Lowercase free improvisation from the duo of Sabine Ercklentz and Andrea Neumann performing on trumpet and a specially designed amplified piano frame, recording 5 detailed and mysteriously constructed works using space and structure in intriguing sound work.
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Label: Herbal International
Catalog ID: 1001
Squidco Product Code: 20794
Packaging: Cardboard Gatefold 3 Panels
Recorded at Studio Mehringdamm January 2007 except track 5 recorded at EMS January 2008.
Sabine Ercklentz-trumpet, electronics
Andrea Neumann-piano, electronics
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• Show Bio for Andrea Neumann
"Born 1968 in Freiburg, grew up in Hamburg. Piano lessons since 1974. Studied piano at "Hochschule der Kunste" in Berlin. Since 1996 primarily active as improviser and composer in the areas of experimental and new music.
In the process of exploring the piano for new sound possibilities, she has reduced the instrument to strings, resonance board and metal frame. With the help of electronics to manipulate and amplify the sounds (sometimes to make parts of the sound audible which are inaudible without amplification), she has developed numerous new playing techniques, sounds, and ways of preparing the dismantled instrument. Because the original inside piano is very heavy, a piano builder (Bernd Bittmann, Berlin) constructed a new and lighter one for her.
She has worked intensively in the crossover area between composition and improvisation, and in the field between electronic and handmade sounds, with Berlin musicians such as Annette Krebs, Ignaz Schick, Axel Dörner, Robin Hayward and Burkhard Beins. She has composed for inside piano for interdisciplinary projects including film, dance, performance, etc."-Improvised Music from Japan website (http://www.japanimprov.com/profiles/aneumann/)
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1. Bialetti 8:36
2. LAliennation 8:44
3. Ortlaut 10:56
4. Passer Par Tout 7:26
5. Twin Quartet 9:03
sample the album:
"Aside from the funny cover (partly explicated by a mini-movie contained in the disc), 2010's LAlienation is a good album by Sabine Ercklentz and Andrea Neumann, who integrate the origin of their instruments (trumpet and a specially designed amplified piano frame) with cunningly sharp electronics. These procedures yield results that sound organically coalesced and entirely acceptable both rhythmically and compositionally. The artists pay attention to every single constituent of the electroacoustic ambit, at times giving birth to pulsing patterns emerging from peculiar superimpositions of disparate timbral specimens (including an espresso Bialetti machine, which gives the title to the first track).
Mostly fending off the trivial wheezing-in-tube factor, Ercklentz privileges pop-fizz-and-clatter minute dynamism, which - magnified and duplicated in chains of changing shapes, or just enhanced by equalization - produce textures in which rich-sounding rough edges are coupled with a general sense of weightlessness (in this case, a positive trait). Neumann appears to be the one supplying the larger chunks of material for the lower region of the spectrum, besides adding welcome intrusions of springing metal and humming ominousness, but the emissions are so well jumbled that it is often infeasible - and ultimately futile - to recognize who does what.
This interesting concoction of deceptively elemental structures and composite resonances releases bewitching scents little by little, and is a pleasure to listen to."-Massimo Ricci, Touching Extremes
European Improv, Free Jazz & Related
lowercase, micro-improv, sound improv
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