the notebook man

the notebook man, ursprünglich hochgeladen von polomar

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cologne – 04/2012
listening to glitterbug – be content

Der Kölner Produzent und DJ Till Rohmann alias Glitterbug ist seit den späten 80er Jahren ein leidenschaftlicher Fan von House und Techno. Auf den frühen Acid-House-Parties und später in der lebhaften Kölner Techno-Szene ist er aktiv. Hier verfügt er über beste Beziehungen zu allen wichtigen Produzenten und DJs. Mit seiner eigenen Karriere als Produzent lässt sich Glitterbug Zeit. Der erste Glitterbug-Track erscheint erst im Jahr 2006 als Samplerbeitrag auf der “C.Sides Compilation 2006″. Hier steckt Rohmann sein musikalisches Territorium zwischen Minimal, House sowie dezenten Pop-Einflüssen ab.

Vielseitigkeit ist überhaupt eine der Konstanten im Künstlerleben von Till Rohmann. Gerne taucht er in ganz unterschiedliche Szenen ein. Was in seiner Biographie funktioniert, kann auch in einem größeren Kontext Sinn machen, davon ist er überzeugt. Zusätzlich zur Tätigkeit als DJ und Produzent schlüpft Rohmann deshalb nicht selten in die Rolle des konzeptionell denkenden Künstlers, der unterschiedliche Backgrounds miteinander verbindet. Sein bekanntestes Crossover-Projekt ist das in Israel beheimatete Festival C.Sides.

Als Kuratoren geben Till Rohmann und die israelische Medienkünstlerin Ronny Shendar in den Jahren 2003 und 2004 den Anstoß für das große Techno-Projekt, das dem Austausch von DJs, Produzenten und visuellen Künstlern dienen soll. Das erste C.Sides Festival für elektronische Musik und Medienkunst findet Ende August 2005 in Jerusalem statt. Mit dabei sind neben DJs, Produzenten und Videokünstlern Theoretiker aus Israel, dem Libanon, Deutschland, Österreich, Frankreich, England, den USA und Kanada. Teil des Festivals bildet ein Kongress mit Workshops und Diskussionen zu politischen und historischen Fragen.

“Für die Künstler gibt es keinen großen finanziellen Anreiz, hierher zu kommen. Wir sind ein armes Festival, trotz der Förderung, die wir erhalten. Alle Künstler bekommen die gleiche symbolische Gage”, erklärt Rohmann den Hintergrund des Events. Trotz der geringen finanziellen Anreize unterstützen zahlreiche Acts die Initiative von Glitterbug und folgen der Einladung nach Israel. Unter den Künstlern, die beim C.Sides Festival auftreten, sind Acts wie beispielsweise Acid Pauli, DJ Koze, Lawrence, Barbara Morgenstern, Frivolous, Metope, Falko Brocksieper, Basteroid und die Gebrüder Teichmann.

Dank des intensiven musikalischen Austauschs im Rahmen des C.Sides-Festivals ist Glitterbug auch sonst ein gern gesehener Gast in Israel. 2008 erscheint mit “Supershelter” sein erstes Glitterbug-Album. Die zwölf Tracks des Longplayers sind gefühlvolle Technonummern, die immer mal wieder über den Genrerand hinausschauen und sich von dort inspirieren lassen. Tourneen führen ihn zudem nach Japan und in die USA. Gleichzeitig findet er abseits des Dancefloors ein weites Betätigungsfeld als Filmmusikkomponist und Ausstellungsmacher.

source: laut.de

das hier ist stadt

das hier ist stadt, ursprünglich hochgeladen von polomar

 

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hamburg – 03/2012
listening to stubborn heart – need someone

Little is known about Stubborn Heart, the South-London based singer and producer. But since his allegedly limited white label release ‘Need Someone’ came out, a buzz is going through the underground forums, that are keen on post-dubstep. With good reason!

