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tonschacht düppelstr.2 50679 köln germany fax. 0049-221-8874218 info@tonschacht.com www.tonschacht.com out now : tonschacht 016 janek schaefer: early electronic compositions tonschacht 017 greg davis: gather/scatter tonschacht 016 janek schaefer: early electronic compositions "Both of these compositions were produced while I was working freelance for de Rijke Marsh Morgan architects in London. One afternoon I had a message to call a guy named Jet Mistry who worked for the lift and escalator company Thyssen. He was a chatty guy so we talked about names etc, and I decided to dedicate a track to his name [side A] as I liked it so much . This composition was made using an RS Integrator that I had bought from the profits of working a 96 hours week on a competition with dR Mm. Another project we produced at the practice was a quirky, live, stop frame video showcasing various projects for a touring architecture show. I was asked to edit and produce the sound for it. Side B is a mix with the spoken sections removed. Special thanks to Alex, Sadie, Philip, Jet and Wolfgang." (janek schaefer) tonschacht 017 greg davis: gather/scatter "this record was created entirely from a casio sk1 drum machine sample. this sample was then processed in real-time using a custom-built max/msp sound environment. 'scatter' was created by subtracting (or scattering) these sounds, processing them further and adding silences until i achieved a desired lesser density. 'gather' was created by adding (or gathering) these sounds, processing them further and overlaying them until i achieved a desired greater density. all of these sounds were then carefully arranged with soundedit16 to create the finished pieces. 'two skylines' was created by taking the processed source sample and processing it further with sonicworx powerbundle. then the waveforms of the left and right channels were rectified in such a way as to resemble two city skylines. these pieces were created between the late winter of 2001 and the early fall of 2002. this record is dedicated to john cage." (greg davis) all 7"s appear on heavy vinyl in a numbered edition of 500. from 2002/03: tonschacht 015 donna summer: fluxus, inc. "This two-track, 7 brought to us by Tonschacht is like a small dish of calamata olives. It isnt going to fill you up, but it tastes very good and will have you licking your fingers after a few minutes. Let the hipsters keep their trucker caps and electroclash, "Fluxus, Inc." is a flexing of the Donna Summer school of discocrash. Bass jabs and horn stabs syncopate against the blisters of boiling breaks as a dancefloor doubledare for the moshers, idm headnodders, and innocent bystanders alike. To newcomers this track might take a few listens to fully digest, while those who have seen Mr. Summer perform live know this song would easily fit anywhere in his energizing and entertaining sets. It isnt quite the same without witnessing the full production of polyester suits and victory laps taken through the audience, but it is appetizing enough to have you dropping the needle back a few times before auditioning the flip side. Awkward Song About Love caresses the palette nicely by balancing the salt of Side A with a little sugar on Side B. Jason continues with his brand of unapologetic sample exploitation, though this time around he gets some acoustic assistance from guitarist David Grubbs. Seemingly modeled after an epic 70s rock ballad, it reminds me of a summer beach party thrown by macho men with mullets and the women who love them. The tunes are pouring out of an Iroc-Z parked nearby and there is plenty of Coors Light on hand OK- maybe not all of you grew up in Iowa, but I did." (Igloo Magazine) tonschacht 014 fibo-trespo/anders gierde: a hoax. a scam. a phony fibo-trespo is the project of dj/multi-instrumentalist sindre bjerga from stavanger/norway (owner of the gold soundz label and zine), mainly as a duo with kjetil d brandsdal and next to kdbs solo releases on corpus hermeticum, swill radio or ecstatic peace and their different collaborations in noxagt or the kjetil del brondo group one of the finest examples of nor-wave. together they explored different subgenres of experimental music from field recordings via music concrète to improv and back - on several tapes and 7 and a very special sort of rock-deconstruction on their first lp (on smalltown supersound), which at the same time contained already less improvisation, more electronics, samples, electric toys. this direction which is further developed on this 7. a hoax. a scam. a phony. is the first fibo-trespo record bjerga released together with andres gjerde (owner of the humbug label). side a contains a more ambient piece which consists of melancholic organ melodies mixed with miniatures on a toy-piano and a wild oscilloscope sounds like a homemade scifi-soundtrack in the vein of forbidden planet. side b begins as a thick, multi-layered and heavily distorted drone piece - which lets you know how a jam-session between the vibracathedral orchestra with tony conrad could sound like - and ends in abstract, celestial reverb. those two very different sides illustrates the eclecticism inside the cosmos of fibo-trespos homemade weirdness which sometimes isnt that far away from the genius of early royal trux. tonschacht 013 jazzkammer: knitter knitter is the first 7 from this norwegian duo - guitarist, improviser and composer john hegre (also in der brief) and lasse marhaug, one of the most productive musicians in the international noise/experimental underground of the last 10 years (also in del and owner of the jazzassin records label) - this time with alexander rishaug who already participated on the last jazzkammer-longplayer pancakes (smalltown supersound).this swedish label also released rolex, a remix-album of their first two cds with contributions by merzbow, thurston moore, pimmon and mayn others. jazzkammer combines timbre sound textures, drones, chrashing noise, digitalia, field recordings, turntables, static electric atmospheres, samplers sine waves and location recordings, all used in free improvisation to create fragmented, eclectic and relentless yet focused and massive collages. a-sia might remind you of mixture between the hi-speed electronics of belgian irregularities scratch pet land and the microsound-turntablism alà otomo yoshihide or martin tétreault, b-sia begins like pop defined by the tochnit aleph crew, but slowly between layers of distortions there rise sweet, fenneszian melody as if they were re-arranged by rudolf e.ber. tonschacht 012 keith fullerton whitman: live (at the tremont theater) "Whitman's new single runs live guitar through some effects and a Mac with beautiful results. There are tactile similarities to some of Jim O'Rourke's recent work, but the way that Whitman allows the quiet waver of strings to congeal into something far more menacing and far less obviously human, is definitely neat. (The Wire 11/2002) tonschacht 011 oren ambarchi: der kleine könig "The record is a set of two instrumental pieces that sound as though they were created via electric guitar, then allowed to expand and slither through the air more like his electronic stuff (albeit a beatless version). Abstract, amped frequencies, a bit like Marco Fusinato's work in places, this is a fine addition to the tonschacht catalogue. (The Wire 01/2003) tonschacht 010 vibracathedral orchestra: the one you call the ghost train "Vibracathedral Orchestra also have a heavy-duty 7" on the great German tonschacht label, the one you call the ghost train/oblong two (tonschacht 010 7"). While the A-side is a penny whistle-led dirge that crosses the open air improvisations of Tokyo's Ghost with Popol Vuh's Herzog soundtracks, side B is much more claustrophobic, with thumping drums and peaking guitars that recall the run-out of "All Tomorrow's Parties" as hijacked by five demoniacally grinning John Cales." (The Wire 05/2002) tonschacht 009 rosy parlane: the peetoom files "Rosy Parlane's the peetoom files (tonschacht 009 7") is yet another good record from this New Zealand expatriate, a former drumming member of Thela, Pit Viper and so many more. Like all his solo work, this record is electronic rather than percussive, but the A side has a certain clatter to its construction. Closer to recent work, the flip is akin to a drift study of clown structure - bumping into a big, spongy nose, squeaking, then backing into the current with a surge of electricity." (The Wire 04/2000) ask for recordshops/distributers or order directly. --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org