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Frank Rothkamm [ Frank Genius is Star Struck ]
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[Frank Genius is Star Struck] Press Release
[Frank Genius is Star Struck] Art Work

Catalog No: FLX10
Artist: Frank Rothkamm
Title: Frank Genius is Star Struck
Label: Flux Records
Length: 31:38
Composed: 1990-1991
Release Date: 3/3/2009
Edition Size: 300
File Under: Dialectic Poptronics

Frank Rothkamm is one of the few conceptual sound artists that can honestly be labeled "original."

A simple list of this L.A. based German composer's stylistic metaphors - Nu Skool Mesh-Up, Old School Klassik, Big (but not too big) Beats, Second Life Computer Music, Not Very Heavy Metal, Freeze Jazz, Tribal Breaks, Warp Rock, French Cuisine, the Artiest Acid House - doesn't explicate the thrill of hand-crafted freshness that each track on Frank Genius is Star Struck delivers.

In this autobiographical "digital cantata" - set in San Francisco in the years A.D. 1990-1991 - Rothkamm has algorithmically re-synthesized an ambrosia of popular music into a toothsome expression all his own. His rich inventions combine with religious fervor to create an unforgettable sound experience that is destined to triumph over time and space itself.

Taxonomists beware!

Tracklisting: year opus
[01] Los Angeles Atari 2009 450 0:04
[02] San Francisco Chelsea Girl 1991 141 1:56
[03] San Francisco La Vie 1991 138 3:01
[04] San Francisco Black in the Sky 1991 140 2:30
[05] San Francisco Q 1991 168 2:24
[06] San Francisco Roll X Tones 1991 165 2:01
[07] San Francisco Vast 1991 137 2:46
[08] San Francisco Elvis 1990 128 2:16
[09] San Francisco Acid Phrase with Bass 1991 173 3:24
[10] San Francisco Looking at the Bible 1991 136 4:09
[11] Los Angeles Interlude for Soprano and Piano 2008 449 0:32
[12] San Francisco Ascending Megablast 1990 123 3:16
[13] San Francisco Bouncing Bubbles 1991 142 3:13
[14] Los Angeles The Rose 2009 451 0:06


1 Simon Fisher Turner >> Music from Films You Should Have Seen >> Optical Sound ]
1a 4 Mankind >> Ice Machine >> Ambiences Magnetiques ]
2 Myra Davies [Cities & Girls / Moabit Muzik]
3 Ned Bouhalassa >> Gratte-Cité >> empreintes DIGITALes
4 Tarwater >> Donne-Moi La Main >> Gusstaff
5 Biosphere >> Shenzhou >> Touch
6 Duoud >> Ping Kong >> World Village
7 Norscq >> Gelatinosa Substancia >> Staubgold
8 2Kilos&More + Black Sifichi >> Entre3villes >> Optical Sound
9 Kyteman >> The Hermit Sessions > On-Rough Trade
10 The Rondos >> Destroy the Entertainment, King Kong & Red Wig, 2009.
11 Damian Lazarus >> Smoke The Monster Out >> Get Physical
12 Carl Craig & Moritz von Oswald >> ReComposed Vol. 3 [Maurice Ravel and Modest Mussorgsky] >> Deutsche Grammophon
13 Various >> >> DSPS-De Player
14 Lehadbik >> Via Sinistrae >>  Black Note
15 Balkan Beatbox >> Nu-Made Remixes >> Crammed
16 M + various >> Pop Muzik Remixes >> Echo Beach
17 Various >> Cocktail Molotov 68 >> Le Son Du Maquis
18 Nouvelle Vague >> Bande a Part >> Peace Frog-PIAS]
19 Dusk + Blackdown >> Margins Music Redux >> Keysound
20 Karekare >> Te Reo O Te Whenua >> Dub Conspiracy
21 La fache cachée >> David Berezan >> empreintes DIGITALes
22 The Field >> From Here We Go Sublime >> Kompakt
23 Arklight >> Shadowed Features >> Arklight
24 Various >> This is WORM.Station >> WORM
25 Rothkamm >> Frank Genius is Starstruck >> Rothkammusic
26 Beatles >> Please Please Me >> EMI
Bart Plantenga WRECK THIS MESS

1) Rothkamm — “Frank Genius Is Star Struck” — Rothkamm didn’t make my list for two years running because I’ve got nothing better to listen to; he’s on here because the man is absolutely freakin’ brilliant. More than any release this year, I just couldn’t stop smiling whenever I put it on. Definitely one that blurs the lines between high-concept sound art and lowest common denominator pop disco… it’ll leave you baffled, entertained, and amazed all at once– and probably within the first few tracks.

