RALF WEHOWSKY/JOHANNES FRISCH - TRÄNENDE
WÜRGER
Korm Plastics KP 3021
CD only - releasedate: May 1st, 2005, shipping: april 20th
1) Johannes Frisch
works since the late 1970s as a performer, composer and improviser
of contemporary music between experimental rock, free jazz and
other openminded styles. on his main instrument, the double bass,
he works for more than three decades consequently on an individual
expressive language. he played with lot of musicians of the international
scene of free improvisation and all experimental fields - among
others Lol Coxhill, Maggie Nicols, Johannes Bauer, Le Quan Ninh,
Paul Hubweber, Michael Vorfeld, Misha Feigin. Compositions for
theatre, film and dance theater actual projects: Kammerflimmer
Kollektief; Home of the beast, with Peter Hollinger und Helmut
Bieler-Wendt; Ensemble Sondarc, music for six double basses; rat'n'X;
trio with Paul Wirkus & Mikolaj Trzaska; concerts & festivals
all over europe.
2) Ralf Wehowsky
founded the group P.D. (in 1981 renamed P16.D4) and the label
Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were
one of the most influential groups of experimental industrial
music. They developed concepts of materialaustausch long before
the term remix was even coined. for their live appearances they
were equally at home at punk and no wave festivals as at the holy
grails of academic avantgarde like the Ferientage Neuer Musik,
Darmstadt. since the early 90s Wehowsky worked under his own name
(rlw). the quiet, highly complex style of composition, based on
artifacts of instrumental and electronic lateral noises, evolving
out of his collaboration with bernhard günter was influential
for numerous artists in the fields of electronic and improvised
music. some reflections on his work can be found on TULPAS, a
5CD-box-set, featuring more than 50 artists performing their versions
of rlw pieces (incl. Jim O´Rourke, Brume, Achim Wollscheid,
Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John
Watermann a.o.). the new decennium started with a surprise for
many as first releases showed a new approach of integrating improvised
music and composition (as can be found on the CDs VIEWS and SIGHTS,
the latter w/ long-time collaborator Bruce Russell).
3) Tränende Würger
is based on free improvisations by the Frisch/Wehowsky duo, reworked
with electro-acoustic means. the compositional process did not
intend to mask the nonlinear nature of the improvisations. quite
on the contrary their organic character has been emphasized by
crystal-clear sharpening of details. you´ll find complex
structures and dark atmospheres, not unlike those on some P16.D4-,
This Heat- or Mnemonists- releases, though absolutely rooted in
the 21st century. beauty and posoning are not far from each other.
'Tränende Würger' comes in a plastic
bag, 15x15cm with the artwork on six seperate sheets, dealing
with poisenious plants. Design by Meeuw.
This CD is available for 16 euros including
worldwide shipping. You can pay with paypal. Send an e-mail to order
listen to excerpt
reviews
JOHANNES FRISCH/RALF WEHOWSKY - TRÄNENDE
WÜRGER (CD by Korm Plastics)
The duo of Johannes Frisch and Ralf Wehowsky deconstruct sound
like over-amplified child's play with a host of instruments. They
solder, bobble, saw and otherwise get quite methodically physical
in their playroom. The tones range from dull to high squeal and
all in between as the pitch is made, and the catch is on the fly.
