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Catalog No: FLX4
Artist: rothkamm
Title: FB01
Label: Flux Records
Length: 46:23
Composed: 2002-2003
Release Date: 1/30/2005
Edition Size: 500
UPC: 628740716724
File Under: pure electronic
sci-fi serialism
retro synthesizer
concept album


The 1st Album of the FB01-Machine-Trilogy

rothkamm's FB01 is a set of 6 synthesizer pieces with 7 sonic IDs, utopian and scientific. Recorded in full stereophonic sound, FB01 sweetens rothkamm's uncompromising experimentation with the crowd-pleasing sleight of "head music". Over 6 extended passages, pure electronic music burbles, shimmers, surges, swoops and speaker-pans in hazily melodic and crystalline shapes. FB01 is a consummate headphone album, a crafty and cosmic delight guaranteed to captivate all contemplating minds.

rothkamm's FBO1 investigates the realms of pure electronic music; synthesized only through mathematical operations on sine waves, the most fundamental building blocks of sound. A nod to the first pioneers of electronic music, notably the "Forbidden Planet" work of Carlos & Bebe Barron, Vladimir Ussachevsky's signal generator experiments, and the electronic serialism of Herbert Eimert and Franco Evangelisti that emerged in the 50s from the WDR studios in Cologne. rothkamm's aesthetic harvests the utopian energy of these modernists to form a supermodernism. Not unlike Raymond Scott's 1958 modifications of a Theremin, which led to his 'Clavivox' synthesizer, rothkamm's 2002 'IFORMM' system takes a commercial sound module - the Yamaha FB-01 - and transforms it into a enigmatic new form of a sound-sculpting instrument.

rothkamm's FBO1 was recorded in Hollywood and manufactured in a limited edition of 500. The Compact Disc is purely electronic and makes full use of the left - right - and phantom channel.



Tracklisting: year opus
[01] Hollywood ID 1 2003 7 0:08
[02] Hollywood Incident outside Mesquite 2003 6 4:03
[03] Hollywood ID 2 2003 8 0:10
[04] Hollywood Message from Space Mountain 2002 2 8:24
[05] Hollywood ID 3 2003 9 0:09
[06] Hollywood Independent Bernoulli Trials 2003 4 5:52
[07] Hollywood ID 4 2003 10 0:10
[08] Hollywood Earth Frequency Oscillator 2002 1 7:29
[09] Hollywood ID 5 2003 11 0:10
[10] Hollywood Binary Rhythms of the Lizard People 2003 5 10:41
[11] Hollywood ID 6 2003 12 0:08
[12] Hollywood Atmospheric Composition 2003 3 8:55
[13] Hollywood ID 7 2003 13 0:04




Reviews:

SOUND & RECORDING  GERMANY
 
Rothkamm's "Retro-Computed Music" leaves the boundaries of the groove and of functional harmony.  The dissolvement of the 1/2 tone into 678 steps sounds less strange to the ear than, say, the 1/4 tone scale.  Because of this extreme a fantastic-futuristic tuning and atmosphere is created, which develops into its very own structures and sounds from the Yamaha FB01. Veterans and lovers of FM-sounds appreciate this informally designed little black box because of its neatly arranged parameters, powerful bass and unusual sounds, which are produced via 4 operators and 8 algorithms by sine waves.  Rothkamm sees these as pure synthesis elements in the tradition of Fourier. Un-corporal and accessible to the tools of the programmer and composer, sine waves generate complex sounds via additive synthesis, FM and ring modulation without filters, which is common practice in the analog world of subtractive synthesis.  At the same time, Rothkamm is dedicated to the idea of an instrument which has clearly defined possibilities and idiosyncrasies, all to be researched and used.    

