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viewing 1 To 25 of 47 items
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2LP
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GODREC 053LP
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Another five years were necessary for Kajkyt to destroy old and develop completely new musical concept. III explores territories of complete alienation, abstraction, degradation. A four-part process of pulses that increase to complete reduction and secession. Personnel: Kajkyt - voice, electronics.
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LP
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GODREC 052LP
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Kauders on the release: "The second part of the In Another Land-trilogy can be considered as the indispensable conceptual antipode to Pt. I (GODREC 042LP, 2017). It's everything that Pt. I is not and vice versa. It's sculptural and it's not pursuing the idea of development, but it's neither static nor repetitive: The mostly short pieces, consisting of heavily treated snippets of recorded (electro-) acoustic instruments are circling around themselves, always aiming to show their core idea to the listener. The thing is the thing is the thing is the thing... just the perspective is changing."
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2LP
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GODREC 054LP
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After more than ten years, The Flying Luttenbachers are back. The Flying Luttenbachers' Shattered Dimension is the first offering by the seminal cult band since 2007. The current New York City based version of the group on this recording features stalwart leader and primary composer Weasel Walter on drums, saxophonist Matt Nelson (GRID, Elder Ones), bass guitarist Tim Dahl (Child Abuse, Lydia Lunch), and guitarist Brandon Seabrook. During The Flying Luttenbachers' prolific initial 1991 to 2007 sprint, the ever-morphing ensemble explored and challenged the parameters of aggression, dissonance, freedom, hyper-structure, and speed across many idioms ranging from hyperactive free jazz/improvisation, blistering no wave/extreme metal noise infused rock, and ambitiously composed brutal prog. Shattered Dimension was recorded one afternoon in November 2018 at Seizures Palace (better known as Martin Bisi's legendary B.C. Studios to some) with engineer Jason LaFarge. The album opens with a succinct bang in the form of the chaotic blast beat-plus-melody structural form "Goosesteppin'". After the unison melodic statement, the foursome rampages full-speed ahead through the changes, evoking the whiskey-and-cocaine drenched early era mayhem of improv supergroup Last Exit. Four frantic minutes later, the Luttenbachers rein things back a bit, with the extended harmolodic group improvisation of "Cripple Walk". The third composition on the record is the stately, ominous "Epitaph", 13 unlucky minutes of monolithic repetition, overlaid with frantic, destructive free playing in an episodic narrative. "Sleaze Factor" offers a bit of relief in the form of a prominent groove, another harmolodic venture, again influenced overtly by the jazz output of Ornette Coleman's Prime Time, Columbia Records' era Arthur Blythe, and the early James Blood Ulmer records. The final cut on this album is the 23-minute long form called "Mutation". It is a succession of abstract blocks highlighting specific sonic activity, organized as a surreal journey through immorally uplifting atonality and repetition. Gatefold sleeve.
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6LP BOX
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GODREC 050LP
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Excerpt from liner notes by Sebastian Claren: "When Morton Feldman wrote his second string quartet -- or String Quartet II, as he titled it in the score -- in 1983, he found himself at the height of his career: prior to this, his long form compositions, of which the majority lasted around one and a half hours, had not isolated him or let him disappear from concert and festival programming, as he had expected, but were on the contrary celebrated as a major 'breakthrough' and a big 'step forward' . . . Like the long pieces that preceded it, Feldman's String Quartet II consists of repeated patterns, which usually surface at a certain point in the composition without preparation, are maintained over a given period, and then abruptly abort to possibly return later. In this context, Feldman has always emphasized the interplay of 'reiteration' and 'change' in his music -- two aspects that in his mind had been decisive criteria of the music of the twentieth century as 'repetition' and 'variation' (Stravinsky and Schoenberg). He even claimed Schoenberg's concept of 'developing variation' for his composition technique..." Live Recording! 317 minutes over six LPs. Personnel: Morton Feldman - composition; Pellegrini Quartet: Antonio Pellegrini - violin; Thomas Hofer - violin; Fabio Marano - viola; Helmut Menzler - violoncello.
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LP
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GODREC 045LP
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Helmut Kaplan is a multimedia artist that belongs to a distinctive art scene of Styrian capital of Graz. His medium of expression belongs to visual arts (mostly comic), as part of Tonto association, which once included legendary record label with artists that are already seen on GOD Records roster (Robert Lepenik, Winfried Ritsch, Kauders, Bernhard Lang, Peter Ablinger). He was part of bands like Fleischpost and since the mid '90s, he has been interested in different loop structures using different media (records, cassette players, mixing desks, and computers). 17 Stücke is the final part of a "trilogy" using this form of compositional technique, the first two being Whistle On Carpet and Wave Mash Target (1999) on the Tonto label. Created after a trip to Chicago in 2000/2001, these mostly mono pieces are built from a group of seven subjects that are extended to 17. Sound material consists of lo-fi loops from different sources, like different environments, instruments, orchestras, and synthesizers... "Objects in mirror are closer than they appear." One-sided LP.
