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Frank Rothkamm [ Amerika ] Limited Compact Disc Multiple $10.00
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[Amerika] PLAY [ complete album ]
[Amerika] Cover
[Amerika] 4to
[Amerika] Art Work


 
Catalog No: BA66 / FLX14
Artist: Frank Rothkamm
Title: Amerika
Label: Bad Alchemy / Flux Records
Length: 72:58
Composed: 2008
Release Date: 7/4/2010
Edition Size: 200
File Under: supermodern classical piano


Flux Records (Los Angeles), in conjunction with Bad Alchemy (Franconia), is delighted to present Amerika (FLX14), a CD with 4to pamphlet by German-American artist Frank Rothkamm (b.1965). This 4th and final chapter of Rothkamm's TETRALOGY opens on the 4th of July of 2010.
 
Amerika consists of a Compact Disc on which a Fuller Projection map is overlaid onto a printed-wood surface, which is housed in a shrink-wrapped vinyl record-style sleeve. The 4to pamphlet contains 4 pages of text - 3 of which are printed in 3 primary colors - and contains spirit communications by Klara and Karl May.
 
The 73 minute content of the CD is shaped by the moment-form concepts of mid-century modernists and presents reformations of 4 Songs from the American Songbook and an Overture. The music was especially composed for a 1954 WurliTzer Spinet piano.
  



Tracklisting: year opus
[01] Los Angeles Overture 2008 475 14:26
[02] Los Angeles Sometimes I Feel Like A Motherless Child 2008 476 15:09
[03] Los Angeles The Band Played On 2008 477 17:34
[04] Los Angeles Pomp and Circumstance 2008 478 11:35
[05] Los Angeles You’re in the Army Now 2008 479 14:14




Reviews:

TOUCHING EXTREMES  ITALY
 
As I walk around the house picking up pieces of gathered dust in the corners of the rooms with my bare fingers, the frame of mind is on the persnickety side. Nothing works as it should, world-weariness is knocking at the door, weather is shifting to bad yet again, the laptop’s hard disk can’t get optimized for lack of space… you know the score. It’s in moments like this that life circumstances have their way of letting us remember that we are not totally unaided. Bright brains came to Earth for something, didn’t they?

Therefore I decided to finally give a few spins to a duo of Rothkamm releases lying on the table since ages (well, last year) in the vain attempt to find a new batch of proper words to enshrine the work of a genuinely wired man as necessary. The opening item is a movie called Birth Of Primary Cinema From The Spirit Of Sound. The underlying theory, which no word of mine can synthesize here, is explained in fine detail in the “theory” section of the DVD. It deals with the inverse proportionality between the increase of the quantity of information and its comprehensibility, a notion that the artist correctly relates to the progressive stuffing of infinitesimal (read “beyond comprehension”) audio and video data into contemporary Hollywood productions, but is applicable to most everything thrown up by the media nowadays, or even to music itself. Example: bazillions of “artists” on the web and no chance to understand: not just what’s good and what’s not but what the fuck is going on. On the whole, the half-hour consists of a series of location recordings coupled with thought-provoking metropolitan stills supposedly shot in the Los Angeles area (where Rothkamm lives). Some of the pictures are linked to amassments of fixed electronic frequencies boosting a state of blank-mindedness while gazing at the screen, insecure in our role of spectators and, at the same time, victims of the future. The final snapshot sees the protagonist alone on a desert beach accompanied by an absurdly unmusical samba executed by an electric organ-cum-cheap-drum machine, a paradoxical conclusion for a mutely remarkable opus. Ultimately, “Primary Cinema” is a concept equivalent to the one according to which primeval human species developed their perception of a danger through sound; in essence, we are the ones who ought to build up the “movie” within our psychophysical systems when looking at a decodable image, yet are all too happy to let someone else decide about the noxiousness of a predetermined information – usually, that which leads to uncomfortable truths.