Frank Rothkamm resists any form of populism. For him, it is all about to actually live utopia. In this case, the research into the fascinating-bizarre sound world of Frequency Modulation with the methods of its age, the machines of the 80s. For him, the FB01 is the perfect spaceship to delve into the depths of FM sound synthesis. His navigator is IFORMM - "a Turing Machine of Sci-Fi Serialism", so says Rothkamm. Since the middle of the 80s he has developed his own composition and sound tool. It has now grown to be an operating system and now resides within an Atari Emulator. IFORMM communicates via SysEx messages with the parameter pallet of the FB01. "IFORMM's software functions as a scriptable real-time generative transformer, random process generator and bitgraphics visualizer." All friends of original electronic music should take the "FB01-machine-trilogy" to heart.

Frank Holger Rothkamm is a musician, composer, programmer, and border crossing conceptual artist. He counts as his influences Immanuel Kant, Karlheinz Stockhausen, Liberace and Alan Turing. He grew up in Germany, first emigrated to Canada and then to America Alone on the musical sector he can point to an encompassing oeuvre: He worked with such different artist as the Hardkiss Bros., Peter Scherer, Elliott Sharp, Alfred 23 Harth, Wolfgang Muthspiel and DJ Spooky.

"Supermodernism" is his key word. The architect of this world view however does not mean the drive for the fastest and newest in our overpopulated electronic universe. Again, in his latest work Rothkamm generates all sounds alone with the Yamaha FB01. The album "FB03"  is the final part of a trilogy, and with it Rothkamm stands in the tradition of "fantastic" electronic music - like Louis and Bebe Baron or Raymond Scott. In addition he shows as his influences the electronic serialists Wladimir Usachevsky and Franco Evangelisti.

(translated from the original German)
 
Joker Nies SOUND & RECORDING

E|I  USA
 
No doubt a person's words, image, and surroundings may conjure up assumptions that don't so much taint as color said person's reputation. We acknowledge the genius legacy of Einstein, for instance, yet through solely the most superficial of observations—his Bartlett's quotation on imagination versus knowledge, or more likely archival images of the clutter encompassing his chalkboards, workspaces, even his wardrobe and mane of hair—one might at first blush peg him as some scatterbrained, quixotic uncle/grandfather figure.

The chinks in the character-armor of supermodernist philosopher-cum-musician Frank Rothkamm require more effort to discover, but studying his art in conjunction with the life, technology, and quasimystical principles behind it makes it easier (and maybe a little sadder) to wonder what portion of him is mad scientist and what portion simply mad.

Everything about Rothkamm is just so, and yet haphazardly so: He is German-born, New York-living, and Hollywood-recording. His overarching vision merges Fourier analysis, Kant's championing of intuition, and Turing's computational theories—all different ways of using parts to synthesize the whole.

His name is aligned with no less than eight recording and production aliases; at one point he had ties to mainstream acts like DJ Spooky and The Cranberries. Now, however, his movement-in-progress beckons loud and exclusively. To that end, Rothkamm is painstakingly seeing through to completion artistic renderings of his supermodernism: organizing his back catalog online to show the path and purpose of its nonlinear development, performing pieces controlled by and for odd combinations of vintage electronics, and building specialized music- and code-generating black boxes.

One such box—IFORMM, software of Rothkamm's retrofitted design that he has elevated to the title of instrument—figures prominently in FB01 and FB02, the first two-thirds of a trilogy featuring the sonic results of complex mathematical manipulations of sine waves. (FB03 was slated for release earlier in 2007.) Equally important here is the human-machine interface, as Rothkamm's ideal performances are both multitracked and executed near a sleep state to simultaneously defuse real reality and promote his virtual, random one.

The results mostly feature colonies of bright tones ping-ponging across and into deeper, darker washes. The closing portion of FB01's "Atmospheric Composition" and the opening of FB02's "Silence of Mute" may be Rothkamm's most cohesive work there, the former banging over and eventually melting into a low bass drone that forms a bridge between the releases. There's no real rhythm to grasp on these albums for more than a few seconds, nor is there much of a musical story to be told unless you lull yourself into the belief that you catch John Williams' famous five-note alien communiqué from Close Encounters of the Third Kind (this reviewer hears it twice) or simply hear arcade games talk to each other after closing time (an Atari emulator is involved here, so we may not be far off). Cohesion isn't really the point, however, as these are really digital headphone-trip compositions.