Obviously the mystery man is striking the right chord at the right time. In a scene with a strong belief in progress and an insatiable appetite for new sounds, formulas and heroes, ‘Need Someone’ supplies particularly these wants. Above all this is an excellent uk funky tune between club and pop. A sparse broken beat and pitched down chords of something that sounds like a reverberated marimba provide the backbone for a truly emotive, melancholic, but simultaneously hilarious male vocal, that will give you the creeps. Later on piano chords and swinging hi-hat patterns push the tune to full thrust, while clever breaks surprise the listener.

source: mixed tape (archive.mixed-tape.com)

master yoda

master yoda, ursprünglich hochgeladen von polomar

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cologne – 04/2012
listening to pachanga boys – time

Rebolledo und Superpitcher sind die Pachanga Boys und Hippie Dance ist ihr Label. „Girlcatcher“ besteht aus drei Tracks, die als ulkiges Tribal-Mantra, Muppet-Show-Einlage und Trance-Ballade das gesamte Spektrum menschlicher Emotionen abdecken. Wer „Black Naga“ und „Thunder Scat“ als zu quatschig empfindet, aber dennoch eine Schwäche für Kompakt-Dance-Pop hat, wird sein Herz für eine ganze Viertelstunde lang an „Time“ verlieren. Klebt wie Cola auf Linoleum-Boden. Man will einfach seine Füße darauf bewegen.

source: www.groove.de/

the borderline

the borderline, ursprünglich hochgeladen von polomar

 

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majorca – spain 06/2011
listening to nils frahm & anne müller – 7 fingers

Apart from her work with the Wolf-Ferrari-Ensemble and classical violoncello engagements, Anne Müller has often been an enthusiastic escort, the smallest string orchestra possible, surprising and fulfilling the vague string desires of bands and collectives – Sdnmt, Phillip Boa, Klez.E – with a profound knowledge and brave ideas. Now she discovers and invents new ways for herself, now she bestows new freedom and new borders upon herself and her instrument: Loops, songs, landscapes, faults and acoustic glitches find their place in her performance, and her performance finds its place among them.

The other half of the Müller-Frahm reciprocity encompasses a multitude of notes, sounds, harmonies, melodies. Nils Frahm‘s biographical orbit is filled with sound sources, production and composing possibilities. He makes analogue joy and digital ecstasy complement and enhance one another rather than playing the old off against the new. As the recognition continues to grow for both of his solo piano works, ‘The Bells’ and ‘Wintermusik’, 2010 will see his third release on Erased Tapes Records as well as extensive tours alongside Balmorhea, Rachel Grimes and many others.

Two heads, four hands, 7 fingers that want to and are able to, that search and that find. Their company are raging and resting machines, algorithms, oscillations and scratches at the window. They create the broken orchestra, the smooth club drive, the acoustic reflections, fireworks, tiny gramophones. „7fingers“ dissolves into sound, combines into rhythm, becomes pulse and motion and sleep and acceleration. Nils Frahm and Anne Müller, cello and piano and all that is good and music.

source: www.hushrecords.com

i know you are, but what am i?

i know you are, but what am i?, ursprünglich hochgeladen von polomar

 

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cologne – 11/2011
listening to thomas muller – rude way for sweet heart

Few artists have succeeded in quickly defining their own unique and original style and then staying true to this approach without eventually becoming entrenched in a tried-and-tested formula. Thomas Muller is one such exception. Since his first release on BPC three years ago Thomas has developed an unmistakable signature sound. His distinctive approach to programming beats and love for detail in sound design leaves an impression of constantly moving parts that remain in one place. The resulting tension instils Thomas’ tracks with an irresistible and curiously mechanical energy. Having established and refined his musical trademark on previous EPs and remixes – including those for his label-mates Telefon Tel Aviv and Cormac – Thomas enters new territory with each track of his new EP Neurones.

source: bpitch control

the hidden stone

the hidden stone, ursprünglich hochgeladen von polomar

 

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neandertal – 11/2011
listening to mount eerie – my heart is not at peace

Mount Eerie is an Anacortes, Washington-based band fronted by Phil Elverum. Elverum is the principal member of the band, but he has collaborated with many other musicians on his records.