After that, the 73-plus minutes of Amerika – a solo recital on a 1954 Wurlitzer Spinet Piano co-released with Bad Alchemy – may appear as the ironic culmination of a period of profound reflections, or the German utopist’s will to throw the listener back to an age in which the elaboration of organized acoustic signals (translation: memorizing a record) was still possible. There’s a problem: the material is far from being easily classifiable – not that there were doubts – and so bumpily various and rhythmically unstable that we tend to perceive the breathy gaps in Rothkamm’s now dissonantly enigmatic, now coolly impertinent (and occasionally hyper-minimalist) variations as inevitable episodes of anxiety in anticipation of some kind of harmonic catastrophe. There is a smell of dusty ancientness in the air – think “elderly piano teacher getting frustrated by the student’s disinclination to follow a given instruction” – which kills any pernicious tendency of a psyche fancying a bath in über-modernism; a sense of old-fashioned attractiveness prevails, allowing the audience to enjoy the nearly childish yet technically evolved digital abstruseness of a man whose sensibility is at such a high level that the next step can only result in unconditional cynicism. Needless to say, we’ll be among the first in the queue of the followers, also because Rothkamm’s dedication for looking for outside-the-rails melodies complemented by edgy counterpoints is quite close to this writer’s own methods of expressing “the urge”.
 
Massimo Ricci TOUCHING EXTREMES

FURTHERNOISE  AUSTRALIA
 
Frank Rothkamm will need little introduction for Furthernoise readers. He has been both a contributor and guest reviewer, and continues to push the boundaries of conceptual music, sound and film theory within contemporary media discourse. This review examines what he describes as the final chapter in his self proclaimed "Magnus Opus", as the final Tetralogy encompassing the Birth of Primary Cinema from the Spirit of Sound DVD, and accompanying soundtrack Amerika. They are at once, both an aesthetic artifact, and critique of current philosophy behind Hollywood motion picture making, serving to highlight issues of human perception in an age of pixel-event overload.

In 1994 the composer Michel Chion commented, “the question of listening with the ear is inseparable from that of listening with the mind, just as looking is with seeing. In other words, in order to describe perceptual phenomena, we must take into account that conscious and active perception is only one part of a wider perceptual field in operation. In the cinema to look is to explore, at once spatially and temporally, in a “given-to-see” (field of vision) that has limits contained by the screen. But listening, for its part, explores in a field of audition that is given or even imposed on the ear, this aural field is much less limited or confined, its contours uncertain and changing” [1].

Chion suggests that to comprehend “perceptual phenomena”, we must look to the modalities of listening as a way of understanding our relationship to it. His writings on sound in cinema are acute in their observations of the psychological nature of the fusion of sound and image, arguing that it is only by understanding how one listens to sound, that its role in deciphering the moving image becomes clear. In his DVD Birth of Primary Cinema from the Spirit of Sound, Frank Rothkamm develops a related notion, focusing on how sound can once again facilitate an engagement with the single image. He suggests that in order to create ever bigger cinematic spectacles, Hollywood loads so much action-as-information (colour pixels, events, frequency) into each frame, that we are losing the ability to enjoy and comprehend the single image. He argues that auditory perception becomes principal mediator in our understanding of the single image, intimating that in this scenario, “sound is the primary cinema” and, "in an attempt to find meaning, our auditory perception is heightened to compensate for the lack of visual clues”. Echoing Chion's "listening with the mind", to once again re-view the single image, as heard by consciousness.

