"For the Birds"
cdr, 30 min
"I am for the birds,
not for the cages
in which people
sometimes place them."
- John Cage
"For the Birds" is the first album by interdisciplinary art duo KLONK (Tine Klink and
Gerald Fiebig). The 5 pieces, mainly based on their multimedia installation work,
use the sounds of birds to explore our relationship to nature and its simulation.
When working with field recordings, birdsong can seem almost omnipresent in natural
surroundings. In turn, recorded birdsong has become something of a cliché of natural
ambience, heard in everything from "relaxation" CDs to computer games.
All 5 pieces on "For the Birds" make use of birdsong, recorded both from nature
and from other media, and mix it with various natural and artificial sounds - church bells,
metal percussion played on an object found in a nature reserve, a bird whistle, bicycle bells,
and the sounds of hedgehogs, bees, and other insects.
By increasingly disrupting the quasi-natural flow of ambient sounds by using loops, cuts,
and drop-outs, the album deconstructs the idea of an unmediated nature. The listener begins
to hear that what is nature to us is always a cultural construct.
8-page booklet, layout by Michael Barthel.
cdr, 30 min
"Hell's Hollow" is a collection of field recordings by Eric Boros, requested for this
CD project by Michael Barthel. Barthel asked for recordings made within the vicinity
of various locations Boros has lived in, and furthermore, that he not divulge the exact
coordinates nor the nature of said places. With the inspiration and ideas from each audio
piece, Barthel composed imaginary textile landscapes, photos of which are presented in the
accompanying 8-page booklet.
As of the first track, "Hell's Hollow", the listener is situated in a vaguely recognisable
sonic territory, yet as it progresses the temporality of this space is broken. The following
tracks, "Amphitrite Point" and "Green Lake", further this disintegration, providing a deeper
sense of disorientation. An ominous level of risk and intense unease is present in these
recordings, yet the specificity of each environment is left to the listener to interpret.
Eric Boros is a multidisciplinary sound artist, known for his experimental underground cassette
work under the name Hermit in the 1990ies, as well as with Vialka and various other international
projects. This is his first release using only field recordings as a sound source.
ERIC BOROS >>
cassette, 13 min 15 sec
Alexander Kluge: The cosmos is cold.
Heiner Müller: Dreamless.
Alexander Kluge: Dreamlessly cold.
Binaural composition of a person sleeping with apnea
and a panicking dog in a house during a storm.
A "Sleep apnea" is a sleep disorder interrupting an individual's
breathing during sleep, sometimes hundreds of times in one night.
"Dreamlessness" was first presented as a two-channel installation
on headphones as part of Marcellvs L.'s exhibition "Slow Ontology" (2015)
and now it is available as an audio cassette release, with one side
of the cassette shell in black, the other in white.
Marcellvs L. (b. 1980 Belo Horizonte, Brazil) lives and works between
Berlin and Seyðisfjörður. His video and sound installations
create tangible and physical stagings of time which are decelerated by
setting commonplace objects in a state of perpetual duration, perceptibly
detaching them from reality.
MARCELLVS L. at carlier | gebauer >>
MARCELLVS L. at Luisa Strina >>
"Night Chat For Clavin"
cassette, 10 min
New Hiss, Hum and Conrete Poetry recited back via 2 walkmans,
2 tape players for the blind and the Universa Assmann 640.
Dedicated to the late Concrete and Visual Poet Hans Clavin (1946-2016),
"a funny and talented man".
DYLAN NYOUKIS >>
Nyoukis' Chocolate Monk >>
The Oval Language
cassette, 20 min
The Oval Language is the long time project by Leipzig artist Klaus-Peter John.
Released in 1987 as a free sound and performance project, nowadays output is using
the human voice as the main and only source to it's recordings.
Quote, Klaus-Peter John:
"The voice is the first and oldest human instrument. Communication and articulation becomes
most intense and direct when being used as an individual expression of pure phonetic language
beyond spoken words. The Oval Language forms a kind of voice-biotope which points out the
actual sound of the voice as such. Beyond the rational logic of our language it becomes an
instrument in a world full of sound. It`s tonal immediateness is being emphasized instead
of it`s ability to form word in order to communicate rationally."
"Stimme ist das erste und älteste Instrumentarium des Menschen. Die Verständigung und Artikulation
in Form der Lautsprache existiert außerhalb der geformten Worte als individueller Ausdruck
am intensivsten, ja am unmittelbarsten. The Oval Language verdeutlicht durch die Schaffung einer Art
von Stimmbiotop den Stimmklang außerhalb der rational funktionierenden Wortgebilde. Die Stimme als
Instrumentarium in der Welt der Geräusche. Hierbei geht es immer um die tonale Unmittelbarkeit außerhalb
der rationalen Vermittelbarkeit."
8 pieces for voice, recorded in 2012;
cover layout and artwork by Michael Barthel, numbered by Klaus-Peter John.
THE OVAL LANGUAGE >>
cassette, 30 min
7 fieldrecordings at former chemical plant sites in bitterfeld,
a center of germany's chlorine industry.
after a surge of industrialization in the 1890's
and their heydays during World War I and II
both of these industries came to an almost sudden end with the GDR's demise in 1990.
declared an ecological disaster zone, nearly the whole area
was demolished and removed three years later.
today, between open spaces and redeveloped landfills,
so-called 'transparent' chemical plants produce i. a.
aspirin for the entire european market.
FRANZISKA KLOSE >>
cassette, 20 min
six untitled pieces of mainly fieldrecordings
in combination with accordian, organ pipe, pupströte and voice.
the cover contains three poems in german language.
MICHAEL BARTHEL >>