The Squid's Ear Magazine

Taus (Klaus Filip & Tim Blechmann): Pinna (Another Timbre)

An improvisation for two laptop computers performed by Tim Blechmann and Klaus Filip, recorded live in Vienna at "neue musik in st ruprecht", 2010, contrasting minimal tones with massive bass rumble and frothing frequencies.

Price: $15.95


In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 2.00 units

Sample The Album:

product information:


Klaus Filip-laptop computer

Tim Blechmann-laptop computer

Click an artist name above to see in-stock items for that artist.

Label: Another Timbre
Catalog ID: at49
Squidco Product Code: 15697

Format: CD
Condition: New
Released: 2011
Country: UK
Packaging: Cardstock gatefold foldover
Recorded live at "Neue Musik in St Ruprecht" on July 4th, 2010.

Descriptions, Reviews, &c.

"For someone with so restricted an improvising vocabulary - sinewaves and almost nothing else - Klaus Filip has built quite an impressive discography. The clue lies in its relative slenderness, evidence of his prudent choices in playing partners and contexts: lustrous drones for Los Glissandos quintet with clarinettist Kai Fagaschinski; disciplined, tonally rich exchanges with Toshimaru Nakamura on Aluk; and rigorous harmonic research conducted in the company of Radu Malfatti on Imaoto.

Those duos locate and calibrate often minute gradations of movement, texture and contrast within narrowly defined parameters. Not coincidentally, this is also the strength of Pinna, a 50 minute duo with laptopper Tim Blechmann recorded in a Viennese church in 2010. Blechmann is the more active of the two, counterpointing Filip's wafer-thin tones with striated, fizzing frequencies and gritty bass rumble. His contributions give the album a relatively expansive sweep, as well as an undulating, linear momentum, with clusters of louder, busier passages linked by passages of elongated static that seem to arc and slide at the same time. True to type, they build to a sustained, noisy climax in the last ten minutes. The performance recording is lightly pockmarked with audience noise in the form of sundry bangings and clatter. They helpfully complement its digital textures, imbuing them with a sense of dimension while grounding them in a physical space."-Nick Cain, The Wire

Interview with Tim Blechmann

Why 'Taus'? What does it mean?Klaus and me first played together at the fund-raising concert for the webserver. Dieb13 (who runs asked for a name and suggested `Taus' as a combination of Tim and Klaus. A similar name was used by the duo of his girlfriend Billy Roisz with Silvia Fässler, who performed as `Silly' before renaming to `Skylla', and Dieb13 and Billy sometimes use the name `Dilly'.

Pinna sounds very different from your earlier duo on L'Innomable. Can you describe what you see as the differences between the two discs?Our first release `The Organ of Corti' was a digital studio recording. We spent a few days at Kleylehof, Klaus's atelier/farmhouse on the border between Austria and Hungary, playing and recording every night. The sound is very clean, because everything is digitally generated and recorded. `Pinna' was a recording of a concert that we played in a small church in Vienna. It is a microphone recording of a 'real' sonic space: we used 5 or 6 speakers distributed in the space, e.g. one speaker was laying on the gallery facing the ceiling. The microphones captured the sound from the speakers, the reverberation of the space ... and all kinds of environment sounds like birds, audience movements, people passing by, etc, which cannot be separated from the music.

Yes, I really like the fact that you hear the space in Pinna; it seems to me that any improvisation is specific to the context in which it was played, and it's often good to hear something of this in a recording. But could you tell us more about the instrumentation for this church concert? Whatexactly were you both playing?Klaus and I were using computer. Klaus uses only sine waves, while I am playing noise textures and crackle sounds. These sounds are very easy to distinguish, because they don't mask each other. We always hear precisely what the other musician is playing, so we can react very directly to the situation. However, the computer itself doesn't produce any sound, so we need loudspeakers to transform the electrical signal into vibrations. When playing a concert, it's always a question, which speakers?, how many?, and where to place them? For Klaus's sine waves, it doesn't really matter where you place the speakers, but he always likes to have a subwoofer to be able to play very low-frequency sounds. But for my noise textures, the placement of the speakers matters a lot because they are very easily locatable, and I try to play different sounds on different speakers.

