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CD
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SCD HS 006
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"A startling combination of field recordings and processings which mutually transform and develop: a sound track of the 'real' in a way, which subcutaneously shifts the symbolic reference between inside (the listeners space) and an imaginary outside."
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SCD HS 009
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"The accidental nature of the fragile ecology that sustains this tenuous constellation -- already under great stress under normal circumstances (perhaps even thriving it) -- would not necessarily survive a reconfiguration of its constituent parts, or even an assimilation into existing systems of arts production and dissemination. It is in this context that nmperign war born, and that you find the latest jewel of their music." --Maria Klein
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CD
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SCD HS 008
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"...sound is always undermining its own systemization, signifying more than a one to one relation. Rather, a multiplicity of connotations appear with sound and are amplified within its wave: conversations are set in motion between the sounds I make and the sounds already occurring, between the cultural work and the real, between listening and responding. This conversation fluctuates in the slippery fold of meaning, in the agitated space of the real, making it uncertain where one sound orginates and the others fade out, where public space starts and private impulse ends, where music is heard and interference disrupts." --Brandon Labelle.
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SCD HS 007
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"All of my music is ruled by one philosophy. The best way for me to create my music is to ignore all conscious sensory input, which places me in a type of subconscious realm with stillness and motion, giving me a feeling of harmony without perception. Through my music I express and hide all of the elements that bring about this feeling. This sounds like a contradiction, but there is a niche for us to enter where this fine balance exists. After you discover this niche, you will identify a feeling that can totally devastate you afterwards. The feeling I get at that moment comes form an inorganic energy, which controls all things. With the aim if expressing this feeling, I use symbolic and realistic sounds, which are very different from each other, while maintaining harmony. With a computer, utilizing natural rules, I continuously strive to make music that produces a perfect audio stream that will carry the listener to this place of harmony." -- Kozo Inada
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CD ROM
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SCD ROM1
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"Collected pieces on music and architecture. Your tutor is Achim Wollscheid, with the participation of students of the University of Karlsruhe. The CD-ROM presents an architecture on its own. Compatible for Macs and PCs (Windows 95/98)." The labels's first CD-ROM release, designed as a multi-tiered, very Selektion-like universe of Quick-time videos, looping soundtracks, aesthetical texts and general mysterious presentation.
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SCD HS 005
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"Synapses: Jean Luc Guionnet & Eric Cordier (Instrumental device). Synapses is an instrumental device of combined string instruments (acoustic and electric guitars, detuned piano, spinett-vina, hurdy-gurdy and cello), percussion instruments and metal resonators - -all interconnected with double-bass, cello and guitar strings. When one string is played the resulting sound or movement is transferred by the connected strings to the next resonator. Thus one action causes several sound events. In fact, it's impossible to touch one element of the system without getting response of the whole device. Synapses is a hanging sensible network. The suspended instruments are kept in tension by strings and springs so that the system will enter a rocking movement in relation to the sonic in -- and output of each instrument. These oscillations result from the musicians' actions and constitute steady rhythms, the musicians have to deal with. One string generally connects two resonance bodies, so that the resulting sound is in 'stereo'. While the musicians are moving in the scrub of strings and instruments, there is no head-on relationship between stage and audience. In a concert this device is amplified and spatially distributed via 8 channels. In contrast to the usual stage setting, Synapses is located in the center of a space, while the audience is free to move around during performance."
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CD
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SCD 026
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A split release between the French electroacoustic composer Marchetti (previous CD on Metamkine) and a response to Marchetti's work by Wehowsky. All 3 new CDs come in the new Selektion packaging -- elegantly individualistic fold-out card-sleeve designs by Charly Steiger -- the maker of the Tulpas design. Regarding Marchetti's original 'L´Oeil retourne' (a 25-minute piece): "Musique concrete realisee en 1995/97, au studio du CFMI de Lyon. Voix de tete: Helene Bettencourt. Citations-collages: Roger de la Frayssenet, Kitnabudja Town; Ralf Wehowsky, Eyes, Pullover; Josephine Leask in London; Bruno et Lionel marchent dans la montagne, ainsi que divers hasards radiophoniques... Une premiere version de cette piece a ete realise pour une installation plastique de Pierre-Jean Giloux, au Fort Beauregard de Besancon, (France), en Mai 1995." Re: Ralf Wehowsky's 'Vier Vorspiele' (a 17 minute response): "Realized 1996/98 in his kitchen, Karlsruhe. Based on Lionel Marchetti´s 'L´Oeil retourne' (version 1995) with additional vocals by Dorothea Conradi and quotations from Splintered/RLW´s 'Moraine´s Eyes Pt. 4'."
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CD
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SCD 028
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"A 'documentary' CD. 5 pieces (and 5 texts) that document events that used the participation of 'people' or 'audience'. From very early events (a complete reading of the Ulysses in 5 minutes, 1986) to recent ones (the transformer and clapping pieces). Has a hole in the middle."
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