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Mattin: Songbook #6 [VINYL] (Munster Records,  Insulin Addicted Records, Cruditˇs Tapes)

Spanish sound artist and vocalist Mattin in his 6th "Songbook" album, performed with Farahnaz Hatam, Pan Daijing, Colin Hacklander, Werner Dafeldecker, and Dean Roberts, a vicious mix of essentially no-wave rock and experimental music, six songs at exactly six minutes each covering topics of the conflicts, confusion and frustrations of our modern age.
 

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product information:


Label: Munster Records, Insulin Addicted Records, Cruditˇs Tapes
Catalog ID: MR 371, #17, CRU12
Squidco Product Code: 27317

Format: LP
Condition: New
Released: 2017
Country: E.U.
Packaging: LP
No recording data listed. Mastering by Rashad Becker.


Personnel:

Colin Hacklander-performer

Dean Roberts-performer

Farahnaz Hatam-performer

Mattin-performer

Pan Daijing-performer

Werner Dafeldecker

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Artist Biographies:

"Colin Hacklander is an avant-garde percussionist, drummer and composer, with a background in post-tonal theory and electronic music." He has recorded with Iancu Dumitrescu & Ana-Maria Avram, and Mattin.

-Hacklander / Hatam (http://sharjahart.org/sharjah-art-foundation/people/hacklander-hatam)
5/15/2019

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"Dean Roberts (born 1975) is a musician and composer from New Zealand who works with electroacoustic music, minimalism, free improvisation, song cycles and prog rock. During the mid-1990s he was a member of the trio Thela with Rosy Parlane and Dion Workman. After Thela disbanded, Roberts recorded 3 solo albums under the name White Winged Moth, followed by a series of releases under his own name.

Along with Martin Brandlmayr and Werner Dafeldecker Roberts was a member of experimental trio Autistic Daughters when he lived in Italy.

He has also recorded with Eugene Chadbourne and Thurston Moore.

He graduated from Elam School of Fine Arts' Intermedia department and later taught time-based arts there."

-Wikipedia (https://en.wikipedia.org/wiki/Dean_Roberts)
5/15/2019

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

"Farahnaz Hatam was born and raised in Tehran, Iran. She is a an experimental musician working with SuperCollider sound synthesis programming environment and also modular synthesisers. She is interested in sound as sculptural material and as a medium in which ideas are communicated.

She lives and works in Berlin where she co-founded N.K., Berlin's legendary space for the avant-garde and non-mainstream culture. Hatam works currently as a musical director for theater; performs solo, in the Hatam / Hacklander duo, and occasionally as a specialist DJ. Her upcoming project LABOUR will debut this summer at Berlin Atonal."

-Digital in Berlin (http://11plus3.de/farahnaz-hatam/)
5/15/2019

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Sound artist Mattin (aka Mattin Artiach) was born in 1977 in Getxo, Euskadi, Spain. He is a member of Belaska, Billy Bao, Deflag Haemorrhage / Haien Kontra, La Grieta, Josetxo Grieta, No More Music, Regler, Sakada. He is the Founder of w.m.o/rEAI, Harsh Noise, Noise, Noise Rock, Free Improvisation, Onkyo.

-Discogs.com (https://www.discogs.com/artist/187059-Mattin)
5/15/2019

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"Pan Daijing (born 1991) makes music, art, and tells stories. Born and raised in Guiyang, Southwest China, she has been based in Berlin since 2016. Rooted in noise music, her raw approach as a composer and performer takes many forms; primarily performance art, sound, dance and installation, hinging heavily on improvisation and acts of storytelling. Soul exposing utterances and sonic, aesthetic outbursts as a means of direct communication are the main tendons of her practice;vehicles of power and vulnerability are interwoven in her work sensorially rather than as statements. The output is poetic and uncanny, often oscillating along paradoxical conceptual states.

She has released an acclaimed album debut, Lack, on PAN, and her ongoing projects comprise of Fist Piece, a complex choreography of film, sound and performance premiered in Kraftwerk at Berlin Atonal, In Service Of A Song, a performative installation shown in succession at Haus der Kulturen der Welt and at Galleria Isabella Bortolozzi, and The Speaker, a collaborative aural theatre piece premiered at St. Elisabeth's Church in Berlin.

