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A beautiful set of minimalist compositional drone from New York composer Phill Niblock, commissioned by the performers Natalia Pschenitschnikowa on bass flute and Erik Drescher on glissando flute, recorded at PIETHOPRAXIS, in Cologne, Germany by Marcus Schmickler, and in Berlin, Germany, by Thomas Ankersmit.
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Label: God Records
Catalog ID: GODREC 043LP
Squidco Product Code: 24323
Recorded at PIETHOPRAXIS, in Cologne, Germany by Marcus Schmickler, and in Berlin, Germany, by Thomas Ankersmit.
Natalia Pschenitschnikowa-bass flute, voice
Erik Drescher-glissando flute
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1. DeGliss 19:15
1. Nataliawork 21:00
Sound, Noise, &c.
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sample the album:
"For his premiere recording on God Records, Phill Niblock confirms his minimalistic musical approach and composes two monumental pieces for flutes and additional voices, respectively. Commissioned by Erik Drescher and Natalia Pschenitschnikova, Niblock again delivers an almost stripped, uncompromising one-way sound monolith. Tremendous, straight, and to the point..."-GOD
• Show Bio for Phill Niblock
"Phill Niblock is a New York-based minimalist composer and multi-media musician and director of Experimental Intermedia, a foundation born in the flames of 1968's barricade-hopping. He has been a maverick presence on the fringes of the avant garde ever since. In the history books Niblock is the forgotten Minimalist. That's as maybe: no one ever said the history books were infallible anyway.
His influence has had more impact on younger composers such as Susan Stenger, Lois V Vierk, David First, and Glenn Branca. He's even worked with Sonic Youth's Thurston Moore and Lee Renaldo on "Guitar two, for four" which is actually for five guitarists. This is Minimalism in the classic sense of the word, if that makes sense. Niblock constructs big 24-track digitally-processed monolithic microtonal drones. The result is sound without melody or rhythm. Movement is slow, geologically slow. Changes are almost imperceptible, and his music has a tendency of creeping up on you. The vocal pieces are like some of Ligeti's choral works, but a little more phased. And this isn't choral work. "A Y U (as yet untitled)" is sampled from just one voice, the baritone Thomas Buckner. The results are pitch shifted and processed intense drones, one live and one studio edited. Unlike Ligeti, this isn't just for voice or hurdy gurdy. Like Stockhausen's electronic pieces, Musique Concrete, or even Fripp and Eno's No Pussyfooting, the role of the producer/composer in "Hurdy Hurry" and "A Y U" is just as important as the role of the performer. He says: "What I am doing with my music is to produce something without rhythm or melody, by using many microtones that cause movements very, very slowly." The stills in the booklet are from slides taken in China, while Niblock was making films which are painstaking studies of manual labour, giving a poetic dignity to sheer gruelling slog of fishermen at work, rice-planters, log-splitters, water-hole dredgers and other back-breaking toilers. Since 1968 Phill has also put on over 1000 concerts in his loft space, including Ryoji Ikeda, Zbigniew Karkowski, Jim O'Rourke."-Phill Niblock Website (http://phillniblock.com/2007/06/14/biography-photos/)
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• Show Bio for Natalia Pschenitschnikowa
"Natalia Pschenitschnikowa is a Russian composer, flute player and singer born in Moscow. She has worked with various artists of the Moscow avantgarde and performed contemporary music as well as baroque repertory. Pschenitschnikowa was part of the Ensemble Zwischentöne from 1995 to 2001. Since 1993 she has lived in Berlin.
Her name in Russian is Наталья Пшеничникова, and it can also be transliterated as Natalia Pschenitschnikova and Natalja Psenitsnikova."-Discogs.com (https://www.discogs.com/artist/939058-Natalia-Pschenitschnikowa)
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• Show Bio for Erik Drescher
"Erik Drescher is a freelance flutist, performer and curator for contemporary music based in Berlin.
In addition to a very active international career as a solo performer, he has performed in many ensembles for contemporary music. He has premiered an enormous number of new pieces, the majority of which were also commissioned by him and dedicated to him.
He has been working with composers like Peter Ablinger, Maryanne Amacher, Antoine Beuger, J.-P. Caron, Axel Dörner, Sabine Ercklentz, Julio Estrada, Dror Feiler, Friedrich Goldmann, Hauke Harder, Hanna Hartman, Michael Hirsch, Adriana Hölszky, Nicolaus A. Huber, Henrique Iwao, Jamilja Jazylbekova, Sven-Åke Johansson, Christian Kesten, Artur Kroschel, Bernhard Lang, Klaus Lang, Juseub Lim, Alvin Lucier, Michael Maierhof, Maximilian Marcoll, Chico Mello, André O. Möller, Andrea Neumann, Chris Newman, Phill Niblock, Ivo Nilsson, Helmut Oehring, Christoph Ogiermann, Younghi Pagh-Paan, Marianthi Papalexandri-Alexandri, Gérard Pape, Karen Power, Éliane Radigue, Uwe Rasch, Jaime Reis, Manuel Rocha Iturbide, Marc Sabat, Friedrich Schenker, Marcus Schmickler, Cornelius Schwehr, Martin Schüttler, Salvatore Sciarrino, Simon Steen-Andersen, Stefan Streich, Chiyoko Szlavnics, Kasper T. Toeplitz, Mauricio Valdes, Jennifer Walshe, Jeremy Woodruff, Arash Yazdani, Lidia Zielińska.
A special focus in recent years has been his work around the glissando flute, a normal C-flute with a variable-lenght headjoint replacing the standard mouthpiece. He is the editor of "The Glissando Flute Collection Erik Drescher" (Verlag Neue Musik), a collection of solo works composed for the new instrument.
Since 2012 Drescher is curator for music at the theatre Acker Stadt Palast in Berlin."-Erik Drescher Website (http://www.erikdrescher.de/cv.html)
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