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Rothkamm [ FB03 ]
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Catalog No: FLX6
Artist: Rothkamm
Title: FB03
Label: Flux Records
Length: 36:32
Composed: 2003-2006
Release Date: 7/3/2007
Edition Size: 500
UPC: 635961096528
File Under: Alt-Folk
Sci-Fi Serialism

The 3rd Album of the FB01-Machine-Trilogy

FB03 (E Pluribus Unum) is the final installment of the FB01 trilogy, culminating in an epic of supermodern electronic music. Circuit-bending existing technology and reality, Rothkamm's radical "Critique of the Stereophonic Illusion" results in microscopic-level detail and a most intimate sound.

Monophonic sound sources, coupled like DNA strands, are the building blocks. Binary rhythms, now at the forefront, result in frequency distributions closest to folk music. FB03 shows aspects of multiple time periods simultaneously as it architects the Great Evolution: from tiny granulations to dense drones.

Produced in Hollywood and New York between 2003 and 2007. The Compact Disc edition is hand numbered from 1-500.

Tracklisting: year opus
[01] New York ID 12 2007 381 0:06
[02] New York Ancient Meats 2006 50 5:01
[03] New York ID 13 2007 382 0:06
[04] New York Railroad Xing 2005 42 6:22
[05] New York ID 14 2007 383 0:06
[06] New York Forest 2005 385 5:19
[07] New York ID 15 2007 384 0:06
[08] Hollywood Cosmological Constant 2003 19 7:25
[09] New York ID 16 2007 386 0:06
[10] New York Odyssey I 70 2005 43 11:55



(2) A gem

Third and last in a series (the others are similarly highly recommended), this is another purely electronic, but very substantial CD of modern electronic music that embodies the aesthetic rigour and satisfying integrity of the best of early computer music.

Indeed the (excellent) booklet notes claim that all the source sounds here (played by a quartet of Rothkamms) were produced on a Yamaha FB01 sound generator 'previously owned by Buck Dharma of the Blue Oyster Cult and purchased on ebay for $26.'.

Microtonal the CD 'ends with the pre-established harmony of ... 768 notes per octave scale.

A gem. Limited Edition of 500.
chris cutler RER

FB03 is apparently the final installment of the FB trilogy, first thing we’ve heard so we can’t really comment on the evolution here – seems this culminating work in an “epic of supermodern electronic music” and Rothkamm's “radical Critique of the Stereophonic Illusion results in microscopic-level detail and a most intimate sound. Monophonic sound sources, coupled like DNA strands, are the building blocks. Binary rhythms, now at the forefront, result in frequency distributions closest to folk music. FB03 shows aspects of multiple time periods simultaneously as it architects the Great Evolution: from tiny granulations to dense drones”.- Well that’s the science bit out of the way (got that bit from the blurb that came with this fine album).

Thing is, considering all the highbrow Wire reader chin stroking seriousness presented here, this album is actually fun – this album has humanity, it has substance, it has depth and yes, deep art if you want to go deep, but it is in reality lots of enjoyable minimal soothing ambient bleep-blimp-buzz-drone pleasure - clean cut circuit-bending of both existing technology and of reality.

German born, now American based, Rothkamm, aka Frank Holger, does indeed create something that you could describe (and enjoy) quite rightly as supermodern electronic music – crisp, clean, minimal, modern, rewarding instrumental (simple?) electronic music. He asserts that the three principles of supermodernism are: "1. Be Utopian and Scientific, 2. Nod to the First Pioneers, 3. Make full use of Left, Right, and Phantom Channel".

And yes it does nod towards the pioneers like Stockhausen and yes we could analyse it and get all geeky art-house Wire-serious on your arse, we’re not going to though – this is just music - enjoyable resonant sound-art music, the simple (complex) pleasure of creating and/or listening, this is everything you want music to be – a find enjoyable piece of art.


This is the third instalment in the FBO series of ‘supermodern electronic music’ and as this is the first I have actually heard I cannot speak for the creation as a whole, but certainly this has whet the appetite to hear the whole work in a single sitting. Rothkamm is Frank Holger Rothkamm, originally from Gutersloh in Germany and now firmly ensconced in New York (via Canada) and for all the arthouse seriousness and highbrow philosophizing on the sleeve notes he possesses a tongue-in-cheek sense of humour – how else can you interpret otherwise when he lists his influences as, among others, ‘…Immanuel Kant, Karlheinz Stockhausen, Liberace…’ – now THAT would be a Vegas show I would donate a couple of vital organs to see! (To see Stockhausen in a spangley Lurex suit would be worth it in itself…)…

