Drone Records
Your cart (0 item)


Format: CD-R
Label & Cat.Number: Attenuation Circuit / Special Series ACS 1001
Release Year: 2011
Note: three ways of translating paintings into music; pictures of LINDA BENNANI, CLAUDIA GULDENSCHUH and TINE KLINK but also the concrete sounds of painting tools were used as sound sources - presented at an exhibition in Augsburg Febr. 2011. Nice concept and very minimal & pure acoustic results...
Price (incl. 19% VAT): €5.00
Warning: Currently we do not have this album in stock!

More Info

"Released to accompany a painting exhibition, this CD presents three ways of translating painting into music. Gerald Fiebig plays the colours as tones on a synthesizer and the shapes as gestures on the Kaoss Pad, Bruno Kliegl improvises on the glass harmonica, and EMERGE composes musique concrte from digitally processed noises of painting tools.

In February 2011, the exhibition hrbar in Farbe (audible in colour) by painters Linda Bennani, Claudia Guldenschuh, and Tine Klink presented abstract paintings inspired by music. The musical live events that accompanied the exhibition took their cue from this shared interest in music and presented different attempts of translating the pictures on display back into sound. This compilation CD was released to coincide with the opening and contains studio versions of the projects performed live during the exhibition. Gerald Fiebig plays the colour values of the three paintings depicted on the back cover of the CD; Bruno Kliegl is one of the few performers in Europe capable of playing the 18th century glass harmonica with its extremely atmospheric and hypnotic sound; EMERGE presents a very clear and transparent composition very different from his earlier work dominated by deep drones." [label info]


"Fiebig returns on the third disc, which is a three way compilation with Emerge and Bruno Kliegl. The title translates as 'audible in color'. Fiebig uses a synthesizer, Kliegl the glass harmonica and Emerge, ever the sample man, samples painting tools. Paintings by Linda Bennani, Claudia Guldenschuh and Tine Klink are used as 'scores' and were shown when the music was performed. Each player plays one painting. Fiebig has three pieces, the others one. Fiebig's synthesizer piece weren't that interesting, quite a noisy and messy rumble of sounds. Kliegl glass harmonium piece was very nice, almost with a mediaeval sound, mediaeval and meditative. Emerge is also very much on top of things here, with what I think is the best piece I heard from him. Very silent, with only sparse sound elements being played, which sound like footprints in snow: lots of white and the irregular shaping of the print at times. An excellent piece." [FdW/Vital Weekly]