Citing Jean Paul Satre from the Critique of Dialectical Reason in the sleeve notes of Opus Spongebobicum, 'the dialectic reveals itself only to [.....] an investigator who lives his investigation' very much defines the approach that I have come to expect from the one man label, composer, film maker and theorist Frank Rothkamm. His output is prolific, varied and always delivered with an unceasing attention to detail, precision and humour. This is no more so than with his two most recent albums Opus Spongebobicum and Frank Genius is Star Struck, which are poles apart stylistically, yet share a commonality that Frank Rothkamm.

Released in 2008, Opus Spongebobicum takes it's inspiration from a combination of the seventeenth century Austrian music publisher and composer, Anton Diabelli and the American cartoon series Spongebob Squarepants. Anton Diabelli as the notes go on to reveal, was to commission various composers including Ludwig van Beethoven to write musical variations (Veraenderung) on a theme he himself had written. According to legend and the biographer Anton Schindler (although he was ultimately discredited for doctoring some of Beethoven's texts), the composer didn't think much of the theme. In fact he described it as a 'schusterfleck'; translated means 'coblers patch' or apron, which he is also thought, though never proven, to be keen on wearing. Whether this was a vestige of his own ambiguous sexuality is pure speculation, however as Maynard Solomon points out, it was certainly a great deal more complex than it seemed on the surface. Referring to Beethoven's many dreams featuring horses, as a 'Freudian incest complex and a libidinal attachment to Gleichenstein' (a close male friend and confindant) 'may have found it's outlet in this wish fulfilling homosexual imagery' (1990, p.65). Of course all this pondering on Beethoven's sexuality might be exactly the same as what he simply thought of Diabelli's theme 'A Load of Cobblers' (cockney rhyming slang) but I've digressed.

Rothkamm's Veraenderung however, couldn't be further away from the aforementioned slang, displaying a virtuosity of performance and composition that I'm certain would have entertained even Beethoven. He develops a melodic motif that is subtle yet strong enough in form to be recognisable in most of it's thirty nine variations, none of which are much more than a minute long. The fortieth is just record crackle, as a conceptual back echo (I hazard a guess) of the old 78 vinyl, which Beethoven's own Veraenderung might have found itself on. In places, there are strains of the late Romantic tone poems of Grieg or Chopin and the use of dissonance and tone clusters bring to mind early twentieth century experimentalists like Claude Debussy and Henry Cowell, who I'm guessing are favourites of Mr Rothkamm too. Back to the liner notes 'This is but the starting point for Opus Spongebobicum, 40 variations on the secret formula from Spongebob Squarepants, our beloved yellow friend. These are not new Diabelli variations; they are instead the phonographic record of changes or 'Veraenderungen', of an absorbant sponge, a hommage to the square ' 'fur Kenna und Liebhaber' which is C.P.E Bachs idealised [....] audience of 'knowers and lovers.'

Moving on chronologically but spinning a good three hundred and sixty degrees stylistically, is Rothkamms last album Frank Genius is Star Struck. A plunderphonic onslaught of cut and paste beats, samples of television and film soundtracks not to mention some iconic pop plunders, all wrapped up in programming so deft it makes a mockery of so much of the mediocre dance music production you hear these days. Of course this is all garnished with Rothkamm's edgy, slightly wrong if not downright bent aesthetic, which runs through almost everything I have heard by this man. And, as if he hadn't already wiped the floor with his production, his virtuosity as a keyboard player shines through on tracks like Elvis (track 7), which contains an organ solo that is up there with players such as Jimmy Smith or the UK's James Taylor. There are also some interesting genre threads running through the album with touches of the early experimental EDM workouts of Meat Beat Manifesto, Depth Charge or Sabres of Paradise. Again, referring to my comment on the use of Tone Clusters, I'm sure these artists have been on Rothkamms radar for a while. Favourites ? Well, I would have uploaded all these tracks as examples, but it is the way that they are melded together that really captivates. There is just so much going on under the surface of each one, and the manipulated integration of samples like Bowie's Changes and The Stones Gimme Shelter really made me smile, not only for the humour but for sheer adventurousness. Still as people like Negativeland found out there is nothing like a good lawsuit to improve your profile.

