Acoustic Solo Percussion Vol. 1-4 & Remixes [2 CDs]
This 2 CD set contains all the pieces of percussionist Christ Wolfarth's "Acoustic Solo Percussion" series on the first CD and remixes by Rashad Becker, Hans Joachim Irmler (faust), Gunter Mueller and Joke Lanz (sudden infant) on the 2nd.
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Label: Hiddenbell Records
Catalog ID: 006/007
Squidco Product Code: 17660
Packaging: Cardboard Gatefold 3 Panels
Mastered by Rashad Becker, Berlin 2012.
Hans Joachim Irmler-remix
Andre Vida-baritone saxo
Rashad Becker-feedback cabinet
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1. Skyscraping 6:28
2. Zirr 4:36
3. Elastic Stream 5:23
4. Viril Vortex 4:16
5. Crystal Alien 6:49
6. Amber 6:50
7. Cabin No. 9 4:20
8. Well Educated Society 6:10
1. Skyscraping 6:46
2. Zirr 4:58
3. Elastic Stream 5:25
4. Viril Vortex 4:23
5. Crystal Alien 6:51
6. Amber 5:26
7. Cabin No.9 4:40
8. Well Educated Socierty 6:15
Related Categories of Interest:
European Improv, Free Jazz & Related
Percussion & Drums
sample the album:
"[...] a CD issue of the eight pieces that were released on four 7" records. I could easily refer to those reviews and skip the entire first CD, but I didn't. Not only was I curious to hear all the pieces in one flow, I was also keen on hearing them on CD. Of course people will respond to this, but I really do prefer CD's over vinyl - I like a good clean sound, mastered by the best - in this particular case thumbs up to Rashad Becker.
To refresh your memory: Christian Wolfarth is a Swiss drummer and percussionist who has played with anyone and anywhere from the world of improvised music. His drum kit is a vast source of many diverse sounds, which he explores on previous CD's, but also on these four 7" records. Many times he uses bows to play his cymbals to create an excellent form of acoustic sound, or simply using a piece of styrofoam on various skins to create a similar drone like effect. It sounds at times pretty much electronic, but it ain't so. This has nothing to any form of regular drumming or standard improvisation - half the time you won't recognize any drums or percussion. More electro-acoustic music than improvisation, even when it's all recorded in one take.
Here on compact disc I must say it has more sonic depth than on vinyl, simply because one isn't distracted by any crackles and one notes that these eight pieces fit nice together. Each 7" is remixes (both A and B side) by one remixer. Günter Müller (himself no stranger to using drums in a similar drone like way), Joke Lanz (also known as Sudden Infant), Hans Joachim Irmler (of faust) and Rashad Becker, the master of mastering, but little less known as a musician himself. Each remix also lasts more or less as long the original does. I don't know if there were more restrictions.
It opens with Müller's remixes, two further explorations of low rumble - objects on bass skins, but maybe the originals are played through speakers vibrating skins and that is the remix ? Hard to say, thats for sure. Lanz uses the pieces as pressed on vinyl - which is of course the one thing you can't do as nicely on CD: scratching, speed change and such like - and adds his own voice. The remixes are more forcefully present in terms of sound/noise.
Irmler takes his Krautrock experience on board and his remixes sound like recorded at a faust soundcheck, adding surprise elements of random stabbings on the organ/electronics.
What Becker is even more hard to decipher, especially in 'Cabin No. 9', but in 'Well Educated Society' he adds baritone saxophone, violoncello, viola and feedback cabinet by himself and some friends, and morphes that with the scraping textures of Wolfarth, into an intense piece of modern classical/action music.
Remixes might not be the right word here: it's more a question of what else can we do with this, and most curious enough, what we don't get is a laptop remixes ripping it all apart of someone who creates a full on dance beat out it. That would have been nice too, but ultimately not necessary. Great package all together."-Frans de Waard (Vital Weekly 897, april 2013)
At The Squid's Ear!
• Show Bio for Christian Wolfarth
Born 1960 in Zürich/Switzerland.
1982-1986 studies with Bob Cunningham and Billy Brooks at the Swiss Jazz School in Bern.
1992-1996 studies with Pierre Favre at the Conservatorium in Luzern.
1995 studies in Composition with Siegfried Kutterer in Basel.
Workshops with George Lewis, Alexander von Schlippenbach, Jojo Mayer, Han Bennink and others.
Since the middle of the 80th's he's involved in many projects between Jazz, improvised and written New Music.
Since 1991 he played many solo concerts in all over Europe and Russia.