To illustrate this Rothkamm has produced a series of single image short films, shot in the wilds outside Los Angeles. They are one-shot vignettes of natural locations with near imperceptible movement or change, apart from small camera movements or a breeze on shrubbery or the dust of the desert soil. They are snapshots in time, accompanied by a non-diagetic soundtrack of what might be described as new classical music piano pieces, played on Wurlitzer piano sourced from a city thrift shop (UK charity shop). Some of these tracks are original compositions and others deconstruct melodic fragments of known tunes such as “Sometimes I feel Like a Motherless Child”. They are well executed, single take performances, which as always with Rothkamm inject an atmosphere of ambiguity into the work, and reminiscent of the accompaniment to silent films in dusty old cinemas of the 1950's. What is interesting is the use of sound not implied to be present in the scene, which might have been tempting, even if it were subtle location atmospheres. What this achieves is a temporal trajectory in an otherwise suspended time flow. In Rothkamm’s words “sound is not a soundtrack added to images but it appears that images arise from sounds[…] the image is born from sound”.

The Birth of Primary Cinema from the Spirit of Sound is shot in high definition film, dynamically recreating a marking of space-by-time in a mise-en-scène loaded with meaning rather than action. Released as a DVD and CD soundtrack, the collection of films are also available to view in lower resolution on YouTube, serving as a conceptual commentary on what Rothkamm describes will “exoterically entice[s] the YouTube self to see everything that is and not is […] to represent a supermodern antithesis to YouTube via YouTube”. This is an important conceptual work contributing much to the discussion on the intellectual effects of pumping ever more action and special effects into each frame, as the Hollywood Inc.'s compete to out do each other. It also draws attention to the results of such "pixel fatigue" on our attention spans and perception of the "single image" inherent in the environments we inhabit but think nothing about. Rothkamm reminds us, that as we have become used to absorbing vast amounts of visual and audio stimuli, the more we see the less we understand.

Birth of Primary Cinema from the Spirit of Sound and Amerika act as both theoretical critique and educational artifacts that should be included as core indicative texts in all film and sound design courses. Rothkamm makes insightful observations about the ability of the Holllywood motion picture to ever satiate "spectacle-tolerant" minds, craving more pixels per frame, while forgetting what it is to look at, and comprehend the single image.


View Films

Overture

Sometimes I Feel Like a Motherless Child

The Band Plays On

Pomp and Circumstance

Your in the Army Now

References

[1] Chion, M (1994) Audio Vision: Sound on Screen, Columbia University Press.
 
Roger Mills FURTHERNOISE

BAD ALCHEMY  GERMANY
 
For Amerika (2010), the headstone of TETRALOGY, Rothkamm plays a 1954 Wurlitzer Spinet Piano.

After an "Overture" with a real edge that reminds me of Charles Ives, follow very free variations of 4 well-known pieces. The spiritual "Sometimes I Feel Like A Motherless Child" may be good for an universal deep sigh, but originates in America's recent past as an Apartheid state. Hardly recognizable, it sounds as if Rothkamm would recommend to motherless children cobble stones instead of prayers.

"The Band Played On", written 1895 by John F. Palmer & Charles B. Ward, was so popular that sparrows could sing from rooftops the first line "Casey would waltz with a strawberry blonde", which in 1941 became the title of a movie by Raoul Walsh starring Rita Hayworth as the eponymous strawberry-blonde heroine. Rothkamm transforms even this romantic small-town comedy into a grotesque of national scope and he charges the verse "Well, his brain was so loaded It nearly exploded The poor girl would shake with alarm"  so explosively and alarmed as if were about quite a different matter. How? By sounding sometime like Ligeti improvised, and then again as tactile as a holy relationship.

By Edward Elgar"s "Pomp und Circumstance" the martial undertone matching Othello's "the neighing steed, and the shrill trump, The spirit-stirring drum, the ear-piercing fife, ... Pride, pomp and circumstance of glorious war!" exactly provides the leaf that Rothkamm rips to pieces. Simply by un-pomping the pomp, and converting the march into an elegy.

"You're in the Army Now" also was eponymous for a Jimmy Durante comedy in 1941, before it become a hit by Status Quo in 1986. Although one could sing it as an anti-war song too, it is more often in use as a jar head hymn. Again the deconstruction is radical. What remains of Elgar's march and the bawling of recruits, is beyond recognition, brittle, somber, and as un-singable as a Boulez "Sonata" or a Stockhausen "Klavierstück".

