Since its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, founded by Jens-Uwe Beyer, Albert Oehlen and Alexander Warhus, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, JUBG has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße where he presented the exhibition D-I-E ORPHEUSMASCHINE together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz. It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.
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JUBG 003LP
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"The dissonance, the discord, is the tongue in the cheek of Ralf Schauff's music. Be it that the transverse flute, always underestimated as an instrument of torture, is used or slow synthesizer automations shift the tonality in an agonizingly and unnecessarily cruel way. Without this intention to challenge the listener, the music would have been there before. There are the soundscapes of NEU!, Harmonia, or Cluster, the modality of Can, Afrobeat and all kinds of electronics, but also the impression of 'Weltmusik' associated with folkloric instruments like the didgeridoo or the recorder. But it's none of these things. It only reminds us of them. And it reminds us listeners that music is also produced. The meta level comes into play and gets in the way of consumption. This is much more amusing, surprising and enriching than the mere description suggests. This is a must hear. It's just insanely fun." --Frank Spilker (Die Sterne)
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JUBG 001LP
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Since its opening in spring 2021, JUBG, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest. JUBG releases the official soundtrack to The Painter from 2021. The film, German title Der Maler, is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film Downfall, and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg. The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera. The wonderful music for this film comes from no less than two outstanding personalities. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the '90s, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary '80s new wave band Malaria. On the B-side it's the world famous and award-winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn, among others. Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way. Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.
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