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2LP
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PAN 081LP
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Returning with his first album in 13 years, Errorsmith's Superlative Fatigue long-awaited release on PAN arrives as his perhaps most optimistic record yet. Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognizable synthesized tones, computerized vocal effects, and timbral changes in motion. In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: "I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional." He suggests. "I find it touching when this little android raises its pitch at the end of 'Lightspeed' or the android catching its breath in 'My Party' for instance." The album title, Superlative Fatigue, reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness. Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Sound Stream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Almost all the sounds in the LP were created with his synth, "Razor", (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it. Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length. Artwork by James Hoff; Layout by Bill Kouligas. Mastered by Rashad Becker.
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2LP
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ERROR 003LP
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Double LP version. "The third Errorsmith release contains a selection of live recordings made between 2001 and 2003 in various clubs and concert venues like Ulraschall in Munich, WMF in Berlin or Empty Bottle in Chicago. Most of the tracks on this album are interpretations of classic disco and r'n b songs. Digitally synthesized, distorted and filtered clubmusic which goes far beyond its origin."
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CD
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ERROR 003CD
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"The third Errorsmith release contains a selection of live recordings made between 2001 and 2003 in various clubs and concert venues like Ulraschall in Munich, WMF in Berlin or Empty Bottle in Chicago. Most of the tracks on this album are interpretations of classic disco and r'n b songs. Digitally synthesized, distorted and filtered clubmusic which goes far beyond its origin. Less abstract and much more dancefloor compatible than the two previous Errorsmith releases this album relates closely to stuff from Smith n Hack and MMM, projects which Errorsmith is part of as well. The live sets were played on a laptop with a self-built digital live tool, a combination of a simple sequencer and a synthesizer. Errorsmith uses this tool to manipulate both the rhythmical pattern and the triggered sounds in realtime. With a huge degree of freedom in playing his instrument, two gigs were'nt the same and a gig had its highs and lows. How different a track could be played out, can be heard on the two versions of 'Near Disco Dawn' and 'In A Sweat'. Initially planned to be released as studio versions, Errorsmith decided to keep the rawness, incompleteness and live feeling of the concert recordings."
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CD
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ERROR 002CD
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"Errorsmith is one half of the projects called mmm and Smith N Hack (a collaboration with Soundhack) which have released some highly acclaimed and influential clubmusic 12"'s over the last few years. He also collaborates with New York based DJ and producer I-Sound as Disco Consultant on I-Sound's label Transparent. Concentrated rhythm drives most of the tracks on the Errorsmith 2 release. Oversimplified beats come to life because they were synthesized in realtime. To achieve this dynamic evolution of the sound, Errorsmith developed his own instruments with modular digital synthesis software. The ones he built for Errorsmith 2 integrate the reverb as part of the synthesis model. In fact the reverb dominates the model. Therefore it is an important element of the sound instead of being just an added effect. The dynamic nature of the tracks result from modulating the reverb parameters instead of the dry sounds that feed the reverb. One moment it sounds like a huge hall then abruptly it turns into a very short echo without any spacial depth. There are no analogies of this concept in reality, for it implies that you are in a room in which the walls are constantly moving, dynamically changing the volume of the hall. It is this concept which gives the record it's artificial ambience or what some have referred to as 'plasticity.'"
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