FB01 and FB02 represent deconstructivism reconstructed, musique concrète ground up and recast. Rothkamm so wants his future and the music therein to be in his words "utopian and scientific" that he essentially converts the technologic into the psychotropic, sound meant to be synonymous with song if not triumphing over it altogether.

Moers Works offers welcome examples of structure in Rothkamm's work without needing to hunt down individual efforts in house, leftfield dance music, and multidimensional stereophonics. This collection exposes his past life as a German tape manipulator, a good twenty years before he converted to supermodernism.

"Arpeggiator" shows that Rothkamm could make room for melody even in the absence of formal time signatures. "Industrie," "Wasser" and "Quartett" respectively relay bracing sonic monologues from field recordings of various machines, forms of water, and string instruments. The magnum opus "Rauschmittel" (U2 sample and all) and moody meditations such as "Ich" and "Relikt" prove that Rothkamm once shared family-tree branches with The Orb, Meat Beat Manifesto, even Negativland. While tracks like "Rückkopplung" presage at least the algorithmic atmospherics underpinning his FB triad, many of the compositions on Moers Works are downright traditional—at least what passes for traditional in the realms of weird music. The relative ease with which these older sounds engage the listener makes it that much harder to tell if Rothkamm's new manifesto or its IFORMM soundtracks can find a foothold of legitimacy.
 
Adam Blyweiss E|I

KZSU  USA
 
Electronic music, very computer, blippy, but still it has some soul and ambient trippiness all over. If you cant commit I?d say its at least excellent sound-bed material.

Though this guy is almost ?old-school? his music dates itself in its dry electronic?ness, making it  along the lines of new techno than old Moog ?electronic music?.

Still though, cool shit.

1) 8 seconds blip
2) sci-fi ambient, ?scary?, beat-less
3) 10 second blips
4) reverby blips and ambience
5) 9 seconds of blip
6) blippiness, dark and trippy with nice swirling drony low-end
7) 10 secs blip
8) slow electronic trippiness
9) 10 seconds
10) trippy ?spacey? stuff
11) 11 seconds blip
12) ambient tones, again another stripped down trip-out
13) 4 second near malfunction
 
Your Imaginary Friend KZSU

DE:BUG  GERMANY
 
Well, that's right, such soundfreaks we have rarely as a guest here.

Rothkamm refers to Sci Fi Soundtracks, the Cologne studio legends of New Music and the times of the BBC Radiophonic Workshop. You can hear this in these tracks over clearly, because here the sounds are rather a pictorial material (even if now and then R2D2 seems to blitz through).

Classical Music thus, in this sense, similarly infatuating and disturbing and with a certain austerity, which gets balanced fortunately by a unique and sympathetic kinky-calculated foolishness.

So, no fear of the recliner, the CD is quite fun.

-[DE]-

Tja, stimmt, solche Klangfreaks haben wir hier selten zu Gast.

Rothkamm bezieht sich auf Sci-Fi-Soundtracks, K?lner Studiolegenden der Neuen Musik und die BBC Radiophonic Workshop Zeiten und das h?rt man den Tracks auch ?berdeutlich an, denn hier sind die Kl?nge eher ein malerisches Material (auch wenn ab und an mal R2D2 duchzublitzen scheint).

Klassik also, in diesem Sinn, ?hnlich bet?rend und verst?rend und mit einer gewissen Strenge, die aber gl?cklicherweise durch eine eigenwillig sympathisch spleenig berechnete Albernheit ausgeglichen wird.

