RLW & DAS SYNTHETISCHE MISCHGEWEBE
|Artist||RLW & DAS SYNTHETISCHE MISCHGEWEBE|
artist: RLW & DAS SYNTHETISCHE MISCHGEWEBEtitle: Die Eisenbüglerintime: CD1: DSM & RLW 57:06; CD2: RLW & DSM 47:55LP sized sleeve, reproducing an original drawing by Guido Hübner; layout and design Rainer Frey. Limited to 300 copiesOn "Die Eisenbüglering":The idea for this project was in the air since the late 1980´s. There was an intense, though short-lived, (snail) mail contact between DSM and P16.D4, RLW´s group in those days, which fell into sleep for reasons unknown today. 20 years later the contact lived up again. After getting themselves informed about the actual respective state of work, methods and techniques and sounds, the recordings for the project started. RLW cd:The basic recordings were done by rlw from early to mid 2009, sound sources are instrumental (piano, trombone) and household objects. First detailed sketches of the compositions (autumn 2009) include heavily treated versions of these recordings, cross-modulations with sounds supplied by DSM and with DSM-variations of the RLW sounds sent to Caen. Fine-tuning of the compositions took until fall 2010.DSM cd:With very few exceptions I used only the original sound recordings of RLW, discarding most of his own processing that he provided me with as I wished for treatments only what would be conceived to be already into the realm of the compositional strategies I fancied for these works. So up to which degree a processing of a sound turns it into an autonomous new one is a question without answer. In consequence resulted a collaboration starting with extremely few basic recordings. However as they had been particularly distinctive by their material character as well as the audible space of the recordings and the variation of their physical intensity as they all resulted from manual efforts they provided me with what was needed. Besides dynamical treatments and cleaning up, my sound processing is not only mostly analogue or equivalent too, but mostly even mechanic. Playing back recordings through 'no-fi equipment' and recording them again, while manipulating mechanically reproduction and recording devices is what I employ most.