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ZEITKRATZER - Saturation

Format: LP
Label & Cat.Number: Bocian Records BC ZII / Musica Genera MG V5
Release Year: 2015
Note: powerful performances of KARKOWSKI's "Monochromy" and REINHOLD FRIEDLs "Xenakis alive I", recorded at Archipel Festival, Geneve, Switzerland 2004; the early 35 min version of KARKOWSKI's piece was almost unplayable due to physical exhaustion of the ensemble... this 15 min. version creates greatly pestering atmospheric noise, full of movements....the XENAKIS piece is dark, droney, intense..
Price (incl. 19% VAT): €20.00


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"Zbigniew Karkowski, Monochromy and Reinhold Friedl, Xenakis alive 1. Performed by Zeitkratzer. Recorded at Archipel Festival, Genve, Switzerland, 2004. With Frank Gratkowski, clarinets, Franz Hautzinger, trumpet, Melvyn Poore, tuba, Reinhold Friedl, piano, Marc Weiser, analog sampler, Maurice de Martin, percussion, Burkhard Schlothauer, violin, Anton Lukoszevieze, cello, Uli Phillipp, double bass.
Im very happy to release two of the most influential zeitkratzer pieces on this record: Zbigniew Karkowskis Monochromy and my own composition Xenakis alive I. Both pieces were recorded live and in early versions. Since then we have played Karkowskis music all over Europe, as well as the final 54-minute version of Xenakis alive entitled then Xenakis[a]live!
But this vinyl is dedicated to the early raw versions.
[] Zbigniew agreed to do a composition for zeitkratzer and we performed it in Berlin at Podewil the following year. It was a 35-minute piece that almost destroyed the musicians. Everyone had to play full force, which was for sure impossible for a duration of 35 minutes. The saxophone player had a bleeding tongue, my hands started bleeding inside the piano, everybody was exhausted and the result not really satisfying. Zbigniew took the multi-track recording of this production with him back to Japan and started to compose a piece out of those recordings. Out came an almost 15-minute version of zeitkratzer sounds revisited, layered, cut and looped, etc. And that 8-track mix became our new score in a double sense: we used the sound files to transform the wave-forms of the sound editing program into a real music score for ourselves. And so zeitkratzer started to play zeitkratzer playing Karkowski.
Xenakis alive was based on yet another approach: I always asked myself why Xenakis never really used amplified instruments (he only did in one little piece) to achieve the incredible sound results that made him probably the most important composer of the twentieth century. As he could not answer that question anymore, I decided to compose this homage and to use the bodies of musicians as random machines: they mostly play some defined sounds and/or noises in a dynamic texture due do the limitations and abilities of their bodies: the length of a bowing arm or the length of a breath, the width of clusters played with one hand on the piano, etc. Reinhold Friedl"
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