|
Search Result for Catalog KR 012CD
viewing 1 To 3 of 3 items
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
KR 012CD
|
On Shadowplay, Hans Castrup -- painter, photographer, video artist and musician -- condenses analog and digital sounds into 12 border-crossing tracks at the gateway between abstract electronics, ambient, avant-garde and sound art. Born 1957, Castrup studied art at the University of Osnabrück, and ever since has been a freelance artist in the fields of painting, photography, video, graphics, music, and text. Besides exhibitions in Germany and abroad, he engages regularly in audioplay and media art and won, amongst others, the first prize from public radio station BR2 for his piece "Living Knowledge -- Control?" in 2011. On Shadowplay, Castrup utilizes his working method of multiple layers which he developed in his paintings for his sound design: different analog or digital sound sources such as synthesizers, effects, computer, field recordings or tape machines are edited, manipulated, and re-organized as abstract/reduced compositions, meandering between melodiousness and experimental collages whose reference system ranges from new music and avant-garde to today's electronics and the likes of Brian Eno or Can. Castrup manages to escape the over-applied term "soundtrack for imaginary movies" in a very elegant way -- the multi-faceted artist shot an exclusive video clip for each of the album's 12 tracks, which in combination with the music, function as a fruitful stimulus for your own thinking.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
ZKR 012CD
|
Recorded live on April 12, 2011 at Kino Siska, Ljubljana, Slovenia, and April 14, 2011 at Vatroslav Lisinski Concert Hall, Zagreb, Croatia. This is the fourth release in the Zeitkratzer Old School series. The first three CDs, dedicated to the music of John Cage, James Tenney and Alvin Lucier have been highly-acclaimed. This new release is dedicated to the music of Karlheinz Stockhausen. Karlheinz Stockhausen is one of the most outstanding composers of the 20th century. After his early, super-organized compositions as Gesang Der Jünglinge, Kontakte or Studien 1 and 2, he conceived his From The Seven Days works as a precisely-organized text composition. Not one single note is written, but it is exactly defined: what kind of material the musicians should choose and how they should play it. Length, tempi, etc., are not given. Zeitkratzer had the chance to work on this piece in Ljubljana in the Spring of 2011, and tried to develop their approach to interpret the texts as precisely as possible, in the traditional way of score-reading. As Stockhausen pointed out: "musical meditation is not sentimentality, but ultra alertness and -- in the lightest moments -- creative ecstasy." Set sail for the sun. Directed by Reinhold Friedl. Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); Ulrich Phillipp (double bass); Reinhold Friedl (piano); Christian Lillinger (percussion); Frank Gratkowski (reeds); Hild Sofie Tafjord (French horn); Hilary Jeffery (trombone); Martin Wurmnest (sound). Mixed by Martin Wurmnest, mastered by Rashad Becker, produced by Reinhold Friedl.
"I do not want a spiritualistic session. I want music." --Karlheinz Stockhausen
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FKR 012CD
|
"If you were to tear a hundred pages from Pamela Des Barre's I'm With The Band, a fistful of anecdotes from The Abba Story, and the most titillating tales from Marianne Faithfull's biography and staple them all together you may well find a mutant monograph which is brave enough to hold a flickering candle to the story of Sarolta Zalatnay. The protective packaging of this, first ever, compendium of Zalatnay's crown jewels would not provide anything close to the adequate ink space for a worthy account of her life in the Hungarian public eye (which has previously and periodically been documented in a series of autobiographies which are unlikely to ever benefit an English language translation). After ten successful albums, drawing together a veritable who's-who of Hungarian progressive and psychedelic rock and utilizing some of the toughest dancefloor friendly metronomic drum breaks and a hard funk-rock sound years ahead of their Western European counterparts, the decline of Communism in Hungary paved the way for the widespread availability of Western music, literature and cinema -- English and American music predictably infiltrated Hungarian culture overnight and the young record buying public began to turn their backs on home grown music and many faithful Eastern European artists were demoted to mum and dad's record shelf like musical photo albums. Don't worry though -- Gal Costa is a huge name in Portugal but not many Portuguese people have heard 'Tuareg.' The youth of Hungary certainly know who Zalatnay is... but how many of them have heard that break at the start of 'Hadd Mondjam El?' All of Zalatnay's LPs have remained unknown outside of her native country. On a global scale, Zalatnay's releases sit alongside Did You Give The World Some Love Today Baby by Sweden's Doris Svensson, Marta Kubiová's Songy A Balady from Czechoslovakia, as well as early LPs by Greece's Elpida, Poland's Maryla Radowics and a host of French recordings from France Gall and the likes of Lulu and Pet Clarke in the UK. 'Beware, Sarolta Zalatnay is addictive!' And lucky for us, on her travels through the woods she left us a lot of shiny white pebbles which have spearheaded a Sarolta Zalatnay revival amongst English and American DJs almost 30 years later."
|
|
|
|