rourke, Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). his actual work embraces musique concrete improvisee (with Bruce Russell, Johannes Frisch among others) as well as projects based on extended materialaustausch (like Die Eisenbüglerin).

DAS SYNTHETISCHE MISCHGEWEBE exists since some 30 years now with a variable membership. Formed in Berlin, the group, composed of interdisciplinary artists (visual artists, performers, musicians, writers and Scientifics) has presented performances, installations and concerts in many european countries as well as in New York, Montreal, Sao Paulo. DSM has also participated to conferences, given lectures, participated to several publications and had artists residencies : Association, Pollen Monflanquin/Agen; Wharf, Centre d’Art Contemporaine, Herouville St Clair; Denkmalschmiede Höfgen; Akademie der Künste Berlin. Since 1999, the duo formed by Guido Hübner and Samuel Loviton has concentrated its activities on the music and collaborates since several years with Flavien Lavisse for the Live Video as well as Rainer Frey with whom the group worked already from 1985 to 1992.

Playing on the edge between different disciplines, the audience is invited to discover a universe on the crossway of concert (between electro-acoustic and live musique concrète), sound installation (with several autonomous devices of precarious stability on which intervene the musicians), performance and even exhibition (by way of accumulated, heteroclite objects overwhelming the space). The visual appearance is for each of the concerts as important as the music itself.

Concerts have been given since in France (Paris, Nantes, Caen, Lille), in Belgium (Liège, Bruges), England (London, Nottingham, Leeds, Bristol, Nottingham, Newcastle, Sheffield, Belfast ), The Netherlands (Nijmegen, Maastricht, Amsterdam, Heerlen), Russia (Yarislav, Moscou, Orel) Poland (Varsovie) and Germany (Leipzig, Hambourg, Berlin, Brême, Cologne, Münster), Spain (Barcelone, Madrid).

Sound examples:

E D I T I O N  D E G E M  / A U F  A B W E G E N  RELEASE INFO

cd-audio
release date: 01.10.2011
artist:  various artists
title: DEGEM CD 10: Replace
order no.: ed01
Label code (LC): 27648
time: 78:08 min
packaged in full colour digipak with 6 panel fold booklet in german and english. curated and designed by Marc Behrens. 1000 copies.

EDITION DEGEM

aufabwegen is proud to host EDITION DEGEM, the new label issuing the annual compilations of the German Association for Electrocaoustic Music / Deutsche Gesellschaft für Elektroakustische Musik e.V. Each CD is curated by a sound artist and devoted to a specific theme/topic. The music covers a very wide range of electronic sounds, from sound art to post industrial cut ups, from field recordings and soundscapes to radiophonic composition.
The website for EDITION DEGEM is www.editiondegem.de

DEGEM CD 10: Replace

The first release on the new imprint is the compilation CD DEGEM CD 10: Replace, curated by Marc Bahrens. It includes 14 unreleased tracks by such artists as Nicolas Wiese, Kirsten Reese, Sam Auinger, Nikolaus Heyduck, Frank Niehusmann, Denise Ritter and more. Total playing time is 78 mins. The CD comes in a nice digipak with 6 panel fold booklet with liner notes on each track and a short essay on the theme “Replace” in german and english.

Price:  14,00 euro plus postage
Wholesale upon request.

EDITION DEGEM bei aufabwegen

Die DEGEM fördert die elektroakustische Musik in nationalem und
internationalem Rahmen. Diesem Zweck dienen die Organisation von
Fachtagungen, -kursen und Konzerten, der internationale Austausch von
Informationen sowie die Herausgabe von Publikationen und CDs.

Seit Oktober 2011 erscheinen alle DEGEM-Publikationen unter dem Label
EDITION DEGEM, welches die DEGEM in Zusammenarbeit mit Till Kniola
(aufabwegen, Köln) gegründet hat.