Cited as one of the most uprising figures in the current avant-garde, she has showcased her work and performed in museums such as Palais de Tokyo and Rockbound Shanghai, theatres such as Volksbühne and HAU, underground clubs like Berghain as well as festivals such as CTM, Sonar, Unsound and the London Contemporary Music Festival. She is currently constructing a multidisciplinary New Opera, a series of collaboration with designer Ximon Lee, as well as her next album."

-PartyFlock (https://partyflock.nl/en/artist/107458/biography)
5/15/2019

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"Werner Dafeldecker was born in Vienna in 1964 and studied the double bass which he plays with passion. As a musician, composer and sound artist he takes advantage of the manifold possibilities offered by electro-acoustics. His musical projects are often inspired and deduced by outside influences such as architecture, science, photography and film - partially resulting in the creation of graphical scores for various ensembles and instrumental performers. Werner also focuses on site specific projects, field recording and opposing natural and environmental sounds with synthetic variants. He has built up an extensive sound archive and created several electroacoustic pieces for radio and film. Around ninety sound-recordings are documenting his artistic framework. He held lectures and workshops presenting his work i.a. at University Bellas Artes-Madrid, Hochschule für Gestaltung-Karlsruhe, RMIT University-Melbourne and Edith Cowan University-Perth.

Commissions / Exhibitions / Performances:

Kammermusiktage Witten; Contemporary Arts Museum, Houston; Berliner Festspiele Maerz Musik Festival; Sound field Festival, Chicago; Festival Wien Modern; Festival Hörgänge, Wien; Centre Pompidou, Paris; Steirischer Herbst, Graz; What is Music Festival, Australia; International Music Festival, Vancouver; LMC Festival, London; Dundee Media Festival; Ultraschall Festival, Berlin; SWR; ORF; Salzburger Festspiele; Liquid Architecture Festival, Australia; Darmstädter Ferienkurse; Serralves Festival, Porto, ZKM, Karlsruhe; Museum of Contemprary Art, Zagreb; Museo Reina Sofia, Madrid; Gronland Kammermusikk Festival, Oslo; Festival Mikromusik, Berlin; Borealis Festival, Oslo; Akademie der Künste, Berlin; Klangspuren Schwaz, Tirol; Transmediale Festival, Berlin"

-Werner Dafeldecker Website (http://www.dafeldecker.net/information/biography-english.html)
5/15/2019

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


SIDE A



1. Die Form, Die Sich Selbst Formt 6:00

2. Jenseits Der Willkommenskultur 6:00

3. Die Kloake Der Gesellschaft 6:00

SIDE B



1. Einbahnstrasse Des Selbst 6:00

2. Wie Konnen Wir Wirklich Wir Werden? 6:00

3. Laut-Denken (Wir Sind Schon Wir) 6:00
sample the album:








descriptions, reviews, &c.

"Yes, there is rock, but it's so deformed that not even no wave could help you make sense out of it. Imagine if a bunch of viruses filled with fake news and contemporary nastiness would go straight to the core of no wave, punk, and rock's integrity: authenticity. Not to say that the Butthole Surfers were the most authentic band in the world or that this record matches the production of El-P, but instead here you have some of the most exciting musicians in Berlin coming together for the first time, interpreting some lyrics from Mattin, dealing with our fucked up times and the search for overcoming them.

To say that there is no authenticity is not to fall into the postmodern relativism that has been a debilitating force in the struggle against the new wave of neo fascism. In fact, the latter also claim their own authenticity: race realism. Not surprisingly, authenticity was also at the core of Heidegger, which somehow connects National Socialism and its French deconstructionist critics.

Even if this record for some might sound like deconstructed rock through electronic noise and improv, it is also doing something else, like building a Frankenstein monster in the form of a rock-as-zombie-avatar: as if Lou Reed would haunt us from the other side, connecting the motherboards of our devices to our brains, giving us all electroshocks for not being able to stop this fascism-as-the-new-punk regime, while he shouts at us: they got the traction on danger and you need to take it back!"-SDZ Records

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