Is America wandering on a Lost Highway? The cover image which depicts half of a cowboy with his back to the hills, where the American Dream once envisioned the New Jerusalem, seems to indicate it.
 
Rigobert Dittmann BAD ALCHEMY

SOUNDBEHINDTHECORNER 
 
Tetralogy of Frank Rothkamm reaches its conclusion: "America" is the fourth episode, the most ambitious, the fleeting moment that we must catch up and keep the balance. "America" is not Canada, not even the ol'Honduras Chile: The entire continent is summarized in the United States and holds his work shows two emotions hidden. Love and hate: there are no escape routes in the country because of conflicts, illusions and disappointments, of racial injustice and human rights stripped, the middle ground does not exist, or you love it or hate it. Or you hate the feeling of loving and contrast has filled tens of thousands of pages of literature, hours of film, full line of sheet music. As in this work on five movements. Frank Rothkamm in the third millennium, assumes the features that have a history of a great father of contemporary music: Arnold Schoenberg as Rothkamm Teuton was born in Europe (the first in Vienna Our in Germany, but the matrix is similar), both have developed their art in a convoluted and not immediate but because force us to enter their world we must give them the gratitude of not afford to sit on the easy listening. Twelve-tone piano: the areas on which "America" are formed and these are the effort required is that propels us into a world where small notes, scores broken fast becoming instead a tax such as in the case of "Sometimes I Feel Like A Motherless Child, "an old spiritual that the South is back with the force of the original present in this key alone, between the fingers of an introvert interpreter of life. The message is loud, even if veiled: far from home and with skin of color with a heart Teuton, in America the concept of an orphan in having lost the true homeland is strong and requires all the more than fifteen minutes of score. Doom Jazz to the next as "The Band Played On," a song that belongs to the history of cinema, notes that make up the spleen also psychological expectations and neurosis. It was the era of black and white, where Hitchcock or Orson Wells have left indelible marks not only in those lands, Murnau in Europe was linked to them despite the political climate was different the two countries. "America" is also this: five movements for the same five revisiting the music of Uncle Sam and his foggy slums, stories that are sharp in the smoke of our imagination, stories of men who suffer from non-aligned or have been a land that belongs to them but also marked with their own personalities, stories of femme fatale to die or play all. Last but not least "America" is also, in his final closing movement of the album, "You Are In The Army Now", a composition that has always been present and generations in a country where the struggle for civil rights, for peace , has always had wonderful avant-garde as opposed to the power games of economies idiotic. Frank Rothkamm live in this America: one was now in decline who has lost his personality and his safety and for that there is more humane and acceptable, the fantastic idea to review a quintet of epochal pieces of music history of that country. Eighty-eight keys: Frank Rothkamm on his eighty-eight keys has composed much music for this today with tetralogy that "America" ends carrying the metaphor of the film in glorious black and white, the colors of the eighty-two piano keys. Coincidences are not always ...