Musically the piece is mostly very quiet, and yet the sound seems really full and rich. I suppose that comes from the spatial aspect. Was it evident to you at the time that the set you were playing was very strong, or did you only think it was worth releasing on disc once you'd heard the recording?It was probably one of our most relaxed concerts. As it was a rather hot weekend in July, not so many people came to listen to the concert and therefore the situation was very concentrated. Bob Ostertag once wrote that John Zorn refused to play for too many people because it ruined the music. He has a good point there, as it is much more inspiring to play for an attentive audience. Playing with Klaus in such a situation is almost a form of meditation.

We actually didn't think of a recording, but Thomas Grill, one of the organisers, brought a mobile recorder. When I heard the recording, I was pretty surprised that it really captured the atmosphere of the concert. There were actually some rather loud parts towards the end of the concert: in fact I had to reduce the volume of the final part for the CD to avoid listeners having to adjust the volume themselves when the quiet part is too quiet or the loud part is too loud.

You say that playing with Klaus is almost a form of meditation, and that really hit home today when I was trying to select a short extract from the piece to use as a taster on the label website. It was really hard, because the pace at which the music moves is glacial. It's like waiting for New Zealand to bump into Chile. This isn't so evident when you're in the flow listening to the whole piece, but picking out a 2 or 3 minute extract feels meaningless; it tells you next to nothing about the music in its totality.

To quote Morton Feldman: "All we composers really have to work with is time and sound - and sometimes I'm not even sure about sound". I suppose this applies to almost any music. When the music is performed, it is always in a context: a specific event does not come on its own, but it is preceded and followed by other music. When taking a small sniplet, this context gets lost.

Could you say a little about the improvised music scene in Vienna? You've mentioned Dieb13 and Billy Roisz, as well as Thomas Grill - and Katharina Klement and Angelica Castello are credited on the sleeve - all musicians who I rate very highly. There seem to be a lot of active and interesting players. Do you think there are any distinctive features about the scene in Vienna?

There are quite a few interesting musicians in Vienna, although I am not sure if they consider themselves mainly as `improvising' musicians. However one common aspect of many Viennese musicians is the use of electronics. One reason might be the electronic music course, `Elak', that many Viennese musicians attended in one way or another, and where Austrian computer music legend Günther Rabl taught for many years. It's also where Thomas and Katharina are currently lecturing. At the moment all my regular collaborators from Vienna use electronics: Klaus is using a laptop, Manuel Knapp plays analogue feedback devices, and Conny Zenk uses a computer to do video projections.

Could you tell us how you earn your living? Is it possible to make money from musical activities in Austria?

I am definitely not able to make my living from music. And I know only very few musicians who can make their living from their own music. I mainly earned money from developing software. Some of my projects are somehow related to music, although it doesn't happen very often that they are related to my own music. Currently I am looking for a way to do a PhD somewhere in the field between computer sciences and computer music.

In general I suppose it is really hard to make one's living from music, unless the music is suitable for the mass, institutionalised or you are extremely lucky.

Yes, it's the same in the UK, but I suspect there's even less state support for this kind of music here. But then people like Seymour Wright argue that in some ways it's better if your music is totally separate from the business of earning your living, because that way commercial factors don't affect your aesthetic choices at all.

One can probably distinguish between making a living from arts, making a living from something related and doing something completely different. However it is double-edged: if you try to survive with arts it is possible that you adapt it. Or even worse: you could change the focus from developing

your work to promoting it. But on the other hand you have much more time to focus on your own works, if you don't have a day job. When doing something related to arts, you at least use the same tools/techniques and it is not

completely detached.

Personally, I like to have the distinction between my work/research which is more of an intellectual challenge for the brain, and my music/art that is for the heart to make life worth living.

