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IN STOCK
01. STRAFE F.R. - Jovian Tempest
02. STRAFE F.R. - Prepper's Home
03. STRAFE F.R. - Aconite
04. STRAFE F.R. - Anophelis
05. STRAFE F.R. - Cap de Barbaria
06. STRAFE F.R. - Pianosmoke
07. STRAFE F.R. - Flare
08. STRAFE F.R. - Medusa
09. STRAFE F.R. - Golden Stomach
10. STRAFE F.R. - Dictator
11. STRAFE F.R. - Himmelgeist
12. STRAFE F.R. - Megalitic
13. STRAFE F.R. - Violet Sun
14. STRAFE F.R. - Towton
ARTIST
TITLE
The Bird Was Stolen
FORMAT
CD

LABEL
CATALOG #
TO 110CD TO 110CD
GENRE
RELEASE DATE
6/1/2018

Based in Düsseldorf, Germany, Strafe Für Rebellion, or Strafe F.R., is a long-term collaboration between the artists Bernd Kastner and Siegfried M. Syniuga, which started in 1979. After a long period of hibernation, The Bird Was Stolen marks their return to Touch following four previous releases in the '80s and early '90s. From their early connection with the local scene, centered around the Ratinger Hof in Düsseldorf, Strafe went on to develop a unique and influential form of sound sculpture that pioneered the use of field recordings alongside home-made instruments and the use of the studio as a performance space. A new track, "Virgin", which appeared on the recent Touch Movements CD/book (FOLIO 002CD, 2017), gave an early indication that they are back at the peak of their powers. The Bird Was Stolen presents 14 new compositions that push the signature sound of Strafe F.R. All songs recorded by Strafe F.R. in 2017 at STRAFE Studio, Düsseldorf, Germany. Features vocals by Caterina De Re and Strafe F.R. Artwork and photography by Jon Wozencroft. Mastered by Denis Blackham.

Strafe F.R. explain the recording:
"1. We have a piano that is somehow completely bare-boned as if a butcher had been at work. The piano is lying on its back -- we can climb into its corpse. The piano strings are easy to access and we prepare them with anything that influences a possible recording. Loudspeakers are installed. Inside the piano we play bass and guitar to use the resonance of the strings of the piano. 'Pianosmoke' was recorded in this way.

2. Sound sources are often 'accidents'. We were recording with our old Uher Portable Tape Recorder -- all of a sudden the machine developed a strange malfunction: the Uher had problems with its engine. Himmelgeist was born. The recorder began to 'scratch' like a vinyl record, but it was the recorder doing everything itself; we could also manipulate the speed with our hands. This was magnificent. Strange rhythms just happened, the tape recorder did it... We are thankful that we managed to record all of this.

3. We often amplify sounds quite loudly, that actually have a very low natural dynamic. This is interesting when recording guitar, piano and the human voice... To reduce the normal recording level by an extreme and amplify the soft, low sounds."