The music was recorded using a Yamaha FBO1 FM Sound Generator that was once owned by Buck Dharma of Blue Oyster Cult and bought off Ebay for a mere $26 and in that fact alone there is an inherent humorous irony i.e. that the populist music it was once used to produce has now been replaced by an avant-gard aesthetic of ‘difficult’ and complex tonality & high art. The music moves up the evolutionary scale from the simplistic and ‘primitive’ of “Ancient Meats” and finds its apotheosis in the microtonal complexity of a future humanity in “Odyssey I 70” – the last is based on a ‘superhuman 768-notes-per-octave scale’ which certainly no human of the present day that I know of has the ability to distinguish between and it will indeed need a superhuman ear to discern all the subtleties inherent in such a piece. Interspersed between each main ‘episode’ is a series of six-second interludes consisting of random bleeps. For all the apparent random bleeps, buzzes, drones, atonality and other assorted electronic noises there’s a fierce intelligence behind it all coupled with that sense of humour mentioned above and there’s no doubt that each episode is carefully constructed, engineered & detailed and although I am not a Stockhausen aficionado by any means (having heard very few pieces by him) I can certainly hear his influence pervading Rothkamm’s compositions based on what little I HAVE heard – not sure where the Liberace bit comes in though.

These pieces can be construed as a possible end-point of musical evolution taken to its logical conclusion but if one can wade through the CD sleeve’s art-house philosophical musings and writings used to underpin the album’s creation one can discern a playfulness here that’s quite entrancing – witness for instance the four versions of himself as the Rothkamm Quartet on the CD cover and referred to in the liner notes. Not having heard the previous outings in the series I cannot comment on how it has evolved over the course of the three albums, whether the evolutionary trends heard on the microcosm of the one album is reflected in the macrocosm of the trilogy, but as a standalone album I found it an interesting exercise in applying my critical faculties in an area I am unfamiliar with which is no bad thing in itself. Certainly it was a lot less challenging and a lot more enjoyable to listen to than I feared and will bear fruit for me in repeated hearings, a privilege that I won’t afford to a great deal many other albums that come my way – that could in itself be taken as a recommendation to go and check this disc out…

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)

German born, now American based Rothkamm, aka Frank Holger, creates what he calls "supermodern electronic music", of which this is the third installment in a trilogy.
Rothkamm asserts that the three principles of supermodernism are: "1. Be Utopian and Scientific 2. Nod to the First Pioneers. 3. Make full use of Left, Right, and Phantom Channel" However, there are giveaway notes of kitsch frivolity in the highly entertaining sleeve, which sees four shaven headed nerds in brown overcoats standing at odd angles from each other, presumably photoshopped representations of Rothkamm himself.
He also lists among his influences "Immanuel Kant, Karlheinz Stockhausen and Liberace". As for the music, despite its grandly trumpeted claims to be "a critique of the stereophonic illusion", it is essentially a fond revisitation of the pioneering, 50s/60s ear of musique concrete, with nods aplenty to Stockhausen - "Railroad Xing" threatens at one point to mutate into Gesang Der Junglinge".
Still, accepted for what it is, it's highly enjoyable, like sneeking in and playing on the old, abandonded Coney Island fairground, frolicking in forgotten futures.
David Stubbs THE WIRE

The Rothkamm Quartet
E Pluribus Unum
The Flux Records Archive of New York

FB03 completes the FB01 machine trilogy. I have not heard FB01 or FB02, so I’m not sure how well the entire trilogy addresses “the evolution of absolute music to itself.” After hearing FB03, though, I am very curious about these earlier two recordings.

The sole instrument of the Rothkamm Quartet is a Yamaha FB01 FM Sound Generator which is, according to the CD notes, “previously owned, and inscribed, by Buck Dharma of the Blue Oyster Cult and purchased on eBay for $26.” I point this out because the sound world of the 36 minute-long CD is rather “old school” in the electronic world. Most of the tracks sound straight out of Bell Labs from the 1960s. I do not point this out as a flaw or defect in any way. Instead, like the Moog Cookbook, Rothkamm’s music shows that older sound worlds still have lots of legs. If you are into Ussachevsky and Luening, you will dig this.

The odd number tracks of the CD are hysterically short. As in 6 seconds apiece. These tracks (they are unnamed from what I could find, they all make up FB03) are wonderful amuses-bouche that break up the trajectory of the longer movements.

Rothkamm clearly has an artistic agenda. The notes for the CD read more like a manifesto than an elucidation of the music. It is the only set of CD notes that I have ever gotten with a glossary. The underlying structure of the music is a “superhuman” 768 tone-per-octave scale. The notes say it best: “Today’s civilized humans are still unable to perceive pitch differences this small, so only in the future will we be able to distinguish the many parts. Today it is still only one.”
Jay Batzner SEQUENZA21

Prologue: while reading another review of this work, I had to swallow absurd references to Stockhausen (who nowadays fits anywhere, like Harry Partch and John Cage, when “journalists” don’t have a clue of what they’re talking about) and the “pioneers of musique concrete” (this album was entirely made with a synthesizer, so much for the “concrete”). And while we’re at it, Rothkamm is NOT also known as “Frank Holger”; that’s his NAME (ever heard about Holger Czukay?). I’m used to people spreading the virus of ignorance, but enough is enough.

