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RITOR 028CD
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"While the common modes of broadcasting, distributing and listening to sound seem to be changing rapidly it may make sense to tune into that process and give way to a flexible organisation of sonic structures -- 60 x X bases on my monthly broadcast on Radio X, Frankfurt a.M. I use all available players at the radiostation to play different records, CDs and cassettes from my archive at the same time. The resulting layered stream of sound is re-structured and re-composed by a real-time computer-program. Composition thus becomes a method to select, transform and develop sonic presence on the brink or randomness."
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RITOR 004CD
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"Special Digi pack and limited on 1000 copies worldwide! According to German law access to airwaves is subject to state control. It somehow seems logical that the permission for the free 'Radio X' station in Frankfurt was given at time when the Internet was allowing for an uncensored publication of opinion. The officially uttered anxiety of such a radio transforming into a political weapon in 'private' hands must have been tampered by the idea that the role of the spoken word in the media is now to be seen in relation of its context: the diversification and multiplication of voices in a media-scape that ranges from fundamentalism to party gossip, from gay news to free philosophy seminars -- a range (regarding Radio X we talk about 50 different initiatives) that makes the sole recognition of the respective voice and the classification of its context the problem, rather than the message or a aiming at a general public. Amiss to what text a presentation of experimental (or 'contemporary') music could be affiliated to under these circumstances, Achim Wollscheid chooses to eliminate all spoken text from his monthly 'Selektion' broadcast. Against the notion to differentiate each piece by intro, explanation, title and naming of authorship he decided to head for what he'd call an 'architecture of similarities'. Firstly this means to use all the CD and cassette players in the studio to arrive at 3 up to 5 simultaneous tracks when playing a momentarily decide how to re- or de-combine this selection to arrive at a sequence that on one hand merges or melts into a cohesive flow while breaking or intermitting it on the other."
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