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original Italian
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La tetralogia di Frank Rothkamm giunge al suo compimento: “America” è il quarto episodio, il più ambizioso, l’attimo che sfuggevole bisogna rincorrere e mantenere saldo. “America” non è il Canada, nemmeno il Cile o l’Honduras: l’intero continente si riepiloga negli Stati Uniti e  titolare la propria opera denota due sentimenti occulti. Amore e odio: non ci sono vie di fuga perché nel paese dei contrasti, delle illusioni e delle disillusioni, dell’odio razziale e dei diritti umani strappati all’ingiustizia, le vie di mezzo non esistono, o si odia o si ama. Oppure si odia amando ed il sentimento di contrasto ha riempito decine di migliaia di pagine letterarie, ore di pellicola cinematografica, interi righi di spartiti. Come in questo lavoro articolato su cinque movimenti. Frank Rothkamm nel terzo millennio assume in sé le caratteristiche che in passato ha avuto un grandissimo padre della musica contemporanea: Arnold Schönberg come Rothkamm è nato nell’Europa teutone (il primo a Vienna il Nostro in Germania ma la matrice è affine), entrambi hanno sviluppato la propria arte in maniera contorta e non immediata ma proprio perché ci obbligano ad entrare nel loro mondo dobbiamo rendere loro la gratitudine di non permetterci di sederci sul facile ascolto. Dodecafonia al pianoforte: gli ambiti su cui “America” si plasma sono questi e lo sforzo che c’è richiesto ci proietta in un mondo dove le piccole note, le veloci partiture interrotte diventano invece un tributo come nel caso di “Sometimes I Feel Like A Motherless Child”, un vecchio spiritual del sud che torna con la forza dell’anima originale attuale in questa chiave solitaria, tra le dita di un introverso interprete della vita. Il messaggio è forte anche se velato: lontano dalla Patria sia con la pelle di colore che con un cuore teutone, in America il concetto di orfano nell’avere perso la vera Patria è forte e richiede tutti gli oltre quindici minuti di partitura. Jazz di quello maledetto come nella successiva “The Band Played On”, un brano che appartiene alla storia del cinema, note che compongono lo spleen anche psicologico di attese e nevrosi. Era l’epoca del bianco e nero, dove Hitchcock od Orson Wells hanno lasciato orme indelebili ma non solo in quelle terre, Murnau in Europa era a loro legato nonostante il clima politico divergeva i due Paesi. “America” è anche questo: cinque movimenti per altrettanti cinque rivisitazioni della musica di zio Sam e dei suoi bassifondi nebbiosi, storie che risultano nitide nel fumo del nostro immaginario, vicende di uomini non schierati che subiscono o hanno subito una terra che non appartiene loro ma che ugualmente ha contrassegnato con la propria personalità, storie di donne fatali per cui morire o giocarsi tutto. Non ultima “America” è anche, nel suo ultimo movimento in chiusura d’album, “You Are In The Army Now”, una composizione che è sempre stata attuale e generazionale in un Paese dove la lotta per i diritti civili, per la Pace, ha sempre avuto avanguardie stupende contrapposte a giochi di potere di economie idiote. Frank Rothkamm vive in quest’America: uno stato oggi in declino che ha perso la sua personalità e la sua sicurezza e per questo ci risulta più umana e gradita, fantastica l’idea di rivedere una cinquina di epocali pezzi di storia della musica di quel paese. Ottantotto tasti: Frank Rothkamm sui suoi ottantotto tasti ha composto molta musica per questa tetralogia che oggi con “America” si termina portando con sé la metafora del cinema glorioso in bianco e nero, i due colori degli ottantotto tasti del pianoforte. Non sempre sono coincidenze…

 
Nicola Tenani SOUNDBEHINDTHECORNER

FOXY DIGITALIS  USA
 
A difficult album, but sometimes rewarding, Amerika rollercoasters throughout.

Somehow it shares its essence with both breakcore and minimalism simultaneously.  A man and his piano: that's all. But a man and his piano which sound like a thousand melodies starting and then stopping almost instantly (sometimes quite instantly), only to pick up in the middle of another melody, perhaps the one that started fifteen melodies ago.  So the attention span of breakcore presides but certainly not the pace.  The sudden and often prolonged dead silence often made me wonder if I had been holding my breath.

I am sure there are a lot of intellectual things going on here that are flying over my admittedly expressionistic head.  These are re-imaginings of established songs, and a statement is being made.  Still, I do find the level of control here to be quite remarkable.  Notes blare out and then are choked off in a flash.

This goes on for well over an hour though.  By the end, it feels more like a test of endurance than a musical experience.  If you are in the mood for some super-disjointed, heady piano covers (because we all are at some point), then your year is about to be made.  I, however,  gravitate towards more hedonistic versions of the abstract.
 