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LP
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GODREC 046LP
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Excerpt from liner notes by Keith Potter: "Georges Aperghis is probably still not much associated, by the public that internationally attends performances of his works, with music for solo piano. Music-theatre -- of an uncommonly original kind, with extended vocal techniques much to the fore -- has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced -- often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry -- are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved. This instrument's 88 keys, and the two hands of its (usually firmly seated) keyboard operative, are normally engaged to less obviously 'theatrical' ends." Personnel: Lenio Liatsou - piano, voice.
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2LP
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GODREC 048LP
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dieb13 on Philip Jeck: "... In his hands, a tool as simple as a hammer that blocks the arm of the record player creates a loop with a taste of eternity. Two or three such hammers can create musical galaxies far beyond the reach of traditional instruments, where no human ear has ever been before. From unidentifiable rumble and grinding to brilliant instrument-snippets and comical voice fragments, Philip Jeck glues sounds together as if they were never meant to exist on their own. Whether it be Pachelbel's Canon or some mid-90s dance music that's on Philip's vinyl, but what we hear in the Vinyl Coda is his very unique musical voice -- articulated with a perfect sense for structure, suspense and sound."
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LP
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GODREC 047LP
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Tiny space... dimmed lights... little steps... circling... like abstract curving lines... round and round... repeat... Composition by Slobodan Kajkut. Personnel: Dejan Trkulja - clarinet; Christian Pollheimer - vibraphone; Slobodan Kajkut - sampler, programming.
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LP
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GODREC 049LP
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Winfried Ritsch on Mono Metal Space: "... a 2x1m metal plate hung on a stand or frame is stimulated by amplifier driven modified motors used as strong transducers, and sensored by pickups. The computer-controlled feedback uses digital filters and dynamics effects as signal processing to try to resonate the plates within their individual overtones. These playable feedback filters are controlled as notes by playing increasing and decreasing sounds near the composed frequencies of the notes which evokes speech and 'singing-like' musical phrases in a wide range of frequencies typical of the chosen material. As a result of this arrangement, normally barely detectable resonances are produced in the musical space and create metallic-sounding multi-tonal clusters, whereby, due to the formation of formants and noise between the shifts, fast phrases and extremely slow polyphonic chords emerge from the sound plate. What initially appears as chaotic movements can soon be experienced as structured recurring patterns..." Personnel: Winfried Ritsch - composition/concept.
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LP
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GODREC 044LP
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Adam McCartney's Oek is a collection of six pieces. The name is a reference to the Tuvan word for "yurt", or quite simply, the idea of "home". The pieces are constructed using very simple material -- scales, built from tetrachords and suspensions, blend the intervals of the chromatic field together. This abstract material is tempered, in turn, by the sounds of the instruments. Artwork by Adam McCartney. Executive producer: Slobodan Kajkut. Personnel: Matej Bunderla - alto and tenor saxophones; Ivan Trenev - accordion; Adam McCartney - harmonium.
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LP
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GODREC 014LP
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2013 release. Although their music sounds very serious and complex, Duo Adé don't want to be considered as abstract formation. The Graz-based duo comprised of members of cult band Code Inconnu, Gottfried Krienzer and Christoph Uhlmann, have already established themselves as very specific lo-fi electronic constellation with their first release Hungrige Speisen (2000). This time, avoiding any kind of electronic devices and electronic manipulations, they sat themselves at an out-of-tune piano, each taking a different tempo, and recorded eleven versions of Freilassing, one of which is available here on this single-sided LP. The piece is a half-structured improvisation, combination of micro-tonality, bi-tonality, rhythmically independent counterpoints, integration, and disintegration, and (in)homogeneous repetitions. 25 minutes of extremely challenging piano music, on the run into the unknown known...
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2LP BOX
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GODREC 004LP
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2011 release. Four side-long remixes of Kajkyt's Krst (GODREC 002LP, 2010) from Lustmord, James Plotkin, K.K. Null, and Opcion. Some people call Lustmord a father of dark ambient, which is not far away from truth. His album Heresy (1990) is considered as a milestone of dark ambient but he also showed a big interest in dub music. His contribution here is a very good example of that theory. James Plotkin is not a person who can be easily classified into one particular genre, as his works show his interest of industrial/grind core (O.L.D.), drone metal (Khanate), but also abstract electronic (Indirmed). He shared his producing/mastering duties to bands such as Isis, Sunn O))), Scorn, Pelican, and Earth. Besides Merzbow, the other monster of Japanese noise culture is Kazuyuki Kishino (K.K. Null). Typical for the Japanese scene at that time, he also began producing a large number of solo and collaboration tapes. Nearby his numbered works, he is also a mastermind of Zeni Geva. Opcion (aka Ab-Hinc), has worked since middle '90s. He was closely linked to the label Wiederstand Records, where he produced one of the most fascinating down-tempo records of the whole catalog of the label, Farkhülse Fist (1997). Housed in a silk-screened box.