Also, keine Angst vor dem Lehnstuhl, die CD macht durchaus Spa?.
 
bleed DE:BUG

RER  UK
 
Austere but extremely convincing electronic music, with a mid 60s Columbia-Princeton aesthetic - but realised through contemporary computer technology.

Extremely listenable and decentered, but with fine attention to sonic detail and perceptible structure.

The more I listened the more I appreciated its break with the sampling, glitching and audible software cliches that dominate the laptop music of today. There are excellent sleeve notes with background, explanation and meditation.

Altogether an unusual release.
 
Chris Cutler RER

SONOLOCO  SWEDEN
 
Frank H. Rothkamm is a New York composer, performer and computer programmer; the founder of Flux Records, designed for avant-tech styles.

The title of the CD is explained by the name of Yamaha?s first digital synthesizer module; the FB01, released in 1986.

Let me quote some of Frank Rothkamm?s information about the Yamaha FB01 in the CD booklet:

It looks like a car stereo, as there is no keyboard and only 8 pushbuttons. A small backlit LCD display with orange type is the only indication that the module is on. All of the FB01?s supercomputing power can only be accessed via highly compacted bit-masked system-exclusive MIDI-data [?]
The synthesizer implements a form of Chowning Frequency Modulation synthesis [?]
The FB01?s Digital-to-Analog converters are 10-bit YM3012. These are the major part of a very particular digital sound: quantization is audible, as well as the residual noise of the synthesis itself [?]
The FB01?s exhaustive MIDI implementation allows the real-time change of almost all sound parameters without audible artifacts [?]

As to the background of the music on this CD, Rothkamm, before going into the language of a mathematician, explains:

In the summer of 2002 I began to envision music without reference to popular or underground culture [?]. I thought of this new music as being completely synthesized with no imitational reference to anything in the empirical world. It should also be created directly to a recording medium with no reference to preconceived forms and with nothing but intuition and transcendental ideas that in turn were to be axiomatic during execution in time and space. Furthermore, it should be played pianistically with absolute freedom from sine waves on upwards [?] and its polyphony should multi-tracked from only one electronic source [?]. So I went back to the origins of purely electronic [?] as put forth by the Cologne school. This most abstract, and in many ways most primitive form of electronic music, should form the basis upon which I would apply my theories on random processes that I have been formulating since 1988 in the computer language Forth [?]
The foundation is ancient technology; to take it beyond its furthest reaches; to become more primitive than its most primitive and to become more complex than its most complex, so that its most complex becomes primitive and its most primitive complex [?]

It?s refreshing to hear these old sound worlds in new contexts ? or perhaps these old contexts in freshly altered sound worlds. I can?t quite make up my mind if it?s the form or the content that is old. In a way Rothkamm has traveled through time and brought back something from the Cologne studio in the 1950s, and he plays by the electronic and artistic rules of the 1950s, as it is done with 21st century awareness. Bright and clever, this is!

You don?t have to understand Rothkamm?s theoretical reasoning. It?s enough to listen, and if you?ve had any experience of, say? early Stockhausen (very early Stockhausen), Gottfried Michael Koenig, Herbert Eimert, Michael Obst, or, for that matter, Americans like Morton Subotnick or John Chowning, you're all set.
Chowning is mentioned in Rothkamm?s presentation, and maybe Chowning?s 1970s and 80s, and 1950s? Stockhausen are the ones I think of first, in connection with Rothkamm, even though this is not completely fair to him, and simply an approximation to get you on track.

However, there?s so very much more in the way and fashion that Rothkamm executes his ideas, his sounds ? his music: so much more! He displays an intricate web of relentless richness of expression and modulation that you wouldn?t think possible with the restricted means he?s allowed himself. These are the elements talking; the elementaries exchanging nuances ? not the colors, but the chemical constituencies of colors ? sparkling!

These sounds are the spectra of emissions of light touching upon the face of the Star Maker ? motions through space, aural tonalities of molecule structures; songs of minerals.