Regular works with dancers above all with Nina F. Schneider and her dance company. (1994-2002)
He works for theatre, film and video.Collaborations and concerts with
Al Maslakh Ensemble, Claus van Bebber, Burkhard Beins, Christian Buck, John Butcher, Gene Coleman, Bertrand Denzler, Jacques Demierre, Michel Doneda, Axel Dörner, John Edwards, Donat Fisch, Christoph Gallio, Mich Gerber, Malcolm Goldstein, Eugen Gomringer, Barry Guy, Charlotte Hug, Jason Kahn, Hans Koch, Jonas Kocher, Tomas Korber, Annette Krebs, Fine Kwiatkowski, Joke Lanz, Urs Leimgruber, London, Improvisers Orchestra, Paul Lovens, Werner Lüdi, Michael Lytle, Paul Lytton, Enrico Malatesta, Albert Mangelsdorff, Michael Moser, Norbert Möslang, Günter Müller, Lauren Newton, Andrea Neumann, Lucas Niggli, Evan Parker, Simon Picard, Lê Quan Ninh, Ignaz Schick, Alex von Schlippenbach, Irène Schweizer, Christine Sehnaoui, Günther Sommer, Jürg Solothurnmann, Michael Thieke, Michael Vorfeld, Phil Wachsman, Christian Weber, Michel Wintsch, Michael Zerang, Ingar Zach, Alfred Zimmerlin and many others.Labels
His work is released on labels like: for4ears, formed, HatOLOGY, Leo, Klangbad, Presto!?, Rossbin, mikroton, Monotype, Quakebasket, hiddenbell, Creative Sources, Origin, Percaso, Wandelweiser, Unit and others.Festivals
Christian Wolfarth has played at some festivals such as:Festival Total Meeting (F), Festival Densités (F), Les Arts à Gahard (F), Wien Modern (A), Ulrichsberger Kaleidophon (A), Festival Pulsi (I), LEM Festival (ES), Störung Festival (ES), At Harbour (CR), Percussion Festival (RU), Skanu Mezs (LET), Musica Genera (PL), Festival Blaue Fabrik (D), ZAM Labor (D), Klangbad Festival (D), Humanoise Congress (D), Festival Rue du Nord (CH), Festival de la Cité (CH), Festival Akouphène (CH), Festival Archipel, (CH), Onze Plus (CH), Jazzfestival Willisau (CH), Festival ZweiTageZeit (CH), Unerhört (CH), Maiers Ohr (CH), Stanser Musiktage (CH), Festival SehnsOhr (CH), Knoten Festival (CH), TonArt (CH), Taktlos Festival (CH)"-Christian Wolfarth Website (http://christianwolfarth.ch/en/biography/?_wb=en/biography/&lang=EN)
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• Show Bio for Gunter Muller
"Born München, Germany, 1954; drums and electronics. Though born in Germany, Günter Müller has lived in Switzerland since 1966. From 1981 he has been playing a unique drum set with a mobile pick-up and microphone system of his own invention which allows hand-generated sounds on drums and percussion to be modulated electronically. Since 1998 minidiscs, and since 2002 an ipod, have been included in his electronic set. Nowadays he often plays ipod and electronics only.
Müller was a founding member of the trio Nachtluft, with Andres Bosshard and Jacques Widmer, a group that have created sound-installations and sound-architecture, and of the electronic quartet POIRE_Z with Erik M and Voice Crack. He has worked in a wide variety of contexts: solo; in ad-hoc groupings; and often in duo with, among others, Taku Sugimoto, Jason Kahn, Steinbrüchel, Norbert Möslang, Toshimaru Nakamura, Tomas Korber, Lê Quan Ninh, Keith Rowe, Erikm, Carlos Zingaro, Sachiko M, Michel Doneda and Fabrice Charles. Günter Müller runs the record label For 4 Ears.-European Free Improv (EFI) (http://www.efi.group.shef.ac.uk/mmuller.html)
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• Show Bio for Hans Joachim Irmler
"Born in 1950, Hans-Joachim Irmler began experimenting with sound-generating technology at a very early age. As a teenager, he built his first organ. In 1969, he moved to Hamburg, where he studied art and worked for television. There, he was drawn into a collective of musicians and filmmakers. Out of this loose group, a band crystallized which would become known as Faust - a band which subsequently became known to people with an interest in avantgarde music all around the world.
The band negotiated a contract with Polydor in 1971 in which they were granted their own studio and custom-built sound-processing equipment (unheard of for a "pop" or "rock group" at that time). On their eponymous debut in 1971 (pressed on clear vinyl and housed in a transparent cover), one can hear familiar sounds augmented with electronically generated and distorted ones, which made Faust into probably the most far-out album ever released on a major label. This musical and technological transmutation has become the leitmotiv of Irmler's aesthetic. He always worked with self-built or heavily customized equipment. Thus it is small wonder that when Faust folded in 1975 he started his own keyboard workshop.
But Faust never really stopped, there were always reunions - sometimes private, sometimes public. In 1994, he and two other core-members of Faust record Rien, the first album in 20 years,. It was produced by Jim O'Rourke and released on Jeff Hunt's Table Of Elements, one of the prime labels for so-called post-rock in the 90s. Irmler went on to form his own label Klangbad in 1996, on which he published not only Faust, but also other bands, most of whom he recorded in the label's own studio (including Custer, Dieter Moebius, Circle, Ectogram, Nightingales, Ole Lukkye, to name but a few) . In 2004, the studio relocated to the premises of a disused paper factory in the rural Swabian village Scheer. It contains all of Irmler's equipment built over the last 30 years as well as new, computer-based recording tools.
Initially established as a thank you-party for the volunteers who helped in building the new studio, Irmler now runs and curates the internationally acclaimed Klangbad Festival. Since 2004, this annual event attracts audacious locals as well as international music lovers from all over the globe.
After he recorded and released his first solo-album Lifelike in 2003, Irmler has embarked on a long series of improvisations and collaborations with other musicians, among them musician, composer and multimedia artist Alfred 23 Harth (Harth/Irmler/Müller - Taste Tribes on For4ears records), the percussionist Z'ev (on the Fauz't-CD), drummers Christian Wolfarth and Lucas Niggly (the latter of Steamboat Switzerland-fame), Hans Reichel (guitarrist extraordinaire & inventor of the Daxophone) and trumpeter Franz Hautzinger."-Klangbad (http://klangbad.de/node/38)
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