This album has been reviewed on our magazine:

The Squid
The Squid's Ear!

Artist Biographies

"Klaus Filip *1963 computer music, programming, composition. Klaus Filip is a performer/composer/programmer and is maybe the first viennese musician, who used the laptop on stage at around 1993. Study of Musicology and Elektroacoustics (ELAK) at Wofgang Musil at the Universität für Musik und darstellende Kunst Wien. The main focus of his current work is sinewaves, whose subtle and adducent sounds are used in a wide dynamic range. As a sound artist he searches to cross sound and light. Klaus Filip runs a software project called ppooll (formerly known as lloopp) that is a networking collection of a variety of modules. This freeware is widely used by improvising musicians all over the world. Teaching position at the university of applied arts, vienna. Steady dispute with the computer as a musical instrument.

Colaborations with: Radu Malfatti, Kai Fagaschinski, Werner Dafeldecker, Dieb13, Christof Kurzmann, Boris Hauf, Christian Fennesz, Jason Kahn, John Butcher, Sabine Marte, Gilles Aubry, Noid, Mattin, Red White, Cynthia Schwertsik, Cordula Bösze, Silvia Fässler, Taku Unami, Oblaat, Taku Sugimoto, Toshimaru Nakamura, Tim Blechmann, Ivan Palacky, Burkhard Stangl, Eddie Prevost, John Tilbury, Ko Ichikawa, Nikos Veliotis, Axel Dörner, Masahiko Okura, Susanna Gartmayer, Jean-Luc Guionnet, Seijiro Murayama, Katharina Klement, Philipp Leitner, Thomas Strehl, Seymour Wright, Posset, Agnes Hvizdalek, Dafne Vicente-Sandoval, Leonel Kaplan, Sergio Merce U.A."

-Klaus Filip Website (

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Track Listing:

1. Pinna 50:14

Related Categories of Interest:

Improvised Music
Electro-Acoustic Improv
Free Improvisation
Duo Recordings
Last Copy of Items that will not be restocked...

Search for other titles on the label:
Another Timbre.

Recommended & Related Releases:
Ease: Klaus Filip / Noid
No No No, No
(Mikroton Recordings)
An anniversary release for the 10 year collaboration of Ease, the duo of Klaus Filip and Noid, using Filip's ppooll software (formerly lloopp) to tailor both pure electronic sound and modified field recordings into subtle and mysterious sound environments.
Other Recommended Releases:
Filip, Klaus / Moe Kamura
(Winds Measure)
ppooll sound artist Klaus Filip and Japanese experimental vocalist Moe Kamura (10Tet, Taku Sugimoto) in a two-part improvisation of electronic tones, textures, silence, and minimalist vocalization and utterance, Filip using a dynamic frequency palette inspiring Kamura's wordless expression; lowercase or Onkyo, a meditative and moody work.
Tierce #2
(Another Timbre)
A 2nd outing for this electronics-based trio using field recordings, zithers, turntables, amplified knitting machine, &c.; a 60 minute improvisation recorded in concert in Hull in November 2010.