Frank Rothkamm?s music is a complex, fluid choreography through mind and awareness.
 
Ingvar Loco Nordin SONOLOCO

SONHORS  FRANCE
 
By these obscure times when reign with excess the digital culture, it is not rare to find some integrist algorythmes mathematical to dedicate a true worship with the machines or rather with the instructions that they can be led to carry out. On this opus with the evocative name, Frank H. Rothkamm plunges us in the nebula of the sound synthesis by frequency modulation, invented in 1967 per John Chowning and pays a majestic homage to Synth?tiseur/Expandeur Yamaha FB01 builds in 1986. Complex or primitive sonority, plus the instrument is limited and more the sound esthetics which emerges from it is characteristic.

Recorded between 2002 and 2003 in Hollywood, this album (drawn with only 500 specimens) comprises 6 principal tracks and 7 4 seconds interludes which explore the relations between music and mathematics, the theory of probability and the theory of the events in chain. Rothkamm draws its inspiration with the sources of the electronic music and pr?cisement with the first sound experiments of the electronic studio of music of the radio W.D.R. of Cologne. Its at the same time utopian and scientific step is also to bring closer work Vladimir Ussachevsky, Louis & Bebe Barron, and of the serialists electronics specialists Herbert Eimert and Franco Evangelisti. Rothkamm described to him even its compositions like a compromise enters electronic Krautrock of first Tangerine Dream and the serialism of K H. Stockhausen!

Frank H. Rothkamm aka Frank Genius, enigmatic figure and ? how much complexes technological avant-garde, were born in 1965 in the small German city from G?tersloh. After having been established in Canada then in San Francisco, this type-setter, conceptual artist and data processing specialist currently live on the island from Manhattan in New York. Very active also on Internet, it manages many sites in order to present its various activities: FluxRecords (library of MP3), IFORMM (Intuitive Forth Oriented Retro Music Machine: musical programming language for Atari), Complexmusic, Supermodernism and Rothkamm.

-[FR]-

Par ces temps obscurs o? r?gne ? outrance la culture digitale, il n'est pas rare de trouver quelques int?gristes des algorythmes math?matiques vouer un v?ritable culte aux machines ou plut?t aux instructions qu'elles peuvent ?tre amen?es ? ex?cuter. Sur cet opus au nom ?vocateur, Frank H. Rothkamm nous plonge dans la n?buleuse de la synth?se sonore par modulation de fr?quence, invent?e en 1967 par John Chowning et rend un majestueux hommage au Synth?tiseur/Expandeur Yamaha FB01 construit en 1986. Sonorit? complexe ou primitive, plus l'instrument est limit? et plus l'esth?tique sonore qui en ?merge est caract?ristique.

Enregistr? entre 2002 et 2003 ? Hollywood, cet album (tir? ? seulement 500 exemplaires) comporte 6 pistes principales et 7 interludes de 4 secondes qui explorent les relations entre musique et math?matiques, le calcul des probabilit?s et la th?orie des ?v?nements en cha?ne. Rothkamm puise son inspiration aux sources de la musique ?lectronique et plus pr?cisement aux premi?res exp?rimentations sonores du studio de musique ?lectronique de la radio W.D.R. de Cologne. Sa d?marche ? la fois utopique et scientifique est ?galement ? rapprocher des travaux de Vladimir Ussachevsky, Louis & Bebe Barron, et des s?rialistes ?lectroniciens Herbert Eimert et Franco Evangelisti. Rothkamm d?crit lui m?me ses compositions comme un compromis entre le Krautrock ?lectronique des premiers Tangerine Dream et le s?rialisme de K. H. Stockhausen !

