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viewing 1 To 10 of 10 items
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MOSZ 021LP
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MOSZ 020LP
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"Ashes to ashes, dust to dust... Sound. Experiment. Avant-garde. Ashes. Dust. Metal. From a disc of fully digitally processed drum and guitar samples developed in 2003 by Viennese sound artists Armin Steiner and Nik Hummer [who as part of Thilges3 operated on the cutting edge of art, noise and politics] emerged the project Metalycée. A telling name, which tells of cerebral hardness, of guttural fantasy. A name, which does not give too much away. Since two years drummer Bernhard Breuer, bass guitarist Matija Schellander and singer Melita Jurisic completed the experimental growth, which did not evolve without consequence: The new album It Is Not belongs to another, more surreal tryst, between free jazz, metal and, now, to hip hop. Those who need to name genres, may add free rap, even hipdrone, but nobody really needs categories. Above all, what concerns Metalycée is not awkward genre deconstructions, nor aimless experimentals. The concern is the whole, sublime truth of the sound. This truth is: there are no boundaries. It Is Not indicates that subtlety can also be deafening, that the most intensive noise can also consist of finesse. Or, more figuratively: It Is Not walks with a map of the South Bronx through Norwegian swamps, cesspools of beats, geysers of noise that break into industrial mud slicks. And over all that, over little death bells and deathly basses, comes the lyric furor of Melita Jurisic: Ashes to ashes, dust to dust."
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MOSZ 017CD
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"Kapital Band 1 is Nicholas Bussmann and Martin Brandlmayr. After their first release 2CD from 2004, there was a second album in the works already nearing completion, which the musicians decided to trash completely and go a step further. Playing By Numbers is the result, the third album. Now electronics have been set a bit aside; in the foreground are acoustic instruments: cello, guitar, vibraphone and marimba, voice, flute and of course, drums. The three parts of the composition play around with playing by numbers. All instruments are played by Martin Brandlmayr and Nicholas Bussmann, except the flute which Erik Drescher contributed."
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MOSZ 015CD
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"Processing Other Perspectives is the second release from Szely on Mosz after his debut Welcome To My World from 2004. For this album, Szely has asked some of his friends and music mates for bits and bytes and parts which he later recorded and processed according to the idea of field recording. The result is a composition that can be heard as one whole part. But for CD listening it is divided into 8 themes that can be edited separately. Among the contributors are numerous well-known musicians like Thilges' Nik Hummer, longtime music activist Wolfgang Kopper, Bernhard Loibner, Martin Siewert, Ulrich Troyer and fantastic singer and performer, Melita Jurisic from Australia. Szely developed his multichannel composing and became more complex on this second album. The recorded and processed instrumental and voice parts are arranged in a more structured manner so that the particular themes get dominantly rhythmic, vivid, drifting, atmospheric and sometimes pictorial or melancholic. Some parts within the several themes are repeated in some other theme slightly altered. The whole album demonstrates Szely's approach to pop music in the context of electronic music with a background of multichannel sound architectural work."
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MOSZ 014CD
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"All The Birds Were Anarchists has been created over a period of two years. It was not a continuous flow of work, as all activities of Barbara Morgenstern, Paul Wirkus and Stefan Schneider are simply too extensive (Barbara Morgenstern/Robert Lippok; Wirkus Trzaska Frisch Trio; To Rococo Rot/Mapstation), but influenced this record as well. In the summer of 2005, the first recordings were made at a holiday home in Gardna Wielka, which is located in the middle of a national park close to the Baltic Sea in Poland. The open windows served as a welcome connection to the sounds of the ambience. Wind, frogs, birds, the neighbors' dogs, their own dog, insects were in subtle interaction with the band's laptops or acoustic instruments. Everybody just played without too many restrictions or agreements. One could be awake or tired, fast or slow, out of sync... mainly listening to the other person, sometimes becoming absorbed. Nature has not been experienced as a silent and calm place of retreat, but as a motivating space, which is connected to technology anyway -- regardless of its function as a wildlife reservation."