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LP
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GODREC 042LP
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Kauders on In Another Land Pt. 1 "In Another Land Pt. I is the first part of a planned trilogy. It is more or less electronic music, generated through long processes of editing and sampling. It's experimental in terms of that its shape and its meaning were not planned, were unclear during its creation and still now are not evident, but somehow hard to reveal. It is based on a strict concept, which could be very well explained, but the composer decided not to do. Instead of that, it is full of hints. It's not a riddle, it's just an invitation to listen closely and carefully. And an invitation to think, to reflect, or to imagine if you might hear something which is worth doing so. Probably this music heralds nothing." One-sided LP.
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2LP BOX
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GODREC 007LP
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2012 release. Postepeno is a project that has lasted for a long time already. It began as a fascination with the art of an unknown schizophrenic patient settled at the Vienna psychiatric asylum Oberdöbling, whose name was marked with the first two letters of her name, ST. This piece of "art", which is basically a definite collage, was created at the year of 1890, at the time when collage art was actually not even on the horizon. It was called "music made of paper". Already known for doing a remix of Kajkyt's piece Krst, Austrian guitarist and composer Robert Lepenik was deeply occupied with experimenting with sine waves, either only with them or in a combination with other instruments, particularly piano. At the beginning, the piece here was imagined as a musical setting for the eponymous collage of Frau ST, but later, Lepenik decided to release it as an extra piece of music. Includes an extended version of the piece "Grete Vor Dem Haus", available on CDr in 2008. Packaged in hard box; includes fabulous artwork on five posters.
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LP
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GODREC 025LP
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2014 release. "...the virgin who was sacrificed in Stravinsky's 'Le Sacre', comes back to earth and takes revenge..." Le Sacre: Her ghost was waiting, waiting for the moment, to burn the skies, and serve the torment. Evil all around, grabbing our minds, punish mankind! Slaughter our lives... Features a remix by Kajkyt. Personnel: Bernhard Gander - composition; Ensemble Modern; Patrick Pulsinger - electronics.
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LP
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GODREC 028LP
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2015 release. God Records present a series of pieces by Bernhard Lang, Differenz/Wiederholung -- DW ("Difference/Repetition"). DW is an on-going cycle of Lang's pieces, where the composer explores possibilities of loops and repetitions, which would become his compositional trademark. Songbook I is a piece where Lang takes highly-involved patterns from jazz and pop music and transforms them through "damaged beats". Lang on the compositions: "For many years, one of my main influences beside the work of Philip Jeck were the movies of Martin Arnold: they more or less became the trigger for the series of pieces called Difference/Repetition. For the development of the DW series, four conceptual components were essential: 1. The visual appearance of the repetition in the video/film; 2. Philosophy of repetition in Deleuze; 3. The use of loops in the improvised music, again by reference to video-couplings; 4. Exploration of musical materials of different origins in electro-acoustic environments." Personnel: Jenny Renate Wicke - mezzo-soprano; Trio Accanto: Yukiko Sugawara - piano; Marcus Weiss - saxophone; Christian Dierstein - percussion.
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LP
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GODREC 041LP
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Christian Wolff on Berlin Exercises: "'Exercise' indicates relatively shorter pieces in which the process of work, of practicing and of trying things out within specified limits, in short a kind of discipline in process, are being attempted. I regard them as both exercises in composing and for performers, especially as the performers function as members of an ensemble." Performed by Ensemble Zwischentöne: Christian Wolff (piano, melodica); Hans-Ulrich Altenkirch (vibraphone); Ellen Fricke (voice); Robin Hayward (tuba); Rainer Killius (contrabass recorder); Aleksander Kolkowski (violin); Kurt König (percussion); Annette Krebs (guitar); Inge Morgenroth (tenor saxophone); Natalia Pschenitschnikowa (flutes); Helles Weber (accordion); Peter Ablinger (artistic director). Includes 28-page booklet with liner notes from Bill Dietz and fax exchange between Christian Wolff and Peter Ablinger, as well as some score examples and sketches.
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LP
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GODREC 019LP
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2014 release. God Records present compositions by a crucial Austrian composer, Gerd Kühr. Gerd Kühr is known for combining complexity and simplicity, modernity and "tradition". Revue Instrumentale Et Électronique is a spatial composition for an instrumental ensemble, recorded sound in six movements. Kühr manages to cross and unite a variety of aspects in musical expression, complex, though powerful rhythmical constructions with hard accented percussion boosted through an ensemble spread out in a room, and highly lyrical passages with extreme appreciation of time structured silence. All of this comes with an astounding fluency between different characters of the piece, mirrored through pre-recorded ensemble sounds with slight echoing. An exact, precise, and passionate performance by Klangfoum Wien. Personnel: Emilio Pomárico, Klangforum Wien, IEM Graz.