Ironically, it’s because of characters like Frank Rothkamm that I still have some measure of hope in human intelligence. There’s no comparison between listening to something that smells of “commercial research of the inner self” and instead receiving this man’s promo packets and photos, his mad scientist-like face smiling wryly while one tries to decode the messages contained by his liners and, above all, sonic architectures. Most likely, many of these suggestions aren’t even comprehensible for a superficial analyst, not only because we’re talking about first-class microtonal developments in multiform isolationist sauce, but also because the wonderfully ironic, but damn true theory behind “E Pluribus Unum” (seriously accepted or not, and I mostly agree with it) contains the germs of true evolution, the one whose basis is still to be grasped by men in their infinite illusion of advancing, while instead they’re rolling back to the starting point. OK, I know what you’re asking for. What about the music? Electronic soundscapes à la Rothkamm, placed in that galaxy that is proud not to belong to any circle or school of thought. Abstract but precisely sequenced, collecting remnants of phrases that might appear as thrown out randomly by abstruse ungodly machines and were instead generated through a Yamaha FB01 FM Sound Generator that used to belong - of all people - to Blue Oyster Cult’s Buck Dharma and that Frank won on eBay with a $26 bid. Talk about maximum result with minimum effort.

Epilogue: to wrap it all, let’s just say that exercising the brain every once in a while with this stuff wouldn’t be harmful at all; when the saturation level is on red, you can always go back to your Jam Man and loop some obscure “oooh” and “aaah”, or even decide that a friend of yours doing third-rate dub is the next big thing. Now that’s what I call “burial of truth”.

Category: Experimental / Avantgarde / Weird & Wired / Odd / Field Recording

NY-based German transplant Frank Holger has been long-active as an experimental music artist. His latest project was a trilogy of which FB3 is the final installment. I haven't heard chapters 1 and 3, but FB3 is basically a collage of found sounds, glitch electronics, concrete musique, rumbling drones and monophonic sine waves...

It sounds as if there is a lot of granular synthesis and randomness involved and as if Rothkamm makes a conscious effort at flirting with ambient music without quite wanting to get there all the way, pulling himself back into the almost self-constrained yet total-freedom-enabling realm of avantgarde/experimental music.

There is practically no commitment to melody or beats, though the sounds would well complement at least the latter, if they were place in a more IDM-type scenario, for example.

If he didn't have his own label (Flux), I am sure he would have been a tasty bait for Staalplaat's recruiters.
Marc Urselli-Schaerer CHAIN D.L.K.

ROTHKAMM FB03 (E Pluribus Unum) (The Flux Records Archive of New York, FLX6):

   Frank Holger Rothkamm completes his FB01 machine trilogy. The man from Gütersloh, now active in New York, quadruples himself on the album cover to Kraftwerk and is not lacking any self-confidence as the hero of his electronic Bildungsroman and the leading proponent of a line of ancestors from ancient man to Pythagoras, Heraclitus, Leibniz, Hegel, Stirner, Marx, Heidegger and Donald Roeser (better known as Buck Dharma and guitar player of the Blue Oyster Cult). He was the previous owner of a Yamaha FB01 sound generator, which Rothkamm won at auction on eBay for $26.- and with it he multi-tracked the album.

   Rothkamm's evolutionary self-conscious is based on a dialectic of enrichment and depletion, diversification and reduction, Pluribus and Unum, whose teleological end point is the global market, as well as the quantum field of micro tonality. This point shows aspects of entropy and the futuristic and is attentively observed. Rothkamm attributes neither exchange nor profit value to his own contribution, although he exposes the pre and superhuman 768 notes-per-octave scale of sound in the world as THE possibility of all possibilities.

   There is enough concept and program at the core of FB03's 5 parts to stretch an arch from primeval times ("Ancient Meats") to the accelerations and streaming of a fleeting modernism ("Railroad Xing") and up to the lift off to outer space, re-imagined as Odysseus of the Future II ("Odyssey I 70").

   Rothkamm occupies the space between Olduvai and Forbidden Planet, only occasionally completely motorically, with lovely twittering and rushing hyper intelligent Yamaha sounds. He is perhaps a latter-day, but because of that, a more consistent and extraordinary representative of the "cosmic".


Frank Holger Rothkamm vollendet hiermit seine FB01-Maschinen-Trilogie (-> BA 52). Der in New York aktive Gütersloher vervierfacht sich auf dem Cover zu Kraftwerk und auch sonst fehlt es ihm nicht an Selbstbewusstsein als der Held seines elektronischen Bildungsromans und vorläufiges Spitzenprodukt einer Ahnenreihe vom Urmenschen über Pythagoras, Heraklit, Leibniz, Hegel, Stirner, Marx, Heidegger und Donald Roeser (besser bekannt als Buck Dharma und Gitarrist von Blue Oyster Cult). Der war der Vorbesitzer des Yamaha FB01 Sound Generators, den Rothkamm für 26$ bei eBay ersteigerte und der hier 4-spurig zum Einsatz kam.

Rothkamms evolutionäres Selbstverständnis basiert auf einer Dialektik aus Bereicherung und Verarmung, Diversifikation und Reduktion, Pluribus und Unum, dessen teleologischer Endpunkt, der globale Markt, aber auch ein Quantenfeld der Mikrotonalität, freilich ebenso entropische wie futuristische Züge zeigt und entsprechend aufmerksam beäugt wird. Seinem eigenen Beitrag schreibt er weder Tausch- noch Mehrwert zu, obwohl er in einer ur- und übermenschlichen 768-Noten-per-Oktave-Skala die Welt als je möglichste als möglichen beschallt.

Den 5 Teilen von FB03 liegt genug Konzept und Programm zugrunde, um eine Kurve von der Urzeit ("Ancient Meats") über die Beschleunigungen der dampfenden und der flüchtigen Moderne ("Railroad Xing") bis zum Lift-Off outer Space mitvollziehen zu können als ein Odysseus des Futurum II ("Odyssey I 70").

Rothkamm füllt den Raum zwischen Olduvai und Forbidden Planet, nur ganz gelegentlich motorisch, mit liebenswert zwitschernden und rauschenden, hyperintelligenten Yamaha-Sounds. Er ist vielleicht ein später, aber dafür umso konsequenterer und außerordentlicher Vertreter des "Kosmischen".
Rigobert Dittmann BAD ALCHEMY

Elektronische Musik hatte schon viele Gesichter und wird noch etliche haben. Rothkamm, der eigentlich Frank Holger heißt, aus Deutschland stammt und über Kanada in die USA emigriert ist, hat seine eigene Klangvorstellung, daraus musikalische Klänge zu erschaffen. "FB03" (= E Pluribus Unum) ist der dritte Teil Rothkamms FB-Trilogie.

Die sphärischen, stimmungsreichen, aber nicht erschlagenden, erstaunlich einsilbigen Klänge könnten als Soundtrack eines düsteren Science-Fiction Films, etwa wie ‚Solaris', funktionieren. Die befremdende Klangwelt der 10 Tracks, von denen 5 nur einen einzigen Ton enthalten, die als 4-sekündige ID-Titel zwischen den längeren Tracks (zwischen 5 und 11 Minuten) stehen und die tatsächlich im Laufe der Stücke aufgebauten Spannungen und Klangbilder wieder dezent herunterfahren, hat eine balladeske, sphärische Note.

Auf dem Backcover sind die Songnamen in englischer sowie deutscher Sprache angegeben. Diese Namen irritieren etwas, so ist "Altertümliches Fleisch" (Ancient Meats) nichts, was aus der Musik erklärt wird. Ebenso ist das mit "Eisenbahn Überquerung". Am ehesten noch sind abstrakte Namen wie "Wald", "Kosmologische Konstante" oder "Odyssee A 70" als Vehikel für die Klangbilder erkennbar. Die vibrierenden Sounds, die partiell an die elektronischen Klänge des 70er Jahre Werkes "Krieg der Welten" (Jeff Wayne) erinnern, sind für Kenner und Liebhaber elektronischer Klänge unterhaltsam und herausfordernd, während sich der Rest der menschlichen Musikhörer dieserart wohl nur als Filmmusik, nebenbei, widmen kann.

Wie bereits das Cover zeigt, sind die abstrakten Sounds und Klänge, die weniger typische musikalische Struktur zeigen und eher wie ein tonales Spielzeug funktionieren, von eigenwilliger Struktur. Zur Freude von Elektro-Avantgarde-Spezialisten.
Volkmar Mantei RAGGAZZI

Speaking of contemporary experimental work, Rothkamm's "FB03" is out, a strong final piece in the "FB0-" triptych.

Rothkamm; ultramodern, hyper-futurist that he is, hasn't stopped being able to leave my jaw on the floor, agape with wonder at the intricacy and otherworldliness of his music.

It's been said that a sufficiently advanced technology would appear to be magic to lesser creatures-- a statement along those lines is applicable here.

I have an older, but still very readable, interview with Rothkamm here.

Hallo Frank,

vielen herzlichen Dank für Deine neue CD. Eine sehr schöne Überraschung!

Köstlich finde ich, soweit Du meine Ansicht teilen magst, daß Deine Arbeit auch den Aspekt Geist und Evolution sehr lebendig darstellt.