Customers Who Bought This Item Also Bought:
Granberg, Magnus / Skogen
Nun, es wird nicht weit mehr gehn
(Another Timbre)
Composer Magnus Granberg took influences from Schubert's song cycle "Die Winterreise", extracting tonal material, which he merged with rhythmic influences from medieval English folk music and a song by Dowland, merging them into a temporal framework for this large and subtle composition, executed by a setpet including Angharad Davies, Erik Carlsson, Henrik Olsson, d'incise, &c.
Eastman, Julius / Apartment House
(Another Timbre)
A live recording of Julius Eastman's 1974 work "Femenine" performed by Apartment House led by cellist Anton Lukoszevieze, with Simon Limbrick on vibraphone, Kerry Yong on piano, Mark Knoop on keyboard, Mira Benjamin on violin, and Gavin Morrison and Emma Williams on flute, an ecstatic and intricate work using a repeating figure contrasted with both asynchronous and complementing backgrounds.
Davies, Angharad / Rie Nakajima / Alice Purton
(Another Timbre)
Three free improvising women--Angharad Davies, Rie Nakajima, and Alice Purton--met in the church in the tiny hamlet of Dethick, near Matlock, Derbyshire, over the course of two days developing the ten pieces of this album using an impressive set of stringed and percussive instruments, objects, and mysterious sources to create these fascinating sonic evocations.
Fages, Ferran
Un lloc entre dos records
(Another Timbre)
Submerging the listener into the immediacy of pure perception through the economy of materials and atemporality, Catalan guitarist Ferran Fages presents the 3rd piece of his trilogy for guitar and sinteones, referencing Feldman, Lucier and Szlavnics as he specifies tunings for the guitar accompanied by pure resonating sinetones used as memory vehicles or shadows.
Smith, Linda Catlin
(Another Timbre)
Eight sophisticated chamber pieces composed by Linda Catlin Smith and realized by the Canadian Apartment House ensemble, including a solo piano performed by Philip Thomas, a piano duo with Thomas and Mark Knoop, and works for percussion & cello, 2 quintet pieces for strings, percussion and winds, and two 7-piece conducted works with two percussionists, strings and brass.
Granberg, Magnus
Es Schwindelt Mir, Es Brennt Mein Eingweide
(Another Timbre)
An hour-long work for an ensemble of six musicians by Swedish composer Magnus Granberg performed by Anna Lindal on baroque violin, d incise on vibraphonen electronics, Cyril Bondi on percussion, Anna Kaisa Meklin on viola da gamba, Christoph Schiller on spinet, and Magnus Granberg himself on prepared piano, transforming material from a song by Franz Schubert.
Frey, Jurg / Magnus Granberg
Early to Late
(Another Timbre)
New ensemble pieces by Jurg Frey and Magnus Granberg played by Ensemble Grizzana, commissioned by Another Timbre with the request that both start from the same two fragments of early music, one by Johannes Ockeghem, the other by William Byrd, each composer producing fascinatingly different pieces that both contain echoes of the source material.
Cage, John
Winter Music
(Another Timbre)
John Cage's 1957 composition in a visceral realisation for four pianos, played by John Tilbury, Philip Thomas, Mark Knoop and Catherine Laws, using chance procedures to assign each of the pianist's five of the twenty pages of the score, the pianists agreeing on an overall duration of 40 minutes and preparing their parts independently, performed without rehearsal.
Insub Meta Orchestra
13 & 27
(Another Timbre)
Coordinated and composed by d'incise and Cyril Bondi, this incredible Swiss-based collective of 30 to 40 experimental musicians was founded in 2010 and has presented concerts and recordings since; this CD presents two works, "13 unissons" splitting the orchestra into 13 subgroups; and "27 times" where each musician plays 27 times in 30 minutes; phenomenal.
Frey, Jurg
Collection Gustave Roud [2 CDs]
(Another Timbre)
A double CD with five beautiful pieces that engage with the work of the extraordinary French-Swiss poet Gustave Roud, with performers including Dante Boon, Stefan Thut, Andrew McIntosh and Jurg Frey himself, 10 compositions that Frey wrote in the manner that Roud would, roaming with a sketchbook and developing the pieces based on impressions of his surroundings.
Feldman, Morton
Piano, Violin, Viola, Cello
(Another Timbre)