There is literally something for every ones taste in these two extraordinarily diverse albums, and along with Rothkamms sheer innovation I guarantee he'll make you laugh. Further information on all Rothkamm projects is available from his website.


Solomon, M, (1990) Beethoven Essay's, Simon and Schuster Macmillan, New York.

Here is someone who understands his craft! Frank Rothkamm, a German composer, conceptual artist and programmer living in the U.S., must be regarded as one of the most gifted sample artist in music history.

Without any fear of genre boundaries, he goes for convincing hooks at places where others, afraid of booby traps, have already withdrawn to their corner. Listen to this "digital cantata" at least to "Vast". Here a drastic Darth Vader meets heaven's violins for a two minute dissonant liaison. Then Madonna dances with Edith Piaf and a computer turns to the beat of a musical.

This generously equipped edition gathers pieces from 20 years of creative work (he composed it in 1990/1991 and compiled and mastered  in 2008/2009, jaha!) in the spirit of Poptronik, Acid, Nu- and Old Skool . "Give me a good heart" loosens up over the course of the record to "Give me a good hard fuck." At the end of a good 30 minutes, you'll really feel worked over.

"Frank Genius", genius, indeed!

(from the original German)

German-born and now Los Angeles-based, electronic producer Frank Rothkamm provided engineering and rhythmic synthesis to the likes of the Hardkiss Brothers and DJ Spooky as well as working on a wide range of commercial soundtracks until 2005, when he decided to concentrate completely on his own solo artist productions under both his given name and as alter ego Frank Genius. Since then, he’s released a dizzying quantity of music, with this latest effort on LA-based Flux representing his tenth artist album in total. Designed to act as a ‘digital cantata set in San Francisco in the years AD 1990-1991?, the 14 tracks collected here see Rothkamm for the most part applying a pranksterish plunderphonic pop mash-up approach to the dancefloor, with extrovert moments such as ‘La Vie’ and ‘Black In The Sky’ roughly cutting up female vocal phrases over a massed backdrop of drum samples that takes its cue equally from contemporary electro and early nineties C&C Music Factory-style hip-house.

The hypnotically rolling ‘Q’ sees Rothkamm taking things considerably deeper with a slide into jacking Chicago house and looped tribal vocal samples that calls to mind Kevin Saunderson, while the icily robotic ‘Roll X Tones’ sits somewhere closer to some meeting point between Cybotron and DMX Krew, with some additional unexpected psyche-rock vocal and guitar elements tossed in to tweak proceedings further into leftfield. It’s certainly for the most part impressive stuff that sees Rothkamm rocking the dancefloor whilst packing tongue firmly in cheek, but unfortunately some of the more abstracted segue tracks here, such as ‘Vast’s sudden crash into nightmarishly treated atonal strings and ‘Ascending Megablast’s insane drummer heavy metal mash-up section contribute to what’s occasionally a bit of a jarring listening experience.

Following a multifarious talent, without either prejudices or gender barriers, Frank Rothkamm is back to bring his unique version of what today we could simply define as 'popular electronic music'.

These kinds of sounds are well represented in 'Frank Genius is Star Struck' and they are also carefully structured in the form of a conceptual pot pourri but still nice, with muzak fragments, classic tradition and rock culture, interweaving computer music tensions, cut-upping and free form improvisation.

Always on the edge between genius and bluff, the German investigator, super-modernist and at the same time a theorist of sci-fi serialism, has this time really slackened the reins, pushing on dialectical contradictions, always subtly responsive and involved in the relationship between mainstream and underground.