Darin eine Art Gegensatz zu dem pietistisch, bigotten Umbiegeversuch der Weltsicht (Prophetie & Genesis) in Eurem kleinen Ländle bildet, ohne dabei in eine
gleichgeartete, nur gegenläufige Polemik zu verfallen. Nein, dies ist nur ein Aspekt, der nicht den Vordergrund bildet, jedoch unwillkürlich zu allem künstlerischen Ansatz und Temperament, auch dies Zeitkritische in sich birgt.

Wie alles Schöne und jede gute Kunst, eine Art Auflehnung gegen Eitelkeiten im
Sinne von Vergänglichkeit bildet und sich doch im Öffnen (Machen) diesem Allen fast
demütig hingibt.

Bodo Stock

ROTHKAMM - FB 03 [ltd ed CD] (self-released; USA) Frank Rothkamm has been exploring the evolution of humanity through sound. In the FB01 machine trilogy (named after his instrument of choice, the yamaha FM sound generator FM01) He equates the sine wave to the "first sustained sound", the human whistle. This is the third installment of aforementioned trilogy.

Slithering and diving through the speakers, his sound world is as complex and original as Gottfried Michael Koening's electronic work or Louis & Bebe Barron's "Forbidden Planet" soundtrack. Mutating oscillating sine waves to create primal electronic sounds, he sculpts other worlds with his archaic machine. As he states in his liner notes, "the most advanced music is also the most primitive". Couldn't have said it better myself.

Rothkamm squeezes out some pretty distinctive sounds and composes them very well with out dated technology. Caveman electronics at its best! Limited to 500, don't sleep on this!

Dear Frank,

I just opened ROTHKAMM F803.

You are unique.
Many are rather boring.
Not you, I still have my earphones on.
Canary Burton WOMR

With 'FB 03 (E Pluribus Unum) Rothkamm completes his trilogy, 'culminating in an epic of supermodern electronic music', or so Rothkamm, also known as Frank Holger, claims.
Holger is originally from Germany where he first conducted his experiments, then moved to Canada and now living in New York, together with his collection of analogue synthesizers.

The 'supermodern' part of this recording has to be taken with a pinch of salt. While 'FB02: Astronaut Of Inner Space' didn't follow 'FB01', this new one stands in complete line with its predecessor. The music is linked to the 'supermodern' synth music of the 60s sci fi sound tracks and the fifties of the Cologne posse.

Sounds bounce up and down the scale, but have the old, analogue sounds, as opposed to say much of the modern classical electronic and acousmatic music. It's a fine album, again, but a bit less of a surprise as the previous one.
Frans de Waard VITAL WEEKLY

thank you for the new record(cd)

I am playing right now
I feel like I am in the water
mmmm deep.....

wonder what they are
things by the bridge
one of the mysteries
which could be found
in various places in this album

the sound suits to the time
which is three minutes after midnight
Yukari Hayashida PUFFIN PRESS

The final part of trilogy, two previous chapters of which are still fresh in mind because of their unique vision and approach in the general scale of contemporary electronic music.

The subtitle "E Pluribus Unum" should be familiar for all of you because it's a motto found on the Great Seal of the United States (since 1935, both sides of the Great Seal appear on the reverse of the One-Dollar Bill of the United States). This is Latin for "Out of Many, One", or as I like to put it, "We're all in this thing together". It's hard to say, what means this motto in context of the Rothkamm's album, but keeping in mind his strong conceptual basis for art's theory called "supermodernism", I can assume that there's a link to musical interpretation of global scientification.

And getting back to the music itself, it follows the way of previous two installments, exploring the electronic impressionism decorated with elements of serial music and timbres from the retrofuturistic applications as seen on the television from the 60s. The peculiar purpose for this album should be seen for those experimental musicians who sincerelly think that electronic music was invented just for some years ago. As well for thinking on the chaos which appears as the highest order degree!


CKUT Montreal 17-AUG-07

1 Tarwater Spider Smile Morr Music
2 Bola Kroungrine Skam
3 Fisk Industries EPs And Rarities Mush
4 Jay Tripwire * Gemini Soul Nordic Trax
5 Loden Valeen Hope Mush
6 Efterklang Under Giant Trees Leaf
7 Field * From Here We Go Sublime Kompakt
8 Apparat Walls Shitkatapult
9 Rothkamm FB03 Flux
10 Guest Bedroom * Movement Independent

Fanfare For The Speeding Bullet!
Sunday, September 2, 2007
Hosted By Jay Eychaner and Jason Finkelman

Pulga - Still It Rides Me - Pulga Loves You [Fire Museum]
Alan Tomlinson, Steve Beresford & Roger Turner - N1 - Trap Street [Emanem]
Feverdreams - Stale - Words And Music [Fitual]
David Torn - Sink - Prezens [ECM]
Nagaoag - Track 6 - Yama Labam A [Public Eyesore]
Andrew Bishop - All Is Bliss - Hank Williams Project [Enuoi]
Rothkamm - Cosmological Constant - FB03 [Flux]
From Between Trio - Track 2 - No Stranger To Air [Sprout]
Pulsoptional - 'stain - Pulsoptional [Fugu Fish]
Muhal Richard Abrams - Part 1 - Vision Towards Essence [Pi]
Hans Fjellestad - Pacifico - 33 [Accretions]
Sun Ra - Next Stop Mars - When Angels Speak Of Love [Evidence]
Shelf Life - Sotukwdrc - Ductworks [Public Eyesore]
 Jay Eychaner and Jason Finkelman WEFT


Borderline 517 vom 10/08/2007

zusammengestellt und moderiert von Dirk Liese


Album (Label)

Young Marble Giants N.I.T.A.

Colossal Youth (Domino)

Angels Of Light The Man We Left Behind

We Are Him (Young God)

Heiner Goebbels / Alfred Harth

Hommage / Vier Fäuste für Hanns Eisler – Vom Sprengen des Gartens (ReR USA)

Mein Ruin

Kapitulation (Vertigo / Universal)

Current 93
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The Inmost Light (Durtro)

Current 93
The Bloodbells Chime

The Inmost Light (Durtro)


D.A.N.C.E. (Vice / Warner)

Modern Archives
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Freedom To Listen (Modern Archives)

Modern Archives Economic Gospel

Freedom To Listen (Modern Archives)

Franck Vigroux / Elliott Sharp
Cheval De Frise

Hums 2 Terre (Signature / Radio France)

Illi Vill
Ég Sé í hljóèum

Various: Fjölskyldu Album Tilrama Eldhüssins – Kitchen Motors Famils Album (Kitchen Motors / Cargo)

Asleep In A Hiding Place

Various: Fjölskyldu Album Tilrama Eldhüssins – Kitchen Motors Family Album (Kitchen Motors / Cargo)

Kahil El’ Zabar’s Infinity Orchestra

Transmigration (Delmark)

Steve Ashley
Still Waiting

Time And Tide (Topic)

Martin Simpson
Bachelors Hall

Prodigal Son (Topic)


Demo 7 (On/Off)

Paolo Angeli
Ahead In The Sand

Tessuti (ReR USA)

Xiu & Xiu
Mousey Toy

Remixed / Covered (5 Rue Christine)

Sag alles ab

Kapitulation (Vertigo / Universal)


Satiated With Simulacra (db)

Ancient Meabs

FB03 (Flux)

James Gordon Anderson

Antelope (James Gordon Anderson)

Furthernoise BCFM Playlist 14/0/07 - Adventurous Music & Sound
Podcast Now available - Radio Menu -

Next Broadcast : 22.00-23.00 GMT - 28th August 2007
See for your own location time.

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Nose Moog No. 9
The Glenners
Stoke Park Recordings

Symphonie Vum
Ergo Phizmiz
Womb Records

Independant CDR

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Justin Hardinson
The Land Of

Ancient Meabs
Flux Records Archive Of New York

Tapping The Inside Of Sitting
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Descent (exctract)
Anthony Pateras
Sirr Records

Elevation Records

Sanatorium Lake
Robert Vincs
 Roger Mills BCFM

This week, the rich aural melting pot of new released new music includes jazz from a montreal based drummer, electronic from a new york based german, spoken word from toronto based writer, lydia lunch's career retrospective, and three albums from a great german label [now with local distribution]. And that's only the first part of the program.

In the second hour there's an interesting covers project from the 2 lads behind nouvelle vague, new jazz from italy and 2 super producers combine in a new outfit. Then a real retro solid steel radio show from digital midgets who has sourced mostly rare 70's stuff for his set.

track - wald/forest
artist - rothkamm
cd title - fb03 - e pluribus unam
author - rothkamm
duration - 5.20
record label - flux records archive
CD no. - #9711

 Tim Ritchie ABC

Dj C “Dehydrogenated (featuring Pamelia Kurstin)” from Sonic Weapons CD ALBUM (Wimm Recordings 2007) L — returning to Boston, Monday Aug. 13 (

The Tuss “Goodbye Rute” from Rushup Edge CD ALBUM (Rephlex 2007) N

Solar X “Dasha 1, 2, 3, 4” from Little Pretty Automatic CD ALBUM (Worm Interface 1998)

Dj /rupture Remixing Nettle “Descarriada” from Rude Descending a Staircase 7-INCH SINGLE (Broklyn Beats 2001) — playing Saturday, July 28 at Great Scott

Ivan Tcherepnin “Santur Live! Overture: The Situation in the Land” from Flores Musicales / Five Songs / Santur Live! CD ALBUM (CRI 1995)

Alejandra & Aeron “Billowy Mass 2” from Billowy Mass CD ALBUM (Kning Disk 2007)

My Fun “Signal Drift” from Sonorine CD ALBUM (The Land of 2007)

Seht & Stelzer “Untitled Track 2” from Exactly What You Lost CD ALBUM (Intransitive 2006) L — Howard Stelzer playing w/Ouest at Studio Soto ( tonight