Frank H. Rothkamm aka Frank Genius, figure ?nigmatique et ? combien complexe de l'avant-garde technologique, est n? en 1965 dans la petite ville allemande de G?tersloh. Apr?s s'?tre ?tabli au Canada puis ? San Francisco, ce compositeur, artiste conceptuel et informaticien vit actuellement sur l'?le de Manhattan ? New York. Tr?s actif ?galement sur Internet, il administre de nombreux sites afin de pr?senter ses diverses activit?s : FluxRecords (biblioth?que de MP3) , IFORMM (Intuitive Forth Oriented Retro Machine Music : langage de programmation musicale pour Atari), Complexmusic , Supermodernism et Rothkamm.
 
Coltraz SONHORS

KFJC  USA
 
Oscillating low frequency modulations & pitch shifts entirely made using a first generation digital Yamaha synthesizer module the size of a car stereo called the FB01. It has only eight buttons, an 8 bit arcade game sound chip, and a midi-data processor but it can compute highly elaborate and intricate sound waves and sequences quite easily.

The German born ?pure electronic? music composer Frank Rothkamm used computer algorithms as an ?instrument? for creating digital sounds and both irrational & binary rhythms that toyed with flux inversions of complexity and primitive technology. My understanding is that the FB01 was a conduit environment that allowed these ambient avant digital schemes to play out.

It creeps at a relatively slow pace, has brief electronic bleep interludes, and cascades in a gently rotating spacey movement through your speakers. It comes across like looming vibraphone tones, phasing with sci-fi sound effects, and Atari Pong blips. No actual melody is reproduced, just intelligent programmed atmospheric electronic sounds in its most basic, albeit unpredictable and incomprehensible, form.

FB01 is highly cerebral, both in its presentation and composition. You?d have to at least understand advanced arithmetic and sophisticated computer program methodology to fully appreciate this recording? or you could just listen in sheer amazement.
 
Guy Montag KFJC

VITAL WEEKLY  NETHERLANDS
 
The name Frank Rothkamm first popped up in Vital Weekly in 1998, when he released a miniCD on Flux Records (which I believe is his own label) of rather outdated ambient music, which sounded however quite nice. On Flux Records he was also responsible for a couple of weird and conceptual releases, such as a 12" on piano tuning. Since then he released a couple of more things, but nothing with great speed or urge.

Rothkamm is also the designer of the 'data processing instrument system IFORMM, deployed since the summer of 2002 for the realization of pure electronic music'. In the booklet of 'FB01' there is a lengthy text on electronic and computer generated music, which is a bit beyond me, but then again, I was never good at doing math's.

The twelve pieces on the CD however are quite nice. Very classical in approach. 'Synthesized only through mathematical operations on sine waves' it says, and it sounds like a pure electronic piece from the Cologne studios in the fifties in combination with more freely sci-fi soundtracks from the sixties, such as the one from 'Forbidden Planet'. Rothkamm however chooses the format of a popsong, marking an important difference with the lengthier works of years and years ago.

It's certainly great music, but at twelve tracks it is also a bit long. The classic format of eight tracks (LP length) would have made this into a perfect thing. Now it's certainly three tracks too long.
 
Frans de Waard VITAL WEEKLY

TOUCHING EXTREMES  ITALY
 
Frank Holger Rothkamm is a composer and computer programmer whose work I already had the pleasure of meeting in the past, in excellent collaborations with the likes of Alfred 23 Harth and Elliott Sharp.

The FB01 is the very first Yamaha digital synthesizer module, an instrument whose architecture allows the creation - in Frank's words - of complex sounds with minimal effort. These tracks demonstrate this theory in full, generating an astonishing variety of unusual geometries and movements in the aural space, without a chance for our sense of intuition to predict their direction.

We're taken back to the times where "serious" computer artists tried to open a whole new world of sonic possibilities (which, thanks to people like Rothkamm, are probably still there); it seems like an eternity ago, but I used to dream about extreme advances in the development of human perception, spirals and parabolas of sinewaves fluctuating in my room announcing the end of my listening habits.

The obscure realms visited by this gentleman's music are a vivid recollection of mental galaxies that are no more: the era of the preset has swallowed any spare intelligence in the world of electronica, yet "FB01" gives hope and - why not? - returns us some of that evolutional feeling.
 