Morton Feldman's final composition, originally premiered in 1987, here performed by pianist Mark Knoop, violinist Aisha Orazbayeva, violist Bridget Carey, and cellist Anton Lukoszevieze, recording a year after their successful performance at London's Cafe Oto, maintaining focus and concentration on this large, unhurried work of micro-variations.
Szlavnics, Chiyoko
During a Lifetime
(Another Timbre)
Three works from Canadian composer Chiyoko Szlavnics, two electroacoustic compositions incorporating sinewaves, one with a saxophone quartet and the other with two accordions, two flutes and two percussionists; and a string trio of long sustained tones and slow glissandi.
d'incise / Cristian Alvear
Appalachian Anatolia (14th Century)
(Another Timbre)
A composition for solo 'modified guitar' from Swiss composer d'incise peformed by guitarist Cristian Alvear, music "at the confluence of sound, melody and rhythm. Something quiet but somehow driven by a pulse, existing somewhere between the electroacoustic and the tonal conceptions of music."
Harrison, Bryn
Receiving the Approaching Memory
(Another Timbre)
Bryn Harrison's highly acclaimed, labyrinthine composition for violin & piano from 2014, expertly realised by violinist Aisha Orazbayeva and pianist Mark Knoop, for whom this 5-part work of beautiful repetitions reflecting tapestries of sound was written.
Martin, Simon (w/ Quasar, Bozzini Quartet, Trio de guitares contemporain)
Hommage a Leduc, Borduas et Riopelle
(Collection QB)
Composer Simon Martin pays hommage to Quebec painters Ozias Leduc, Paul-Emile Borduas, and Jean-Paul Riopelle in contemplative works for each artist, performed by the ensembles Quatuor Bozzini, Quasar quatuor de saxophons, and Trio de guitares contemporain.
Murcia, Sarah
Never Mind The Future
Revisiting Sex Pistols' "Never Mind the Bollocks" in a band with Benoit Delbecq on piano, Gilles Coronado on guitar, Olivier Py on sax, Franck Vaillant on drums, and Sarah Murcia on bass, splitting the vocals with Mark Tompkins in a unique take on a punk classic.
Frey, Jurg
Circles and Landscapes - works for solo piano played by Philip Thomas
(Another Timbre)
Five new or recent pieces from composer Jurg Frey, alongside his 1993 work "In Memoriam Cornelius Cardew", all performed by pianist Philip Thomas, presenting slowly unfolding compositions emphasizing the physical space and time within which sounds are situated.
Matchbox (Djikstra / Karayorgis / McBride / Newton)
(Driff Records)
Blending melodic strength with post-bop intensity, Boston area improvisers Jorrit Dijkstra on alto sax, lyricon & analog synth, Pandelis Karayorgis on piano, Nate McBride on bass and Curt Newton on drums present 10 exuberant and unique modern jazz compositions.
(Drip Audio)
Vancouver-based Jay Crocker, half of Bent Spoon with Chris Dadge, in an album of electronics using homebuilt instruments and treatments, rhythmically based music with effective melodies and a quirky, sometimes lo-fi, but always engaging approach.
Sandstrom, Nisse Quintet
Live at Crescendo
(Moserobie Music)
A live recording of lyrical post-bop jazz from Swedish legend, tenor saxophnoist Nisse Standstrom, in a live recording from 2014 fronting a quintet of creative players Jonas Kullhammar on tenor sax, Leio Lindberg on piano, Kenji Rabson on bass, and Moussa Fadera on drums.
Daniel, Sylvain / Gregoire Galichet / Matthieu Metzger
Killing Spree
Saxophonist Matthieu Metzger takes us on the dark side in a "Killing Spree" with electric bassist Sylvain Daniel and drummer Gregoire Galichet, 9 pieces of demanding improvisation that share a Naked City or Court of the Crimson King energy fueled by awesome technical prowess.
Turner, Roger / Otomo Yoshihide
The Last Train
UK free improvising drummer Roger Turner meets Japanese guitarist Otomo Yoshihide at the Hara Museum, Tokyo in the winter of 2013 for a performance that balances introspective improvisation with assertive and authoritative playing for a captivating and dynamic album.
Derome, Jean
Chamber Music 1992-2012
(Ambiances Magnetiques)
25 chamber works composed by Montreal composer, multi-instrumentalist and improviser Jean Derome, presenting pieces from the wealth of projects he's involved in, including Dangereux Zhoms, Ensemble de flutes Alize, duos with Lori Freedmam, Quasar, quatuor de saxophones, &c.

The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC