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TAUMEL - In Pieces - Volume One

Format: 10inch
Label & Cat.Number: Substantia Innominata SUB-29
Release Year: 2021
Note: a most unusual release in our 10" series by this newly formed German duo (one member is a main actor in the cryptic Netflix series 'DARK', the other a prof. percussionist playing in diverse orchestras), moving beyond / between / inside various genres (improvisation & composition, collage and jazz noir ambience), well-shaped from various sessions with Berlin's ENSEMBLE ADAPTER => a kind of "acoustic theatre" or "surrealistc soundpoem" that will leave you simply astonished... lim. 300 / black vinly / OUT NOW !!!
Price (incl. 19% VAT): €16.00

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"in pieces - volume one" - taumel trifft das ensemble adapter

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im winter 2016 haben sich 'taumel' und das 'ensemble adapter' zu mehreren improvisativen sessions getroffen um einen musikabend zu entwickeln, bei dem die gegensätze und grenzen zwischen komposition und improvisation, freiheit und festlegung, chaos und struktur verschwimmen oder kollidieren. im mittelpunkt der sessions stand die entwicklung einer spezifischen, klang-gestischen musiksprache. jeder musker hat gewissermaßen auf seinem instrument einen charakter und seine jeweils eigene spezifische klang-gestik entwickelt. diese sessions haben wir mitgeschnitten und für "in pieces" als grundlage genommen. "in pieces" besteht aus den remixes dieser sessions, sowie zusätzlich von taumel produziertem studiomaterial.

"in pieces" kann als sureales klanggedicht verstanden werden, als eine abstrakte klang-geschichte, die durch die verschiedensten zustände wandert - von größtem glück bis hin zu raserei und wahnsinn. in den 2 mutierenden klangfeldern kreist die assoziative geschichte um das thema der sprachlichen unveräußerbarkeit und damit auch um das thema 'chaos und ordnung'. diese doppelbödigkeit, der versuch zur schönheit und dessen umkippen in zerstörung und versagen. schreibversuche, sprechversuche, gestammel, gestotter, geschrei, einengung, wegdriften, gesumme... in der mutation der zustände treffen heterogene klangereignisse aufeinander oder werden vermengt zu einer neuartigen masse zwischen lied, sprechen, melodie, harmonie, geräusch, beats, riffs, wort, elektronik und verfremdung. die aktion des instrumentalisten (das instrumentenspiel) steht auf der gleichen ebene wie jede andere klangerzeugende handlung oder stimmliche veräußerung sowie jede elektronische klangerzeugung und ist immer gestisch gedacht, performativ, als handlung, als akustischer tanz.

"volume one" ist der erste teil eines als zweiteiler geplanten musikalischen zusammenhangs ("in pieces - volume two). in zwei klangteilen (seite a, seite b) ist "in pieces - volume one" kein liederzyklus wie unsere anderen serien, z.B. TRAUM, sondern eher ein musikalischer 2-akter, später insgesamt 4-akter. hier teilt sich die gesamtform der musik-serie nicht auf in alben und songs, sondern in alben und deren a+b seiten, wie akt 1, 2, 3 und 4. vielleicht kann man daher "in pieces" auch als akustisches theater hören, oder als hörspiel ohne worte, oder als soundtrack ohne film, oder als film ohne bild, oder eben einfach als eine ordnung sich verändernder klangereignisse.

"off the record"
in "off the record" trifft taumel auf andere musiker und entwickelt alben in kolaboration. hier können verschiedenste formen der musikalischen interaktion ausprobiert werden. in diesem fall von "in pieces" bestand die zusammenarbeit mit dem "ensemble adapter" in den besagten sessions, die das grundgerüst und skelet für das gesamte album bilden.

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"in pieces - volume one"

by taumel and ensemble adapter

label: dronerecords

taumel: jakob diehl / sven pollkötter
publisher: https://www.la-chunga.com/en/

ensemble adapter: Kristjana Helgadóttir / Ingólfur Vilhjálmsson / Gunnhildur Einarsdóttir / Matthias Engler

instruments: voice, drums, percussions, guitars, tipewriter, flutes, harp, clarinets, prepared piano, keyboards, synthesizer, loops and samplings, electronics, fxs on instruments.

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"in pieces - volume one" - taumel meets ensemble adapter

in winter 2016, 'taumel' and the 'ensemble adapter' met for several improvisational sessions to develop an evening of music in which the contrasts and boundaries between composition and improvisation, freedom and determination, chaos and structure were to blur or collide. the sessions focused on the development of a specific, sound-gestural musical language. in a way, each musician developed kind of a character on his instrument and its own specific sound-gesture. we recorded these sessions and used them as a basis for "in pieces. "in pieces" consists of the remixes of these sessions, as well as additional studio material produced by taumel.

"in pieces" can be understood as a sureal sound poem, an abstract sound story that wanders through the most different states - from greatest happiness to frenzy and madness. in the 2 mutating sound fields, the associative story revolves around the theme of linguistic inalienability and thus also around the theme of 'chaos and order'. this ambiguity, the attempt at beauty and its overturning into destruction and failure. attempts at writing, attempts at speaking, stammering, stuttering, screaming, constriction, drifting away, humming... in the mutation of states, heterogeneous sound events meet or are mixed to a new kind of soundmash between song, voices, melody, harmony, instruments, noise, beats, riffs, words, electronics and alienation. the action of the instrumentalists (the instrument playing) is on the same level as any other sound producing action or vocal expression as well as any electronic sound production and is always meant gesturally, performatively, as action, as acoustic dance.

"volume one" is the first part of a musical context planned as a two-part work ("in pieces - volume two). in two sound parts (side a, side b) "in pieces - volume one" is not a song cycle like our other series, e.g. TRAUM, but rather a musical 2-act, later altogether 4-act. here the overall form of the musical series is not divided into albums and songs, but into albums and their a+b sides, like act 1, 2, 3 and 4. perhaps, therefore, "in pieces" can also be heard as an acoustic theater, or as a radio play without words, or as a soundtrack without a film, or as a film without a picture, or simply as an order of changing sound events.

"off the record"
in "off the record" taumel meets other musicians and develops albums in collaboration. here different forms of musical interaction can be tried out. in this case of "in pieces" the collaboration with the "ensemble adapter" consisted in these sessions, which form the basic framework and skeleton for the whole album.


"For various reasons, this is an oddball release for the Drone Records' subdivision of Substantia Innominata. Firstly, because one of the musicians is a relatively well-known actor, who played a role in the excellent German TV series 'Dark', a must-see if you like that sort of thing with time travel. He's also a composer for various films. With Sven Pollkötter, he is the duo of Taumel. I am sure Diehl's participation will raise a few unusual eyebrows in the direction of this record. More importantly, the music is not what we know from this series, a subdivision of Drone Records, which, by and large, deal with the more droney end of the musical spectrum, music for the subconsciousness. Taumel teams up with Ensemble Adapter, a four-piece group of percussion, clarinets, flute and harp, along with a ton of effects, tapes, and voices. The six of them recorded a couple of improvisations, which served as the basis of further mixing, remixing and processing by Taumel (who play keyboards, voices, guitars, typewriter, tapes, percussion, sampler, and such like). On this record, there are eight pieces, which in itself is also a thing you don't see a lot with releases on this imprint. The result is still much rooted in improvised music than you would think or even jazz, but with that streak of darkness, that is more common here. A most remarkable record, I'd say, and one that took some time here before it sank in. The resulting pieces of music are just that, pieces of music, rather than soundscaping or long-form pieces. There is excellent clarity here regarding the instruments, which are all pretty well defined within the result. However, the four pieces per side can be seen as one long story, moving from place to place, albeit a more abstract one, of course, but maybe I am distracted by the fact that there is an actor at work here. Also, it has an excellent film character. I can easily imagine visuals to go along with this, and it comes close to the world of soundtracks. Perfect record, but not one that quickly reveals its secrets." [FdW/Vital Weekly]