Michael Lutomski FOXY DIGITALIS

KZSU  USA
 
Intellectual piano experimental. KZSU experimental favorite Frank Rothkamm is back with more disjointed, academic piano wanderings. Mr. Rothkamm is the brilliant man who brought us Zookeeper mainstays such as Opus Spongebobicum and Just 3 Organs. Rothkamm plays five one-shot takes on a 1954 Wurlitzer piano he found in a thrift shop. This is the fourth release in his Tetralogy, and the focus is on a reconstruction (deconstruction?) of American tunes that dominated Hollywood in the 1940s and 1950s. Lots of dissonance and brittle, pensive attacks. Throw it on in the middle of a pop set for full effect.

1. The only original composition and a bit more melodic and approachable than some of the other ones on here. (14:26)
2. The spiritual “Sometimes I Feel Like a Motherless Child” is given the full treatment – melody is completely picked apart. The ending few minutes are a bit eerie. (15:09)
3. Opening introduces the refrain he seeks to reinterpret (1895’s “The Band Played On” by John Palmer and Charles Ward); settles onto some depressing chords a few minutes in, continues into a sparse, bleak, tense area; lots of breathing space in the second half and rhythmic piano (17:34)
4. Edward Elgar’s “Pomp and Circumstance” is transformed from a galloping march into a lurching, drawn-out, snail’s dirge with some melodic chords 7 minutes in. (11:35)
5. “You’re in the Army Now” was a lighthearted, triumphant, marching band tune in the 1941 movie of the same title – Rothkamm merely hints at its hook and rhythmically serves more twisted, bobby, off-kilter pianoscapes. (14:14)
 
Adam Pearson KZSU

CFLX  CANADA
 
Enfin, voici le 4e volet de la série Tetralogy qui nous a offert, au final, deux CD d’œuvres pour piano, un CD d’œuvres électroniques et un DVD d’œuvres électroacoustiques. Amerika  propose cinq longues pièces (entre 12 et 18 minutes) pour piano solo. Elles sont toutes fortement idiosyncrasiques: départs abrupts, longs silences, moments de rêverie bruptement interrompus. Encore une fois, Rothkamm confond et trompe les attentes. La pochette le présente avec son piano (une épinette, en fait) au milieu d’une route qui ne mène nulle part - paysage américain par excellence - portant jeans, chapeau... et attelles aux poignets. Une composition visuelle polysémantique pour cet Allemand vivant aux États-Unis depuis 20 ans. Amerika  n’est pas d’une écoute particulièrement agréable - malgré ses soubresauts, l’album tend vers la monotonie - mais tout en lui (concept, musique, visuel) parle... de quoi au juste? De l’aliénation? De l’acte de jouer? De l’imperfection du melting-pot américain? De la vie? Faites votre choix.

Finally, the fourth and final part of the Tetralogy series is out. All in all: two CDs of piano works, one CD of electronic works, and one DVD of electroacoustic works. Amerika features five long piano solos (12-18 minutes each). These pieces are all highly idiosyncratic: lurching starts, long stretches of silence, moments of reverie abruptly interrupted. Once again, Rothkamm eschews expectations and dumbfounds listeners. The cover shows Rothkamm beside his piano (a spinet, actually) in the middle of a stretch of desert road to nowhere - the quintessential American landscape - wearing jeans, a hat, and... therapeutic support gloves. A polysemantic visual composition for this German-born now living in America for 20 years. Amerika is not a particularly enjoyable listen – despite its stops and starts, it tends toward the monotonous – but everything in it (concept, music, visuals) speaks… of what, actually? Alienation? The act of playing? The imperfect American melting-pot? Life? Pick your favorite.
 
