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viewing 1 To 11 of 11 items
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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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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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MARIONETT 005EP
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"Another utterly brilliant salvo from Friedman -- after the future-classic 'Masque', and the Pestle EP for Latency. Six kinds of musical occultism -- transcendent and nocturnal, geometric but intuitive, like a djinn testing a logic map -- nodding to Solomon and West's compendious book about near-death experiences."
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LP
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LTNC 010LP
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"Latency's tenth release is a journey through Nonplace mastermind Burnt Friedman's elusive repertoire, recorded between 1993 and 2011. Brilliant and pioneering, this is percussive, dubbed-out, minimal, electro-acoustic music. With guest appearances by Hayden Chisholm and Takeshi Nishimoto."
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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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2LP
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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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CD
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NON 033CD
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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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12"
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NON 031EP
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Burnt Friedman presents a preview of his forthcoming new solo album. He uses instruments and rhythms not usually found in electronic music, rattling pots and pans and also presenting his latest technological breakthrough in the form of the rubber band guitar. Guest appearances come from Joseph Suchy (electric guitar), Daniel Schroeter (bass), Hayden Chisholm (reeds) and Takeshi Nishimoto (sarod). The limited edition sleeve artwork was created by Berlin artist Theo Altenberg.
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CD
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NON 026CD
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Nonplace re-issues Burnt Friedman's classic Con Ritmo, originally released in 2000, now newly-remastered with 4 bonus tracks. The music ventures into digital-age Latin lounge territory (one track features an astonishing Moog solo by Atom Heart, aka Señor Coconut) and the dub-scapes that Burnt Friedman has charted as Nonplace Urban Field. Con Ritmo captures the subtleties and complexities of a Latin-flavored live performance without descending into mere digital imitation. Friedman likes to play with notions of live, sampled and programmed material, but he also uses the capabilities of digital technology to produce edits, breaks and rhythmic matrices that even Tony Williams might think twice about attempting. It eases you into the comfortable notes without ever meandering into smooth or avant-garde territory. The actual album contains track edits, overdubs, new mastering, new design and packaging. Friedman was joined by The Disposable Rhythm Section, while he himself handled keyboard & vibraphone activity alongside Josef Suchy on guitar and Nico "Nuez" Pulsilamo on percussion. This record also features the work of the Humphrey X-34 -- the "bass-bot" that Friedman contrived while working with the Nu Dub Players -- a real-time improvised bass machine. The sound of Con Ritmo is the tinkling of ice cubes in a glass, of gentle breezes, and jazz-robots conglomerating for poolside massages somewhere warm and tropical. Turn down the world and tune in to the Con Ritmo vibration.
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CD
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NON 022CD
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This is Burnt Friedman's fourth studio full-length for the Nonplace label. Navigating an atypical musical expedition, Burnt Friedman's unusual trajectory curved its way through an adolescent obsession with percussion and a singular dedication to amassing a self-recorded audio library dating from1978. What followed in the late '80s was a period of art academia, performance and video art, then immersion in the first flurry of collaborative music projects. Since 1993, he released records under various names, and began working as Flanger with Uwe Schmidt aka Atom TM. As a result of annual travels to Australia and New Zealand, The Nu Dub Players took shape in 1997. In the year 2000, Friedman founded his own label, Nonplace, to ensure continuity for diverse musical adventures. Then there was the first collaborative effort in 2001 with Jaki Liebezeit and Joseph Suchy, which successfully combined odd meter rhythms, improvisation between electronic and acoustic instruments and a global view on music. Burnt Friedman's sound-sculpting signature has fully developed intuitively with true emotional maximalism. Guest contributors also include Hayden Chisholm (composer and reed player), singers Steve Spacek, Barbara Panther, Theo Altenberg, Daniel Dodd-Ellis and Enik as well as guitarist Joseph Suchy. Although First Night Forever houses the complete spectrum of 7 years' psychedelic audio wizardry, the record's aim is to reach a wide audience. Burnt's earlier solo productions, Con Ritmo (2000), Plays Love Songs (2001) and Can't Cool (2003) might have confused with their stylistic freedom and intricate perfectionism, but First Night Forever will simply enthrall everyone with a sense of eroticism.
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viewing 1 To 11 of 11 items
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