Mika Vainio “Viher [Green/Cellular]” from Onko CD ALBUM (Touch 1997)

Clara Rockmore “Gershwin: Summertime” from Clara Rockmore's lost theremin album CD ALBUM (Bridge 2006) N

Vomit Lunch “b: 3” from unskilled vegetarian remould force (split with vomit lunch) 7-INCH (Hot Air 2000)

Luc Ferrari “Chicago, USA. October 2001. Rehearsal for a Concert Harley Davidson, Texas” from Les Anecdotiques CD COMP (Sub Rosa 2004)

Philip Jeck “Accomodation” from Host CD ALBUM (Sub Rosa 2001)

Signal Quintet “Track 1 (Untitled)” from Yamaguchi CD ALBUM (Cut 2007)

Marc McNulty “00011” from Faraday Cage CD ALBUM (Earphone 2006) L — Marc McNulty will be performing live on RF next Thursday, August 2

Asmus Tietchens & Richard Chartier “Fabrication” CD ALBUM (Die Stadt 2007) N

Asher “Partly Framed In Sunlight” from The Depths, The Colors, The Objects, and The Silence CD ALBUM (Mystery Sea 2007) L

Lichens “M st r ng W tchcr ft L v ng n Sp r t” from Omns CD ALBUM (Kranky 2007)

Giuseppe Ielasi & Nicola Ratti “07'01"” from Bellows CD ALBUM (Kning Disk 2007)

Rothkamm “Wald” from FB03 - E Pluribus Unum CD ALBUM (Flux Records 2007)

Bruce Haack “War” from The Electric Lucifer CD ALBUM (Omni 2007) N

22 July 2007

Wirkungsgeschichtesbewusstsein (6'26")
Crowding into the Behavioural Sink (4'7")
CD: Geisteswissenschaften (No Type: IMNT0715)

James Gordon Anderson
Surface 1 (9'41")
Mirror Kalyx (5'18")
CD: Transtemporal Empires (James Gordon Anderson )

Antoine Berthiaume & MaryClare Brzytwa
Was Named (9'52")
Antoine Berthiaume, guitar and effects; MaryClare Brzytwa, flute, laptop and electronics
CD: Bebe Donkey (Ambiances Magnetiques: AM 163)

Mark Engebretson
Duo Concertante (12'7")
Steve Strusek, Susan Francher, alto saxophone; Inara Zandmane, piano
CD: Where Does Love Go? (Innova: 645)

Michael Oesterle
L'hiver monastique - 70 consolations harmonique pour violon (excerpt - about 12 mins)
Clemens Merkel, violin
CD: L'hiver monastique (Collection QB )

Frank Rothkamm
Odyssey 170 (11'53")
CD: FB03 (Flux )

Cycle (6'32")
James Smith; Dr Alien Smith
CD: Coming Into Existence (Alien Projects: AP001)
 Bryce Moore Sarah Combes RTR FM

08/03/2007 10:22:42 PM Aaron Dilloway track 4 Bad Dreams PACrec
08/03/2007 10:22:42 PM Rothkamm Railroad Xing FB03 The Flux Records Archive of New York


 YURMDarkness on the Edge of LightSynthphonics 1independent23:3155:07
  RothkammIndependent Bernoulli TrialsFB01Flux00:585:47
  RothkammTriumph of the Analog AgeFB02 - Astronaut of Inner SpaceFlux01:045:47
Y RothkammForestFB03 - E Pluribus UnumFlux01:105:17
 YMatthew PoulakakisGuitar Cloud 3Ping Things 3 - String ThingsThe Ambient Ping01:153:52
 YIan ChuprunTo Many Moments PassedPresence IICEC / PeP01:277:11
  Elsa JustelPrimpilipansaDISContact IIICEC / PeP01:344:14
 YFreida Abtanlightness (and weight)Cache 2004CEC / PeP01:386:40
 YSylkenThe Shores of SpaceTerraformsindependent01:517:17
 YAnamalous DisturbancesSwamp GasArchive 1Disappearing Music01:586:02

 James Bailey & Ron McFarlan CKLN

Fanfare For The Speeding Bullet!
Sunday, July 29, 2007
Hosted by Jay Eychaner

The Stumps - Track 2 - The Black Wood [Last Visible Dog]
Laminar - Repulsion - Nozzle [Asphodel]
Kim Cascone - Dust Theories 2 - Dust Theories [c74]
Alexander Rishaug - Or L! - Possible Landscapes [Asphodel]
Rothkamm - Cosmological Constant - FB03 [Flux]
Renato Rinaldi - Hoarse Frenzy (excerpt) - Hoarse Frenzy [Last Visible Dog]
Annea Lockwood - Floating World Part 1 -
Thousand Year Dreaming / Floating World [Pogus]
Ov - The Noctilucent Cloud - Noctilucent Valleys [Soft Abuse]
Gregory Taylor - Barang - Amalgam: Aluminum/Hydrogen [Palace of Lights]
TV Pow - Maybe It's The Alternator - TV Pow Presents Michael Hartman, Todd A.
Carter And Brent Gutzeit As TV Pow [Southport]
Ernesto Diaz-Infante & Chris Forsyth - Knock On Wood.. "Acoustic/Electric #11" -
Wires And Wooden Boxes [Evolving Ear / Pax]
Stefano Pilia - Healing Memories -
Healing Memories And Other Scattering Times [Last Visible Dog]