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MOSZ 011LP
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Vinyl LP version. "Snippets of acoustic guitars built up a steady pattern, a jazz kit merges with a drum-synth, or a repeated stroke on something like a cello could keep you tapping on your table while you listen to a piano chord or a vocal phrase. Rashim's cosm is definitely eclectic regarding its source material -- pop culture can meet an orchestral drum solo -- but the music is always coherent in its results. Maybe this is because of the duo's convincing and conscious handling of instruments, sounds and samples, but more likely it is their intuitive approach and the focus on rhythm, a basic and still vivid expression."
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MOSZ 009CD
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"Cymbals are probably the most complex part of a drum set. Not only do they serve as a rhythmic layer, they produce a whole range of frequencies and sounds, from noise to indicated melodies. Carefully treated they expose a nearly orchestral microcosm of their own. These qualities have served as prominent elements in structuring Cymbalism, the debut album by Berlin's Hanno Leichtmann under the moniker Forest Jackson. Combining his work as a drummer (i.e. with Jan Jelinek) and as an electronic musician (Static, Vulva String Quartett), Leichtmann comes up with a synthesis of both, the beat-driven track and the exploration of sound. The rhythmic framework, derived from real drums and generated percussions, serves as an accessible basis, which allows enough headroom for soundscapes, which easily could be references to filmscores or a ride through Berlin by night, accompanied by almost dark orchestral samples or dub-like motives. An invisible map of urban sceneries, drawn by strings and beats, guides the listener from the center of town to the suburbs and back. The logical finale seems to be the pushing 'cymbalism' remix by Rechenzentrum."
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MOSZ 007CD
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"If the sounds emanating from this disc seem alien, do not be alarmed. Fremdkoerper, or 'alienated bodies,' is culled from a series of compositions Peter Rehberg constructed in collaboration with choreographer Chris Haring for a soundtrack to a live dance performance. You can't see the dancers, but you're invited into their alien world where bodies are absent, leaving behind shadows of their sweeping gestures, gentle flourishes, and violent peregrination. The music on this record is the infrastructure of the human body; at times it is pleasant, at others, horrifying. Since Fremdkoerper was originally intended as a companion to the dance performance, it lacks the typical structure of his more conventional releases. Epic drones lead into dramatic scores. Moods change without warning. Glitchy textures give way into thick, heavy tones. The transition from the subterranean rumble of opening track 'Mutisil' to the distorted raygun blast of 'Scream' is enough to reset your heartbeat (in fact, you can consider this press release fair warning). The hulking sine-wave drone of '1407' is quickly invaded by hungry extraterrestrials on 'Bite Double.' This is the record with which to test out your new stereo."
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MOSZ 008CD
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"Boris Hauf, born 1974 in UK, currently living in Berlin, as founder of EFZEG (Boris Hauf, Burkhard Stangl, Dieb13, Billy Roisz, Martin Siewert), part-time member of Chicago based bands TVpow and Lozenge, he is better known as improvising musician -- he works with acoustic (mainly saxophone) and electronic instruments. Soft Left Onto Westland is the label's 6th release. Like Martin Siewert, Boris Hauf -- primarily introduced and known as an improv musician -- produced a rather nontypical CD on Mosz which is actually 'sax-free' and only made of electronic sounds ranging from very subtle and minimal to kind of techno-like. Skillful and with great musicality Hauf mounted all these samples to a surprising result, meaning a groovy, funky and atmospheric album with some ambient parts in between. Soft Left Onto Westland is another kind of 'pop' release on Mosz which takes the listener to a relaxed state without being cheesy just one single second."
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MOSZ 002CD
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"Martin Siewert´s first solo record, which is not only his first solo recording, but also what we would call another side of Martin Siewert: In contrast to his work to date, No Need To Be Lonesome focuses on melodies and, most importantly, grooves, and can be considered pop music to a certain degree. Basically generated in the studio with an obscure selection of analogue synthesizers, electronic equipment and guitars, this album is more about the beauty of songlike structures than about abstraction itself. This might be confusing for the ones who know Siewert´s discography, but simply shows an artist, who is active in different domains of contemporary music."
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