In the form of a 'digital cantata', deceitful and self-referential - with a Señor Coconut attitude - he clones anything, eventually assembling archetypal mash-up, consciously modulated from avant-garde and popular culture perspectives.
Aurelio Cianciotta NEURAL

twitter: you must hear the new frank rothkamm album - frank genius is star struck, he's left esoteric electronic bits for pop! 11:55 AM Mar 11th

Frank Holger Rothkamm is a conceptual artist and electronic musician, originally from Berlin, but he has now worked in the U.S. for a long time. A lot of his work is quite an extensive project with a foot in art and in music. His expressions sound heavily  electronic. It is no coincidence that he cooperated with Per Svensson of Sweden. This album however is wonderfully conceptual, it's fun and open. Go, please enter the Flux Records website and look at it almost student like the presentation of the disc. After listening to Ibitsus and DJ Olives brand new discs, I like this cheerful self-irony (and thus self-admitted) humor.

Twelve songs are presented in bouncy electronic pop costume - "Chelsea Girl", "La Vie", "Elvis", "Looking at the Bible" are titles that give an indication. He has mixed the recordings and put on his own text mixed with others. Known and unknown. Suddenly it sounds like Edith Piaf and the next moment it sounds like heavy metal. Sentimentality mixed with irony. The words give no deeper meaning, they repeat the cliches they are: "Give me a good hard fuck" repeated in "Looking at the Bible," "Fame and Fortune" is the overlapping end of "Elvis Presley", "Total perverse, Seigneur" is the entire text of "Ascending MegaBlast".

Frank Rothkamm has done a liberating album which also becomes a snappy comment on all the seriousness surrounding the experimental electronics and art scene he himself is a part of. So it is very good also, tight and swingy. It is a cruel rhythmic album with cutting sounds.

(from the original Swedish)

There were some years passed by since that time I've released the collection of archive materials by Frank Rothkamm, and it seems that recently his activity is growing more and more, he released a handful of new albums presenting his unique artistic views and experiments. Published mainly by his own Flux Records imprint, they got several attention in the musical world.

This new album is also released by Flux Records in the Fall of 2008, but in a smaller form because it's a CDR with probably less copies and also duration time only half an hour.

Here Frank show us his skills in stylization, he tries to synthetise a series of pieces based on popmusic samples and primitive musical elements, but using the same complicated computer algorhythms that can be found in his more sophisticated works.

Well, the artificial intelligence probably needs for relaxation, to follow the way of its creators. For sure, this music is much more accessible than the abstract and out-of-body experiments you know from the digital entertainment examples by Mego label residents. I would like to compare the result with plunderphonic productions of The Tape-Beatles and Negativland, but again - Rothkamm pieces are more fragmented and bears not so much ideology, they are quite hermetic in the sense of culturology - maybe this is a good chance to remember The Residents attitude.

The formal imaging and extreme accuracy for which Rothkamm is known at best, it didn't changed much even for his pop experiments. At last, as you all know, the pop music always consume the avantgarde inventions, but maybe it's a good idea to reverse this tendency?
Dmitry Vasilyev IEM

The master of anticipation-dodging eccentricity, Frank Rothkamm renders our summer happier with a “digital cantata” composed over the 1990-91 biennium on machines that many oh-so-modern whiz kids would consider as relics: Yamaha TX16W sampler and TX81Z plus FB01 synthesizers, Atari STE computer. The ultimate punch is given by the composer’s record collection, which furnished snippets of famous (and less) voices and songs: apart from a few segments of classical music – Tchaikowskij’s The Nutcracker is not bad as a disco hook – we find unintentional cameos by Nico, David Bowie and what I perceived as an Edith Piaf/Mireille Mathieu duet in “La Vie” – yet with this genre-orphan, chivalrous studio fiend one is never sure.

The program lasts about half a hour, enough to call the timing just right. It is indeed very useful for early morning disco-based aerobic exercises (ask my wife, who instantly started shaking her butt as soon as the second track began). The near-perfection of these juxtapositions results in something that sounds impolitic and punctilious at once, gifted with the classic ironic touch that this artist is renowned for. For good measure he transcribed what the sampled people actually say, the lyrics possessing an absurdly effective way of penetrating the listener’s brain while intent in being inundated by the now-licentious, now-beatific qualities of rhythmic combinations spiced with references that go from Elvis to pornography. The superb “Interlude For Soprano And Piano” – all of its 32 seconds – is the culmination point of a release whose cleverness transpires unmistakably, even after almost 20 years from its first conception.