But this ain't no ballgame, it's a disconnected frequency that
just keeps plugging itself in again. With feverish echoes that
call out into depths and frontline nitty-gritty nervous percussion,
the two have their way with the psychedelics of space, stretching
the depth of field out of perspective quite riotously. The low
flying 'copter rhythmics fall and fly away as boxes seem ripped
open, and other caustic battery tests are performed. This may
only be a test, and if they were playing on tusks it wouldn't
surprise me, there's a ferocious quality to the disc. And yet,
at times, it's as if they are just tuning up, testing, dawdling
and playing for themselves and not an audience, a real uncut,
freeplay feel with unplanned feedback and common sounds as if
they were under surveillance. Some of this is pretty naked and
unedited feeling, but just when it seems that you are listening
to a cassette of a mechanic testing an engine, they mix some pure
tones from the oud and the sitar that blend so well. And yes,
there is the striking of Frisch's contrabass which sounds, in
part, like a tuba case being slammed, its vibration makes your
hair stand on end. And when he tweaks the strings its as if you
would be swallowed whole if crossing the studio's path. In this
way it's a very intimate recording that could only be shared by
two like minded reverse engineer-styled composers who take us
into tomorrow. (TJN)
Address: http://www.kormplastics.nl
(Vital Weekly 475)
J. FRISCH/R.WEHOWSKY - TRANENDE WURGER
Dopo un periodo di forzata inattivita, l'ex P16.D4 Ralf Wehowsky
torna ad avvicinarsi ad un'improvvisazione radicale che sia centrata
sulla 'fisicita' degli strumenti, distaccandosi quindi dalla rappresentazione
post-industrial della musica concreta da lui proposta nel corso
degli anni novanta e che ha avuto il suo culmine nella pubblicazione
del momumentale quintuplo cd 'Tuplas'. "Tranende Wurger"
consiste di una serie di brani in cui Wehowsky si alterna nell'uso
'informale' di harmophon, chitarra, oud e sitar, duettando col
contrabbasstista Johannes Frisch, per poi rielaborarne il suono
in fase di editing, cospargendolo d'impercettibile pulviscolo
digitale/elettronico. Austero ma non privo di una segreta musicalita,
l'album talvolta evoca l'idea di una deforme decomposzione della
musica cosmica degli anni settanta. (Massimiliano Busti in Blow
Up, June 2005. rated 7 out 10)
RALF WEHOWSKY - JOHANNES FRISCH Tränende
Würger (Korm Plastics, KP3021): Wehowskys lässt seine
Sitar auch bei ,Hundswürger' erklingen, dem vierten Stück
von Tränende Würger. Daneben setzt er bei ,Kantakari'
eine Oud ein, bei ,Jungfer im Grünen' eine Gitarre und bei
,Tränende Herzen' ein Harmophon, was immer das sein mag.
Immerhin erklären die Tracks 1 & 4 den daraus zusammengezogenen
merkwürdigen Taufnamen seines elektroakustischen Duoprojektes
mit dem Kontrabassisten Frisch. Die derart blumig benamten Stücke
sind durch chemische Formeln illustriert, was ein wenig an die
Partituren von Anthony Braxton erinnert. Die gemeinsam erimprovisierten
Klänge wurden anschließend editiert und transformiert
und präsentieren sich nun als groteske ,Blumenstücke',
wie sie sich nicht einmal die Einbildungskraft eines Jean Paul
hätte ausmalen können. Zuerst ist da das harmophonische
Gedröhn eines vor und zurück schwankenden oder stotternd
abreißenden Orgelpunktes, der gespickt ist mit knarzigen,
federnden, kratzenden Arcomanipulationen und dazu kommt noch eine
helles, jaulendes Sägen, das fast wie die verwehte Stimme
eines Muezzins oder - pardon - das I-A eines Esels klingt. Die
Schraffuren verwandeln sich in ein Gehechel, durchsetzt von komischen
Schnarrgeräuschen, bis das Harmophon wieder einsetzt mit
einem blasebälgernen Halteton und die helle Melodielinie
aus hohen, dünnen Keyboardnoten. Auf diese Vincent-Price'sche
incredible Strangeness folgt, mit gut 10 Minuten nur knapp halb
so lang, eine Merkwürdigkeit, destilliert aus kaum als solche
identifizierbaren (Table)-Gitarren- und in nahezu violinistischen
Hochtonbereichen gestrichenen Stringsounds. Wie stechendes Gewächs,
das sich schrill und schneidend gegen grasendes Vieh schützt.
Die Oud anschließend legt unter Wehowskys Fingern - ich
glaube kaum, dass er einen Federkiel benutzt - alles ,Orientalische'
ab. Hintergründig schnarrende Drones und Schabgeräusche
interagieren mit Improgekruspel im englischen Art-Brut-Stil. Für
die Sitar bleiben dann nur noch 49 Sekunden, schwirrende Flirrsounds
und dunkle Bassdongs, Indien, abgewürgt und in einer Nussschale
verstaut. Wenn man so will, ist das elektro-akustisches Impro-Plinkplonk
in Augenhöhe mit den aktuell abgedrehtesten Bruitisten der
Zunft. Nur dass man Wehowsky bisher nicht auf diesem freien Feld
vermutet hätte und dass Korm Plastics als Forum und die bizarre
Verpackung einen auf alles Mögliche vorbereiten, nur nicht
darauf.
(Bad Alchemy 47)
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