New music currently receiving airplay on other shows
(ordered by number of spins)

- Annea Lockwood "Thousand Year Dreaming / Floating World" [Pogus]
- Daniel Bernard Roumain "etudes4violin&electronix" [Thirsty Ear]
- Rothkamm "FB03" [Flux]
- RST "Axes" [Last Visible Dog]
 Jay Eychaner WEFT

Hereby the new playlist 209 of Sounds and Emotions.

"Experimental music for experimental people"

: goto "luister"

title played label time
Cosmological Constant Rothkamm Flux Records 7'20"
Primordial Sounds / God Creates Per Svensson Olof Bright 12'18"
Suprachiasmatic Nuclei Gustavo Aguilar Henceforth Records 15'26"
C Pluus Faust Klangbad 7'03"
Kantakari Johannes Frisch / Ralf Wehowsky Korm Plastics 16'12"
Big Electric Rose Sabrina Siegel Pax Recordings 9'15"
Le Décalajdésson Pierre Bastien Lowlands 8'02"
Teutonentango Faust Klangbad 6'59"
 Nico Bogaerts FMBRUSSEL

Nozmo King

Saturday -
14 July 2007 -
3:00pm to

Torture Chorus Johnny Over the Ocean In the Land of Lullabye
Pulse Emitter Mlehst Progression to Desolation
Fennesz Side 2 Live In Japan
16 Bitch Pile-Up The Brown Soil Bury Me Deep
E.P.A. With Shredding Rubber Black Ice
Acre Together, we are poison Candyflipping
Rothkamm Railroad Xing Fb03
77 Boadrums 77 Boadrums (live)

 Nozmo King KFJC

 YSamuel AndreyevLife StorySongs of ElsewhereTorpor Vigil Industries23:357:33
  Chat with...Christine Duncan and...Rob Piilonenn/a23:4320:00
 YSamuel AndreyevInternational Chimney and the Matyiko BoysSongs of ElsewhereTorpor Vigil Industries00:048:04
 Ylive performance and cat with...Christine Duncan and...Rob Piilonenn/a00:1233:00
  John Cage & Lejaren HillerHPSCHD (excpt)Musicworks98Musicworks98Musicworks00:456:42
  Mike KaneA Peacock Retraces Its StepsMusicworks98Musicworks00:5211:18
Y RothkammOdyssey I 70FB03Flux01:1111:53
Y Thanos ChrysakisNekyomanteionKlageAural Terrains01:2313:06
YYA_dontignyKoonsGeisteswissenschaftenno type01:463:04
YYA_dontignyPruitt-IgoeGeisteswissenschaftenno type01:492:05
  PorestDrain the SwampMood NooseResipiscent01:514:23
  Masonic YouthThe Haunted LodgeVeen RiddersResipiscent01:554:32

 James Bailey & Ron McFarlan CKLN

Fanfare For The Speeding Bullet!
Sunday, July 15, 2007
Hosted By Jay Eychaner and Jason Finkelman

Theo Bleckmann & Ben Monder - Apocryphon - At Night [Songlines]
Ov - Canals - Noctilucent Valleys [Soft Abuse]
Daniel Bernard Roumain - divergence - etudes4violin&electronix [Thirsty Ear]
Colleen - Les Ondes Silencieuses - Les Ondes Silencieuses [Leaf]
Jin Hi Kim - Yongary Meets Big Foot - KomunGuitar [¿What Next?]
Rothkamm - Ancient Meats - FB03 [Flux]
David Dunn - Gradients - Autonomous And Dynamical Systems [New World]
Gregory Taylor - Nem - Amalgam: Aluminum.Hydrogen [Palace of Lights]
Nels Cline Singers - Ak - Prezens [ECM]
Günter Müller & Taku Sugimoto - Pitch The Clock - I Am Happy If You Are Happy [For4Ears]
David Torn - Ak - Prezens [ECM]
Mike Ladd - The French Dig Latinos, Too - Negrophilia [Thirsty Ear]
Eddie Prévost & Jim O'Rourke - Reason For Eyelids -
Third Straight Day Made Public [Complacency]
Fursaxa - Bells Of Capistrano - Alone In The Dark Wood [All Tomorrow's Parties]
 Jay Eychaner and Jason Finkelman WEFT