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viewing 1 To 5 of 5 items
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CD
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ICM 009CD
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5 1 1 5 9 3 is the first full-length album release of Vienna-based artist Electric Indigo, who started DJing in the late 1980s, worked at the legendary Hard Wax record store in the early 1990s, and effortlessly manages to entertain the dancing crowd at Berghain as much as the contemporary music avant-garde at Wien Modern. 5 1 1 5 9 3 combines influences of both worlds into a consistent and coherent album. Crystalline metallic objects collide, embedded into fractured endless spaces, sparse rhythmical syncopations shaping grids, holding sonic particles in place. Rare vocal transformations inject a human touch. 5 1 1 5 9 3 offers a unique universe, full of color and light, partially flirting with current club music and at other times diving deep into sublime sonic areas. Cover artwork by Snc. Mastering by Rashad Becker. CD version comes in a digipack; 4C print with solid color; Includes liner notes.
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2LP
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ICM 007LP
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Double LP version. The vinyl edition is a limited heavy 180 gram pressing in a luxury gatefold cover with full-color printing. Atom is a collaborative performance by visual artist Christopher Bauder and Robert Henke. A matrix of 64 moving, helium-filled balloons each contains a bright white LED. By moving the position of the balloons and triggering the LEDs inside, it is possible to create morphing, flashing and flickering three-dimensional sculptures. Atom has been performed at Centre Pompidou in Paris, at Tesla Berlin, and at several other festivals in 2007 and 2008. This limited 2LP contains the music written for the Atom performance. The performances allow for a lot of spontaneous interaction between Christopher, who controls the height of the balloons in the matrix, and Robert Henke, who controls the LED patterns by triggering various musical elements. So each performance is different, and this release serves as a document of one possible scenario. The music for the performance has been created according to a few basic principles: there are floating elements that are not percussive and have no direct connection with the LEDs in the balloons. There are percussive elements where in each piece, each percussive element has to trigger an LED. And there are no percussive elements allowed that do not trigger LEDs. This strict conceptual approach made it possible to come up with impressive music and LED movements in a very limited period of time in 2007, before the first performance. Also each piece contains only four channels of percussive sounds, a deliberate limitation which made it possible to control the audio part of the performance entirely via a hardware MIDI controller box. Both artists felt the musical effort deserved to be conserved. Henke spent a lot of time refining each detail of the sounds and the patterns: "Some of the pieces I rebuilt from scratch, and in some cases I went in a totally wrong direction and came back to a much earlier version after weeks of unsuccessful attempts. The result is the most 'serious' album I created so far, and it marks a new coordinate in my musical universe, with its combination of noisy and rough industrial sounds, processed piano, and distant drones."
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CD
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ICM 007CD
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Atom is a collaborative performance by visual artist Christopher Bauder and Robert Henke. A matrix of 64 moving, helium-filled balloons each contains a bright white LED. By moving the position of the balloons and triggering the LEDs inside, it is possible to create morphing, flashing and flickering three-dimensional sculptures. Atom has been performed at Centre Pompidou in Paris, at Tesla Berlin, and at several other festivals in 2007 and 2008. This CD/limited 2LP contains the music written for the Atom performance. The performances allow for a lot of spontaneous interaction between Christopher, who controls the height of the balloons in the matrix, and Robert Henke, who controls the LED patterns by triggering various musical elements. So each performance is different, and the CD serves as a document of one possible scenario. The music for the performance has been created according to a few basic principles: there are floating elements that are not percussive and have no direct connection with the LEDs in the balloons. There are percussive elements where in each piece, each percussive element has to trigger an LED. And there are no percussive elements allowed that do not trigger LEDs. This strict conceptual approach made it possible to come up with impressive music and LED movements in a very limited period of time in 2007, before the first performance. Also each piece contains only four channels of percussive sounds, a deliberate limitation which made it possible to control the audio part of the performance entirely via a hardware MIDI controller box. Both artists felt the musical effort deserved to be conserved. Henke spent a lot of time refining each detail of the sounds and the patterns: "Some of the pieces I rebuilt from scratch, and in some cases I went in a totally wrong direction and came back to a much earlier version after weeks of unsuccessful attempts. The result is the most 'serious' album I created so far, and it marks a new coordinate in my musical universe, with its combination of noisy and rough industrial sounds, processed piano, and distant drones."
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CD
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ICM 006CD
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2012 warehouse find, originally released in 2006. Layering Buddha is a dark, shimmering, epic journey, solely created with sounds taken from the famous FM3 Buddha Machine. By transforming, filtering and massively layering the thin buzzing audio sound from this device he has achieved intrusive and dense soundscapes with strong cinematic associations, slowly travelling into deeper and deeper sonic layers, opening spaces where the perception of time is extended, where microscopic details become visible, and where slight changes in color and timbre create sensations of giant structures moving slowly in the distance. The sound of the original Buddha Machine player was captured using state of the art recording equipment, capable of collecting artifacts far beyond the frequency response of the human ear. This made it possible to reveal hidden and usually inaudible aspects of the material during the processing, leading to sonically rich results full of incredible, almost organic detail. During the project, long permutating sequences were set up, using numerous independent layers of processed sound, all oscillating with their own frequency and breath. In a later production step, these long sequences were rearranged and cut down to obtain more closed works of different color. Finally, the most fascinating structures were chosen and assembled to form the Layering Buddha CD.
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CD
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ICM 002CD
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2012 warehouse find; originally released in 1994. Piercing Music was Robert Henke's (Monolake) debut, created at first as a sound installation which ran for a few weeks in an office building. Piercing Music is a one-hour journey into a dark, warm and sometimes pretty noisy world, full of artificial life, created long before the terms "glitch" or "microsampling" were real words. This is probably Henke's most serious academic work, composed using controlled random distributions to create a synthetic structure which behaves "naturally"; this is achieved by deconstructing sound into tiny little particles and embedding them into a grid of slow, permutating deep drones. Most sounds are derived from recordings of water, transformed into crisp spikes of noise with occasional low bursts. It was produced using one of the first versions of the MAX software, with a minimum of other equipment; but, nonetheless, already embodied the typical depth and width which has come to characterize his releases as Monolake. Repackaged and re-released in 2003, Piercing Music is serious ambient music, more connected to the works of Thomas Köner or Asmus Tietchens.
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