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LP
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FAITICHE 005LP
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2022 repress. LP version. Includes download code. Subtitled: Voice And Tape Music. The world first learned of unknown housewife/mother/pharmacist/electronic experimentalist Ursula Bogner's work in 2008. Since then, her identity has been surrounded by rumors, her graphic work has been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, among others).
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LP
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FAITICHE 001RLP
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Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created. While working as a pharmacist, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner's work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner's extensive oeuvre, is being reissued in a remastered version to mark the label's tenth anniversary. This new version also includes four bonus tracks that were previously only available on a 7" single. Jelinek on the music's initial discovery: "It seems incredible that Bogner's musical talents should have remained undiscovered, but in view of her biography, this might have been inevitable. I met Sebastian Bogner, Ursula's son, on a flight, and the usual small talk led to the topic of his mother, who 'liked to play around with synthesizers', albeit purely on an amateur level. Among her acquaintances, it was considered an eccentric hobby and not paid a great deal of interest. Bogner's life seemed simple and bourgeois to the core: she was a pharmacist, wife and mother. This situation made her obsession with electronic music all the more bizarre - an obsession that saw her build her own home studio. Throughout her early twenties, she followed the activities of Studio für elektronische Musik, attended seminars by Studio founder Herbert Eimert, exhibited enthusiasm for Musique Concrète and later shared her children's enthusiasm for new wave. Nevertheless, Bogner never involved herself in any scene, never made her music public. Her compositions, betray few signs of esotericism; they are closer to studies and sketches, humorous and almost silly, rather than tied to any particular school. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles, leading to a bewildering variety of titles. In the late 1960s, Bogner started to record her own music on reel-to-reel tapes. Covering a fairly short period of her creative career, this music conveys a peculiar coherence in both form and content, a coherence that reflects her accessible, rhythmic and sometimes even poppy side. My own preference played a part in the selection process, but a further compilation is already in the works. I hope that listeners will enjoy the same exhilaration I experienced on discovery of Ursula Bogner's music" Gatefold sleeve, includes download.
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7"
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FAITICHE 015EP
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Faitiche present a new Ursula Bogner record. Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner's tape archive, Recordings 1969-1988 (FAITICHE 001CD, 2014). A second followed in 2011, compiled this time by Andrew Pekler Sonne = Blackbox (FAITICHE 005CD, 2011). For Winkel Pong, the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
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CD
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FAITICHE 001CD
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New 2014 edition, with similar hard-cover bookstyle packaging, including an 8-page booklet. This is the debut release on Jan Jelinek's label Faitiche: a collection of unheard electronic experiments from an unlikely source. Ursula Bogner was a pharmacist, wife and mother, and she was obsessed with electronic music -- an obsession that drove her to build her own studio for extensive recording and experimentation. Ursula Bogner was born in 1946 and raised in Dortmund -- she moved to Berlin at 19 to study pharmacy. She immediately went to work for pharmaceutical giant Schering, followed by marriage, children and a successful yet by no means sensational scientific career within the multinational heavyweight. At the same time, she developed a keen interest in electronic music. Throughout her early 20s, she followed the activities of Cologne-based Studio Für Elektronische Musik, attended seminars by Studio founder Herbert Eimert, exhibited great enthusiasm for musique concrète and, later on, shared her children's enthusiasm for British new wave pop. Nevertheless, Ursula Bogner never involved herself in any scene, never made her music public. Besides composition, she also tried her hand at painting, printing (the booklet features reproductions of two of her linocuts) and developed a strong fascination for mysticism, esotericism, and Wilhelm Reich's "orgonomy," the psychoanalyst's bizarre late work on his discovery of "orgonenergy" or life-force. Her compositions are studies and sketches: humorous and -- in view of her biography -- almost silly, rather than mystical or scientific. Nevertheless, it is remarkably hard to grasp or classify her work as a whole. Over the course of 20 years, she dabbled in many different styles, leading to a huge wealth of work and a bewildering variety of titles, from filter modulations, tuba tweaking, bass anthems, looping experiments, synth-pulse symphonies, to rhythmic patterns trapped in echo chambers. In the late 1960s, Ursula Bogner started to record her own music on reel-to-reel tapes. With some of these titles, Jelinek only found individual tracks of pieces recorded on a four-track-recorder -- in these cases, he had to recombine the separate tracks to recreate the original piece. Invoking the original's authenticity might seem insensitive, yet there was no other way to release them in their entirety. Ultimately, only three of the tracks featured on this CD are such "reworkings." All other titles were taken straight from the original reels. Covering a fairly short period of her creative career, they also convey a peculiar coherence in both form and content. A coherence that reflects her accessible, rhythmic and sometimes even "poppy" side. An exhilarating find from a truly undiscovered electronic artist.
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CD/BOOK
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FAITICHE 005CD
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The world first learned of unknown housewife/mother/pharmacist/electronic experimentalist Ursula Bogner's work in 2008. Since then, her identity has been surrounded by rumors, her graphic work has been exhibited (CEACC, Strasbourg, France, 2011 and elsewhere) and her compositional instructions have been performed (by Mo Loschelder, Andrew Pekler, Kassian Troyer, Jan Jelinek, among others). The release of Sonne = Blackbox brings together all of these aspects in one CD and book: compiled by Andrew Pekler, the CD presents Bogner's early experiments with voice and tape music -- a previously-unknown, emotional side of her music is revealed here through her singing. The 126-page book contains, along with drawings, photos and other curiosities from Bogner's life, an introduction by Jan Jelinek, texts by Momus, Andrew Pekler, Tim Tetzner and Bettina Klein as well as interviews with the orgone researcher Jürgen Fischer and the ethnographer Kiwi Menrath. Sonne = Blackbox attempts to locate Ursula Bogner, the sound experimentalist within broader cultural history. A central theme is the phenomenon of fake: how did the erroneous suspicion of fakery come about in the case of Ursula Bogner and what is a post-fake? Answers in this book. No Neo (Ursula Bogner, 1971, Maas Media Vol. 43, ISBN 978-3-940999-25-2); Deluxe edition in a card-box: with CD (FAITICHE 005) and book (MAAS MEDIA). Text in English/German; Introduction by Jan Jelinek. Texts by: Momus, Kiwi Menrath, Jürgen Fischer, Bettina Klein, Tim Tetzner, Andrew Pekler. Book and CD in card-box. Pages: 126; Bound: 14 x 21 cm with numerous photographs, drawings and compositional instructions. CD compiled by Andrew Pekler. Total time: 35:12 mins. Last copies.
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