Rothkamm calls this an “algorithmically re-synthesized ambrosia of popular music”. Difficult words for a dim-witted mass to understand, maybe – but play the CD and impediments will immediately be forgotten. Give yourselves a couple of good, hard spins and you’re going to sens la vie.

The latest release from experimental composer Frank Rothkamm is a "digital cantata" set in San Francisco in the early '90s.

His previous release was an album of piano variations on the Spongebob Squarepants theme, and this album continues to explore decidedly non-highbrow aspects of popular culture, specifically pop and dance music (Madonna and C&C Music Factory samples abound), and even a little pornography.

The majority of the album's tracks are uptempo and flow into one another, and certainly resemble early '90s dance music. However, the album remains closer in spirit to John Oswald's plunderphonic experiments rather than Girl Talk's intentionally danceable pop collages.

In other words, it just has this air of "composer making commentary on pop culture" rather than something that would actually get you moving in a club. It is enjoyable, especially for people like me who grew up listening to the type of music sampled here, but perhaps it's a bit too meta to warrant repeated listenings.


Frank Rothkamm, mathematical operations, and sponge pack bastards

Three new albums shows another three of the many faces of Frank Rothkamma. As would be until the end of life wishes to avoid comminution of ideas, such, which would be many other makers gladly upnul at least life.

Frank Rothkamm (born 1965) is a German living alternately in New York and Los Angeles. Bespectacled intellectual with no small sense of humor to its brand Flux gives conceptual album, which zúro?uje his education and experience with music from the disco and classic industrial, preaches supermodernismus from which desires - mainly for financial reasons - to create the Church, and performs like the the roofs of New York's skyscrapers.

Triumph of the machine name IFORMM

Famous especially albovou trilogie FB01 - FB03, the number pionýr?m electronic music, purchase the unique tools IFORMM, which built from commonly available sound modules. Tool with a few keyboard p?ela?uje automatically according to pre-embedded algorithms and pianist Rothkamm it was able to form a follow-up to electronic music creation such as Karlheinz Stockhausen improvised and in real time. The supermodernismus is a fully incorporated synthetic vibrations without any similarity to the empirical world. Trilogie was recorded exclusively in polospánku to eliminate the effects selektujícího ega. Was recorded directly into the recording media without any predetermined rules, the author tried to use only intuition and transcendental ideas. Distinctive "co" are mathematical operations affecting the conduct of the controlled accident sinusových sound curves. The resulting polyphony is the work of "groups of Ego and Its Clones" - navrstvení above captured traces. Result transferred to non-4.1 format was presented to several site-specific performances and showed confidence and charm that early electroacoustic music may be just retrozábavou younger generation, but can, without disclaiming its roots, read entertaining and totally simultaneously.

Oh, sponge!

Album Moers Works (the brand Monochrome Vision) was vybo?ením light of a number of "adult works. Collection of short miniatures that Rothkamm as a teenager made in Germany shows that already at an early age was able to stick in your pocket most of the sound post kolážist?, a patchwork of noise, radio and tape manipulation excerpts could do levity and neutáp?l in a descriptive verbiage, frequent sins industrialist? who do not like to admit the existence of joy.

Story album Just Three Organs began thirty years ago. Then t?ináctiletý Rothkamm arrived during the ski trip to Swiss chapel, knocked three times and the entry of the local organ played Bach. Since then, the organ was unaffected, and after many years appeared in the electronic bazaar Yamaha Electone 250 D. It was made nine months after the Swiss event, and number three and nine became a leitmotif of works, that on the 3rd 3. 2008 zhmotnilo in the form of albums with footage 33:33, where an area of nine tracks added three organ features three pairs of hands and feet. The realignment was 33 cents and three-sounding speakers hung in the air so as to form a triangle, the resulting massive reverb between rotoval cycle of three revolutions per minute. Album is a homage to the sound only, from the characteristically p?idušených basových tones to strictly easylisteningové "bubble" of higher frequency of short fiction. Clearly regards Rothkamm?v nejodpo?inkov?ji sounding opus.

The Opus Spongebobicum, as the title suggests, inspired by "really surreálným" cartoon series SpongeBob Squarepants and ?ty?at?i?tvrt?hodinovou song Kaikhosru shapur Sorabjiho Opus Clavicembalisticum for solo piano. Even here Rothkamm pianist neusedá for piano, the sound of your choice instead of a vysamploval after careful listening piano LP of the fifties. As Sorabji had several musical themes, which for him was almost mystical-philosophical importance and appeared in many of his works, Stockhausen and his Formula, Rothkamm working with the first part of the score Serial signature tune and it represents the forty-minute variations, which shows how perfectly mastered craft composer of classical music. Relatively traditional-sounding work entails much "of the laws and the history of piano music."

Total macaroni pervers

This year, again on the 3rd March, the Rothkamm odvázal and presented humorous, bastard album Frank Genius Is Star Struck. "Digital cantata" as album says it is, according to the terms of creators and critics of current electronic music, or bastard pop mash-up consisting of vocal phrases pop hits, which, in the appropriate sort giving rise to a simple slogan?m. Background consists of primitive disco and technobeaty, over them the phrases endlessly repeated Prince, Nico, Rolling Stones (I do it just "uuu", which begins the dark pit Gimme Shelter) and many others. I admit, a similar meta-enriched pop aesthetics of wood hedonismu stars diska from Rothkamma I really expected, though there is some relationship with the work of the late Arthur Russell, now rediscovered and celebrating discoikony that "as of" serious music form, "in the night "passionate. I wonder what comes next joker Rothkamm.

(from the original Czech)
Petr Ferenc A2

Liveblogging! Commentary for “ITDE” 3/21/09
March 21, 2009

At last! Local filmmaker Alex Ryterski brought in a copy of his noise documentary “Nonexistant,” which contains portions of the interview I mentioned so many months ago. I’m super-excited about having been a part of this, so I’m definitely going to find out if he’ll let me share it with you in some fashion. Until then, I hope you enjoyed the broadcast– you may keep this playlist as a memento of the time we spent together this day.

BTW, did you hear? I played new stuff from Warm Climate AND Hotel, Hotel. Yes, I’m the luckiest music lover on the planet. Both of these releases are terrific, so don’t sleep on them!

Frank Rothkamm — Atari
Frank Rothkamm — Chelsea Girl
Frank Rothkamm — La Vie
Frank Rothkamm — Black in the Sky
Frank Rothkamm — Q
Frank Rothkamm — Roll X Tones
Frank Rothkamm — Vast
Frank Rothkamm — Elvis

Warm Climate — Edible Homes and Gardens
Warm Climate — Synth Pads for Homeless
Sandor Szabo, Kevin Kastning — Hyperbola
Sandor Szabo, Kevin Kastning — Vertex I
Sandor Szabo, Kevin Kastning — Vertex II
15 Degrees Below Zero — Landscape on Film
15 Degrees Below Zero — Westward
Marcelle Deschenes — Lux
Marcelle Deschenes — Les bruit des ailes
Christopher Ariza — Phanopoeiac
Daryl Shawn — Test The Waters
Daryl Shawn — Bad Blood
Daryl Shawn — Autopsy
Peter Swendsen — Tomorrow Will Be 5m 21s Shorter
Daniel Blinkhorn — Grumble(r)
Potpie — Cold Mountain Breakdown
Hotel, Hotel — Mary Celeste
Hotel, Hotel — Equator in the Meantime (Black Sabbath)
Hotel, Hotel — The Shoreline Disappeared
Hotel, Hotel — The Dirac Sea (High Tide)
Hotel, Hotel — The Captain Goes Down With the Ship (Sinking)
Louis Dufort — Gen_3
Louis Dufort — Materio_***
Louis Dufort — Hi_Res

Posted in Uncategorized | No Comments »
Liveblogging! Commentary for “ITDE” 3/14/09
March 14, 2009

I’m back! My self-imposed exile is over, Future DaveX says it’s safe for me to return– I was getting sick of him anyway– what a stereo hog! Anyways, I have a great show for you today, so I’m going to jump right into the playlist.