Die kuratorische Verantwortung für Veröffentlichungen übernimmt die
DEGEM. Inhaber und Betreiber des Labels ist Till Kniola.
Im Online-Shop der EDITION DEGEM finden sich neben den aktuellen
Produktionen auch frühere DEGEM-Publikationen wie CDs, DVDs und CD-ROMs.

www.editiondegem.de

A U F  A B W E G E N  RELEASE INFO

CD-AUDIO
release date: 01.10.2011
artist:  MARC BEHRENS
title: 20 Zonen
order no.: aatp35
Label code (LC): 01291
time: ca. 40 mins.
full colour printed sleevecard and booklet housed in clear plastic slipcase; designed by Marc Behrens.
limited to 300 copies
price: 13 € plus postage

On “20 Zonen”

Produced in 2010 for a radio broadcast on Germany’s hr2-kultur radio, “20 Zonen” (20 Zones) is Marc Behrens’ homage to Darmstadt, Germany, his hometown, and in particular the city’s Kranichstein district, where he grew up and learned to listen. Behrens made recordings in such locations like an equestrian club, a heavy ion research unit, a railway museum, and of trains and airplanes noisily cutting through the supposed serenity of the industrially planted forests around Darmstadt. From time to time the subjective microphone goes underwater and dips into the area’s various ponds, among them the world famous Messel Pit Fossil site, which used to be a rainforest millions of years ago, not unlike the Amazon still is today. The intricately edited material is arranged into zones that “form themselves into cells, into blocks, into a topophonic cross vein” (Stefan Fricke, hr2-Kultur), set in a grey area between musique concrète and phonography.

Marc Behrens

Born in Darmstadt, Germany, in 1970.
Marc Behrens works on several cerebral and physical levels.
His works mainly consist of concrete electronic music, installations, the occasional photograph or video. Recent activities include field recording trips to remote western China and the Amazon rainforest, founding an incorporated company as a social art work, and staging a rite of passage for an investment banker.
Behrens has performed and exhibited extensively across six continents, and developed collaborations with Jeremy Bernstein, Ana Carvalho, Bernhard Günter, Nikolaus Heyduck, Francisco López, Paulo Raposo, Achim Wollscheid, among others.
2006–2010 Marc Behrens was a lecturer at the Academy of Fine Arts, Saarbrücken, Germany (HBKSaar), and 2007–2009 at the University of Applied Arts Darmstadt-Dieburg, Germany.
He is a member of the Frankfurt Association for Contemporary Music (FGNM), the German Association for Electroacoustic Music (DEGEM), Granular (Lisbon), subscriber to the Electronic Music Foundation (EMF), and a citizen of The Kingdoms of Elgaland~Vargaland. 2003–2007 he was co-director of the Portuguese music label Sirr.

www.marcbehrens.com

A U F  A B W E G E N  RELEASE INFO

10” VINYL
release date: 25.08.2011
artist:  FRANCISCO LÓPEZ
title: untitled #205
order no.: aatp31
Label code (LC): 01291
time: ca. 18 mins + 20 locked grooves
clear vinyl in clear plastic sleeve, with 20 locked grooves for DJs on
B-side. Limited to 300 copies

Price: 13,00 Euros

On “untitled #205”:

Francisco López states: “Based exclusively on end grooves from vintage
records, ‘untitled #205’ is
a straightforward and joyful exploration of the potential for reincarnation
of these unintended sonic structures into new life. More a tool than a final
product, it delves into static, noise and rhythm with a hopeful
perspective.”
The untitled #205 mix on the a-side brings us 18 minutes of hissy, textural
sound in dissolution, ranging from ryhthm to noise. The b-side has the 20
original loops López constructed out of old vintage 78s so if you buy 20
copies of this 10” you might be able to recreate the track….

On Francisco López

Francisco López is internationally recognized as one of the major figures of
the sound art and experimental music scene. Over the past 30 years he has
developed an astonishing sonic universe, absolutely personal and
iconoclastic, based on a profound listening of the world. Destroying
boundaries between industrial sounds and wilderness sound environments,
shifting with passion from the limits of perception to the most dreadful
abyss of sonic power, proposing a blind, profound and transcendental
listening, freed from the imperatives of knowledge and open to sensory and
spiritual expansion.

He has realized hundreds of concerts, projects with field recordings,
workshops and sound installations in 60 countries of the five continents.
His extensive catalog of sound pieces (with live and studio collaborations
with over 100 international artists) has been released by more than 200
record labels worldwide, and he has been awarded three times with honorary mentions at the competition of Ars Electronica Festival. [Pedro Higueras, Sonom Studios]

www.franciscolopez.net