François Couture CFLX

VITAL WEEKLY  NETHERLANDS
 
On the press release we find quotes by Mr "Karl May" Rothkamm and Ms "Klara May" Rothkamm. The first being the foreword to Winnetou III and the second just says 'letters'. We also find "Frank Rothkamm is a composer and conceptual artist who lives and works in View Park", which is perhaps true. At least: its something I can acknowledge. Rothkamm composes music and packs it as a conceptual artwork. 'Amerika' is a five part work (well, actually works, as they are Opus 475, 476 up to 479) and are played on a '1954 Wurlitzer Spinet Piano'. No electronics at work, no processing, no plug ins. Just two hands and one piano. Five pieces, each spanning somewhere between eleven and seventeen minutes. Its not 'easy' listening music, nor a take on Erik Satie. But just what it is? That's a difficult question as my knowledge of modern classical music is very, very limited. That makes this CD not easy to digest. I am reminded of his one of his earlier releases, 'Opus Spongebobicum' (see Vital Weekly
636), but now with five in stead of forty pieces. I can just as easily repeat what I wrote back then: "It's not the piano playing of say Satie or Debussy - that much I know - but more like 19th century piece of classical music with some 'strange' elements thrown in that make this is quite a strange piece too. Even when the overall concept left me with questions, the work as such was nice to hear. That's about all I can say about it." Applies to this one also.
 
frans de waard VITAL WEEKLY


Radio:

RP Collier – Leeway (from “Lamelaphone,” on Lonely Whistle)
My Fun – Easy Rest (from “Camaraderie,” on The Land Of)
My Fun – Murals
Christopher Campbell – Surface Streams Moonface (from “Sound the All Clear,” on Innova)
Christopher Campbell – All Clear
Frank Rothkamm – Overture (from “Amerika,” on Flux Records)
Frank Rothkamm – You're In the Army Now
Mark Peter Wright – Commentary (from “Inanimate Life,” on 3 Leaves)
Mark Peter Wright – Untitled 2
Mark Peter Wright – Untitled 5
Glenn Weyant – Electric Fan Sound Works (from album of the same name, on Sonic Anta)
PD Wilder – Ilka Maka (from EP of the same name on
 
 Dave X WDBX

Édition du 19 octobre 2010
Show aired on October 19, 2010


DESCRIPTION
DESCRIPTION
La Tetralogy de Rothkamm / Musique électronique : 1re heure: Le dernier volume étant maintenant paru, un regard à la Tetralogy (3 CD + 1 DVD) de Rothkamm. / 2e heure: Quelques nouveautés en musique électronique.
Rothkamm’s Tetralogy / Electronic Music: 1st hour: Now that the final volume is out, here’s a look at Frank Rothkamm’s Tetralogy (3CD + 1 DVD). / 2nd hour: A handful of new releases in crewative electronic music.


FRANK ROTHKAMM / Ectoplasm Rejects (7:04) - Ghost of New York [Tetralogy 1] (Flux Records )
FRANK ROTHKAMM / Zahra Fugue 1 (2:18) + Zahra Fugue 10 (2:11) + Zahra Fugue 21 (1:22) - Zahra Fugues [Tetralogy 2] (Flux Records )
FRANK ROTHKAMM / Autobahn (2:33) - Birth of Primary Cinema from the Spirit of Sound [Tetralogy 3] (Flux Records )

FRANK ROTHKAMM / AAA (4:40) - ALT (Baskaru )
FRANK ROTHKAMM / 04 (1:01) + 05 (0:58) + 06 (1:09) - Opus Spongebobicum (Flux Records )
FRANK ROTHKAMM / Pump and Circumstance (11:35) - Amerika [Tetralogy 4] (Flux Records )

*GIUSEPPE IELASI / 6 (3:00) - Aix (Minority Records )
**PHILIP JECK / Pilot/Dark Blue Night (8:36) - An Ark for the Listener (Touch )


GEN KEN MONTGOMERY / Birds & Machines (Bird Suite) (8:05) - Birds + Machines (Pogus )
**CINDYTALK / The Eighth Sea (7:46) - Up Here in the Clouds (editions Mego )
**CINDYTALK / Feathers Burn (2:22) - The Crackle of My Soul (editions Mego )
**ALTAR EAGLE / Honey (4:13) - Mechanical Gardens (Type Records )