I guess some folks were fooled by Future DaveX’s cover story about me being in the Bahamas– I was actually inhabiting a 6×6 styrofoam cubicle– because when I got back to WDBX to check my mail, the fine folks at Hymns Records had sent me the latest Ironing disc, “Nassau”. This would have really been an awesome thing to find had I actually been coming back from a cruise to the same place! Better luck next time, guys. Do you have any recordings of styrofoam cubicles? I’m homesick.

Why yes, I DID just play from Zelphabet comps “F” and “G”. If you’re any sort of noise fan whatsoever, you can do yourself no harm (okay, maybe some minor ear bleeding) picking these up. Featuring Fin, Frans De Waard, Francisco Lopez, Government Alpha, Giancarlo Toniutti, and of course GX Jupitter-Larsen, among others…

Jeff Rehnlund sent some new vinyl from Hot Releases, a label/zine he’s running with fellow Boyzone member Ryan Martin. “Gangnam Basement” wouldn’t be out of place on the Hymns label– good field recording soundwork that focuses more on composition and a sense of place than it does on nitpicking the audio quality– in other words, just the sort of thing I like to hear. The second LP, American Band’s “Low Fiction”, is more of a noise assault. I’m guessing power tools are involved, and more than likely a fair amount of abused metal objects. I’m not discounting this one as simple dumb noise though; there’s too much effort here, it just takes a while to focus through the din.

Thought I’d let you know– Frank Rothkamm’s “Genius Is Star Struck” will be making my Best of 2009 list. Better grab it now!

Lee, Jon, Suki, Brian, Tom, Jesse — Untitled (From “Gold Record Studio”)
Sylvia — Untitled (From “Gold Record Studio”)
Zach, Dan, Suki, Michael, Lisa — Untitled (From “Gold Record Studio”)
Ironing — I Wanna Be Just Like You
Ironing — Maybe Next Year
Ironing — If You Go To School You’re Bound To Learn
Ironing — You Know I Love the Ladies
Ironing — I Smile Along With You
Ironing — Disembarking in Nassau
Ironing — Casino 1
Ironing — Casino 2
Ironing — Casino 3
Ironing — Whale Dancing
Ironing — Shopkeepers Argue in the Street
Locrian — Obsolete Elegy in Effluvia and Dross
Locrian — Ghost Repeater
Locrian — Barren Temple Obscured by Contaminated Fogs
Santiago Latorre — Canon
Felix Werder — Banker
Government Alpha — Corrosion Electrolysis
francisco lopez — untitled #210
GX Jupitter-Larsen — Explosion 2008
Frans De Waard — Meet Melt
Chaos Kit  — 5vcpack
Chaos Kit — shell32.dll
Chaos Kit — victor
Chaos Kit — setupapi.doc
Chaos Kit —
Chaos Kit — LPTT$VPN.170
Chaos Kit — iplw7.dll
Chaos Kit — VPTNFILE.170
Chaos Kit — wmp.dll
Chaos Kit — msoeres.dll
Chaos Kit — explorer
Chaos Kit — system.bak
Jeff Rehnlund — Apsa
Jeff Rehnlund — Tiger Tongue
Jeff Rehnlund — Quem
Jeff Rehnlund — Speak
Jeff Rehnlund — Chonghak-ri
Jeff Rehnlund — Inwangsan
American Band — Out Nurture
American Band — Infrastructure
Frank Rothkamm — Atari
Frank Rothkamm — Chelsea Girl
Frank Rothkamm — La Vie
Frank Rothkamm — Black in the Sky
Frank Rothkamm — Q
Frank Rothkamm — Roll X Tones
Frank Rothkamm — Vast
Frank Rothkamm — Elvis

Andre Custodio, Conure — Live, 1/26/09

Posted in DaveX, ITDE, Radio, archive, experimental, experimental music, field recording, liveblog, sound

Record labels make claims that aren't always true but they sound nice. "Frank Rothkamm is one of the few conceptual sound artists that can honestly be labeled 'original'" are actually Rothkamm's own words, but its true.