Following the release of The Microphones’ Mount Eerie album, Phil Elverum announced that he would no longer use the Microphones moniker, opting instead to record under the name Mount Eerie, after the area in Anacortes, Washington called Mount Erie. In an interview with CITR-FM’s Discorder in September 2003, Elverum gave his reasons for this change: “Mount Eerie is a new project. The Microphones was completed, or at least at a good stopping point. I did it because I am ready for new things. I am new.”

Shortly after this announcement, Live in Japan, recorded during three days during Elverum’s tour in Japan in 2003, was released by K Records. Despite the fact that the album contained all new material, the album was credited to ‘The Microphones’. The quotation marks contained in the release are credited to the fact that Phil Elverum considered this to neither be a Microphones project, nor a Mount Eerie release.

Since the name change, Elverum has released a few singles, and limited vinyl-only releases. Elverum has also created a 3-LP recording of Mount Eerie titled Live in Copenhagen, released by Burnt Toast Vinyl in late 2004. The first Mount Eerie studio album was “No Flashlight” Songs of the Fulfilled Night, released on Elverum’s own label, P.W. Elverum & Sun, Ltd. at What the Heck Fest in Anacortes, WA on July 16, 2005 and commercially released on August 16, 2005. Released domestically on vinyl LP (although the LP version contained a copy of the CD), the album contained an extremely large sheet of paper containing track-by-track liner notes and pictures.

July 2007 marked the release of another ambitious project, Mount Eerie pts. 6 & 7 a 132-page, hardcover coffee-table book of his photography, packaged with a 10″ record. This book is the first large-scale publication of his photography. The song Goodbye Hope appears in the 2010 film FAUX by Christopher Michael Beer.

source: wikipedia

the other side of majorca V

the other side of majorca V, ursprünglich hochgeladen von polomar

 

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majorca – spain 06/2011
listening to yann tiersen shannon wright – ode to a friend

Yann Tiersen (born 23 June 1970) is a French musician. His music is recognized by its use of a large variety of instruments using primarily the guitar, synthesizer or violin together with instruments like the melodica, xylophone, toy piano, harpsichord, accordion and typewriter. His musical style is reminiscent of Frédéric Chopin, Erik Satie, Philip Glass and Michael Nyman.

Tiersen was born in Brittany, France, in 1970 and received classical training at several musical academies, including those in Rennes, Nantes, and Boulogne. In the early 1980s as a teenager he was influenced by the post-punk culture of bands like The Stooges and Joy Division. He has Belgian and Norwegian origins.

Before releasing scores under his own name, Tiersen recorded background music for a number of plays and short films, such as La Vie Rêvée des Anges (1998, Erick Zonca), Alice et Martin (1998, André Téchiné), Qui Plume la Lune? (Christine Carrière, 1999).
He rose to domestic fame upon the release of his third album, Le Phare, but remained relatively unknown outside France until the release of his score for Le fabuleux destin d’Amélie Poulain in 2001, which was a mixture of both new and previously released material.

Tiersen favors the piano, accordion, and violin, but is also known for his experimentation and use of obscure and found instruments like the ondes martenot and the typewriter.
Yann Tiersen’s list of collaborators continues to grow album after album (see discography below for details). While composing his fifth album, L’absente, Tiersen lent his musical talent to Françoiz Breut and Les Têtes Raides for their own albums. His 2005 album, Les Retrouvailles, featured vocals from Stuart Staples of Tindersticks, Jane Birkin, and Elizabeth Fraser, formerly of Cocteau Twins. Tiersen also played piano on Staples’ solo album, Lucky Dog Recordings 03-04. In 2004 he also released a collaborative CD with American singer-songwriter Shannon Wright.

His live performances vary greatly. Sometimes he is accompanied by an orchestra and many guest collaborators, like Dominique A. Other times, he offers the more frequent minimalistic sessions, usually accompanied only by a drummer/bassist and a guitarist, with Tiersen switching seamlessly between piano, accordion, and violin for his lighter songs, and electric guitar for his louder pieces (where his Avant-Garde Music meet some rock sonorities).Lately, however, he has almost banished piano, accordion and violin and focused more on his electric guitar instead, as visible in his 2009-2010 Live Tours.

source: wikipedia