Massimo Ricci TOUCHING EXTREMES

MIMAROGLU  USA
 
rothkamm "fb01" compact disc (fluirecords)

yamaha fb01 computer sysex blah blah...
 
Keith Fullerton Whitman MIMAROGLU

NEW MUSIC BOX  USA
 
If you're anything like me, few things excite you. But one thing definitely in the exciting camp is music that raises more questions than it answers. The artist is composer, performer, computer programmer, Frank Rothkamm who is known under eight different pseudonyms. On this CD release he's simply referred to as Rothkamm. Photos of the artist are, shall we say, arty (is that silver lamiae underwear he's wearing on the album cover?). The album is FB01, after Yamaha's petite digital synth module that hit the market in the mid '80s. I'm sad to report that I actually remember wanting one of the little black boxes when it hit the pages of Keyboard magazine. Anyway, if you can get through Rothkamm's heady manifesto, you learn that he uses these then digital-newborns as his main instrument of choice in creating music "with no imitational reference to any thing in the empirical world...axiomatic during execution in time and space." From such lofty goals comes lofty music.

The sound of the disc is predictably retro, but just below the Jurassic hi-tech sheen there's a virtual neural net of compositional or anti-compositional processes in place. The result is some truly unique digital music, sapping with an air of sci-fi. And like a whiff of coffee beans or cracker to clear the palate, a brief, less-than-a-second-long R2D2-like belch of rapid sine tones cleans out the ears, not only between compositions on the CD, but also as you first enter and finally exit the album. Back into the real world you go.
 
Randy Nordschow NEW MUSIC BOX

MARMAX  USA
 
frank,
thanks and congratulations on your cd.
i think it is really great.  it is very musical
and very different than anything i have heard.

i would be interested in learning more about
your technology, for example how many
sine wavea are involved in a typical  note & what
sort of algorithms do you use to put them together.d

i suggest you send a copy to stockhausen.
he should be interested & impressed.  

best regards,
 
Max Mathews MARMAX

INSTITUUT VOOR SONOLOGIE  NETHERLANDS
 
Dear Frank,

Thank you very much for sending me your CD FB01. I listened to the six pieces with great satisfaction. Your concept of pure electronic music, based on sinewaves only, strikes a responsive cord, although I have never restricted myself to sinewaves. I am therefore astonished that so many different sounds can be derived from such a small basis -- Stockhausen might have had such an abundance of sounds in mind when coming back from Paris where he made his first experiments before returning to Cologne. But working with only generators and tape has not enabled us to unfold the sinewave into complex sounds that only became possible with the help of the computer.

If I may make a critical remark, it concerns the way that sounds react to one another. It is often as if they had come straight out of a (very rich) catalogue (like a painter's colours from tubes), instead of  being derived from one another, thereby strengthening their formal coherence. A second remark would apply to the fact that the sounds are mainly successive and that overlay is produced when a second sound begins while a first one is still sounding. In my opinion sounds refer to one another not only in time (because of their sequence), but also in space (because of their simultaneity) -- or is this idea too 'instrumental'  to your taste?

Whatever the case, I enjoyed the CD very much indeed. Many thanks.

 
Gottfried Michael Koenig INSTITUUT VOOR SONOLOGIE

STASISFIELD  USA
 
I've been enjoying it very much; lots of subtle things going, and
excellent sounds! There is definitely something transcendent about
the sounds, almost as if they're being experienced *through* the
listener rather than externally.

I hope you don't take this negatively--it's meant as a very high
complement--certain aspects of it remind me of classic BBC
Radiophonic Workshop music, but almost as if re-imagined through pure
mathematics. Very starkly beautiful, unique yet connected to the
tradition of classic(al) electronic music.

Again, thanks so much for the disc, I'm honored to have received it!
 
John Kannenberg STASISFIELD