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LP
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GODREC 018LP
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2013 release. Regenstücke Vol. 1 (2012) deals with a rain aesthetic in pure instrumental form; Vol. 2 shows Peter Ablinger's fascination with techniques of field recordings, accompanied by different ensembles and orchestra setups. Ablinger has been exploring different sides and features of nature recordings for a very long time, always achieving new territories and pushing boundaries to a higher level. Regenstücke Vol. 2 represents only a minority of that output. City noise, landscape sounds, rain drops, boosted with powerful instrumentation -- simple and almost manifestly. Not forgetting "instrumental raining", Membrane, and Regen, as a part of his cycle Weiss / Weisslich (2002), Vol. 2 shows concert version of the piece for eight glass tubes -- just like hearing eight church bells surrounding your brain... Personnel: Edo Mičić -- conducting; Nassir Heidarian - conducting; Isabel Pérez-Requeijo - conducting; Adam Weisman -percussion; Winfried Ritsch - computer controlled pianos; Ensembles: Zeitfluss Graz and Bruckner Orchestra Linz.
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LP
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GODREC 036LP
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Petr Bakla belongs to generation of composers whose output no longer seems bound to the imperative of the "search for sounds" extended technique. Instead, he builds his music on the unmarked instrumental sound, which he uses to create a flow of interacting layers and explore the means of pure pitch, time and sound volume to the expressive extreme. His first ever solo release presents him at his best - two orchestral pieces as a definite manifesto of monumental monochromatic environments, both in Bakla's favorite diptych form. Personnel: Roland Kluttig - conducting, Daan Vandewalle - piano and Ostravska Banda - orchestra on "Piano Concerto"; Rolf Gupta - conducting and Janacek Philharmonic Orchestra - orchestra on "Classical Blend/Weinachtsoratorium".
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LP
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GODREC 043LP
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For his premiere recording on God Records, Phill Niblock confirms his minimalistic musical approach and composes two monumental pieces for flutes and additional voices, respectively. Commissioned by Erik Drescher and Natalia Pschenitschnikova, Niblock again delivers an almost stripped, uncompromising one-way sound monolith. Tremendous, straight, and to the point... Personnel: Phill Niblock - composition; Natalia Pschenitschnikova - bass flute, voice; Erik Drescher - glissando flute.
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7"
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GODREC 003EP
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2010 release. Dimitrios Polisoidis has been developing amplified viola since his very beginnings and is most famous as a viola player in Klangforum Wien. He is also recognized for his numerous collaborations with Austrian composer Bernhard Lang. Glue Sniffer is a combination of fixed musical material and improvisation. Scratches, noises, and strange melodical flashes create six minutes of heavy distorted hardcore. Personnel: Slobodan Kajkut - composition; Dimitrios Polisoidis ? viola. Single-sided.
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10"
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GODREC 029LP
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2015 release. God Records present the first solo release by Susanna Gartmayer, an important figure in Viennese improv and experimental scene. AOUIE is a series of pieces for bass clarinet as an exploration of polyphonic sound universe. Within interactions of spatial and instrument sound, Gartmayer uses a variety of sounds to produce coherent works, dealing with simultaneous representations of multidimensional acoustic events. Personnel: Susanna Gartmayer - composition, bass clarinet, contra-alto clarinet.
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LP
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GODREC 038LP
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Piano Sublimation, subtitled Object/Sound/Graphics, is a collaboration between the Austrian composer and musician Juun and the visual artist Michael Wegerer. Piano Sublimation combines sound, graphics, video, and sculpture in multi-disciplinary installations. A grand piano by Ehrbar, built around 1860, functions as the common starting object, which was then cut into five pieces. The piano represents the initial point of departure for a constructive exchange of progressive translations in contemporary graphics, objects, and sound.
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LP
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GODREC 039LP
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Bernhard Lang's Differenz/Wiederholung 2 is a multi-media piece for amplified ensemble, three voices and video installation. While the music is filled with rocking-and-rolling, anti-grooving sound slaps, "scored free jazz", and crippled repetitions, three vocalists present texts (including rap) from Gilles Deleuze, William Burroughs and Christian Loidl, commenting on usual repetitive human habits and its nonsense. If Captain Beefheart's Trout Mask Replica (1969) is a milestone of avant-rock, than Differenz/Wiederholung 2 is the same for contemporary music. The ultimate 21st century agenda of repetitions is soon going to be broken.
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