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.
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