*/**ANBB / Fall (10:16) - Mimikry (Raster-Noton )
**SENKING / Luma (5:14) - Pong (Raster-Noton )
**THE VEGETABLE ORCHESTRA / Nightshades (4:42) - Onionoise (Transacoustic Research )


*KABUTOGANI / CXEMA (3:49) - Bektop (Mille Plateaux )

merci à/thanks to:
*Dense Promotion
**Forced Exposure



COMPLÉMENTS
SUPPLEMENTS


FRANK ROTHKAMM
Un film statique accompagne Amerika, le 4e volume de Tetralogy. En voici la première partie (tout le reste est sur YouTube).
A static film accompanies Amerika, volume 4 in Rothkamm’s Tetralogy. Here is the first part of that film (the whole thing is on YouTube).


PHILIP JECK
Une bonne occasion d’étudier les techniques de Philip Jeck. En concert, 2008.
A good opportunity to study Philip Jeck’s technique. Live, 2008.


ANBB (ALVA NOTO & BLIXA BARGELD)
“Ret Marut Handshake” sur scène.
Live performance of “Ret Marut Handshake.”

 
 François Couture CFLX

Playlist Kicks 13/10/2010
October 13th, 2010 Posted in Playlist Write comment
AinSophAur: Aepantinam (Des Pierres Blanches… - Manic Depression records)
Belenos: Gorsedd (Yen Sonn Gardis - Northern Silence Productions)
VoidWork: The Serpent’s Lullaby III (Horror/Forsaken – Black Drone records)
Hail of Bullets: Operation Z (On Divine Winds - Metal Blade records)
Guilty Strangers: Forklift Pinchers (Walking The Wire – Zorch Factory records)
Witchrist: Deathbitch (Beheaded Ouroboros - Invictus Productions)
Arden: The Circle of Chaos (A Journey through Darkness – Arden)
The Sun Came Up Upon The Left: A Dimming Light (xiii) (And The Dreams So Rich In Color - The Sun Came Up Upon The Left)
D.B.P.I.T. - Kenji Siratori: id 02 (Outer Larvas – Spettro records)
Minenwerfer: Vorwärts (Striider Extended War Mix) (Vorwärts (Striider Remix) – Minenwerfer)
Innfallen: Day Two (Gnashing of Teeth) (Three Days of Darkness – First Fallen Star)
CemeteriuM: Glass Crucifix (The Fall, The End – Torn Flesh records)
Frank Rothkamm: Pomp and Circumstance opus 478 (Amerika – Flux records / Bad Alchemy)
ex-wise heads: solar mass (celestial disclosure – tonefloat)
 
 Bruno Wouters




































































Steve Reich* Double Sextet (Performed By eighth blackbird) Double Sextet/2x5 Nonesuch
Michael Santos* Slowdance Memory Maker Home Normal
Antanas Jasenka output 1 (for electric piano and computer) Point/Circle Electroshock
yanokami Season of End yanokami Yamaha (JP)
Harold Budd How Vacantly You Stare At Me Avalon Sutra (Disc 1) Samadhisound
Supersilent* 10.3 10 Rune Grammofon
Michiel Borstlap Birdland Body Acoustic TQMP
Frank Rothkamm* Pomp And Circumstance Amerika Fluxrecords
Brandon Nickell* Hanging On By A Golden Thread and if you set this mind of mine afire then on my bloodstream i yet will carry you Lsounderscore
Erik Friedlander Pressure Cooking Block Ice & Propane Skipstone
Szilart Mezei* Krom (Chrome) Ho Aural Terrains
Random Touch* The Well Oiled Mobius Strip Through The Other Dimension Token Boy
K Mason* See The Sights K Mason 2 (Evils) www.kmason.com

 
 Gregory Taylor RTQE