He never seems to do the same thing twice. His previous release 'Opus Spongebobicum' was a piano work, 'Just 3 Organs' an electronic ambient work, and here on 'Frank Genius Is Star Struck', he goes back to his first release from 1994, 'Planet Genius', which I surely heard but forgot. He calls his new work an 'autobiographical "digital cantata" - set in San Francisco in the years A.D. 1990-1991', recorded with a Yamaha TX16W Sampler and TX81Z + FB01 synthesizers, programmed on Atari, in 1990-1991 and assembled on PC in 2008-2009.

This is again something entirely different. As Frank Genius he plays popmusic. Robotic voices, electronic break beats, electro rhythms, sampled strings and uptempo synthesizers. Dance music with a great bite. The twelve tracks are throughout short and very much to the point, with tracks flowing into eachother. I was reminded of some of the earlier works by Greater Than One - still an ipod favorite here. Upbeat music that puts a big smile on this face.

Frank Rothkamm is Frank Genius - never letting down on the surprise side. (FdW)
Frans de Waard VITAL WEEKLY

German experimenter and conceptualist Frank Rothkamm has released Frank Genius Is Star Struck (FLUX RECORDS FLX10), a record I can only describe as avant-garde disco and sample music.

He put it together in 1990-1991 using Atari software to programme his samplers and synths, he calls it a ‘digital cantata’, and apparently it even has autobiographical elements layered into its wayward sounds and rhythms. I’m totally unfamiliar with the language and conventions of breaks, beats, house, old skool, and all myriad variations thereof, but even I can tell there is something fundamentally warped about this music, hearing past the surface sheen of the poppy beats to discover discordant and disturbing anti-melodies lurking within.

As ever, the sleeve notes and press (quite possibly prepared by Rothkamm himself) are ambiguous, leaving it deliberately unclear as to where the joke leaves off and the conceptual art begins.

“File under Dialectic Poptronics”, we are advised…

I laughed out loud as I listened to this CD, FRANK GENIUS etc. I
dearly love humor in music, even when the composer didn't do it on

I had to select the cuts carefully since you've bulldozed
into Rap or some such. Hehehe.

ANYway, I will let you know when I've
played from this album and of course, any of the others.
Canary Burton WOMR

Born in Germany and moved to the States, Frank Rothkamm just in Los Angeles is the ideal setting (and perhaps also suitable target) to its 'ethics' sound. Post-modernism almost futuristic and rejection of the use of text as the transmission of concepts if not in a hermetic: rather use the word sung is the association between hand-sound balances and onomatopoeia (a "Je Sens La Vie" repeated eternal rhythm while creeps almost 'jungle' of "La Vie" is its most immediate example). The music of Frank Rothkamm was officially founded in 1990 with the debut cassette "The Cult Of Cunt" on behalf of Kult Production, and further the career of 'whimsical artist develops slowly with targeted outputs and sparse, at least until 2008, accomplice even the self with its own Flux Records of inspiration, always hovering between electro-funk often 'guilty' of free-jazz, jungle and anarchy typical 'clubbers'. The result is a sound that confusing which needs to be choreographed true: if the purpose of Rothkamm should be the art of dance, do not miss "Frank Genius Is Star Struck" the spirits to give way to dancing bodies to express the movement follows structures of the syncopated sound. Or the alternative vision as different sound support is the other plausible alternative. Certainly in other contexts, the music on this full-length album that fans can find better appreciate the capabilities of our own, but for the public in our area lacks those destinations that also more likely to ambient nell'IDM more breackcore appear generous. In short: too much lawlessness affect the lines of structures that would definitely need more expressions weighted. One example is the excellent song (slowed down and 'managed' by small reverb guitar plucking) "Bouncing Bubbles", where sound is actually the set-up 'cotton' giving the idea of bouncing balloons. Frank is not undoubtedly Rothkamm deficit in conceptualizing his music, and if in future episodes such as "Bouncing Bubbles" occurred again (without of course affecting schizophrenia mail of other moments, not to fall in the opposite), will not be a problem to approach with more interest in this eclectic little genius.

-- original Italian

Nato in Germania e trasferitosi negli States, Frank Rothkamm proprio in Los Angeles trova il substrato ideale (e forse anche il target adatto) alla sua 'deontologia' sonora. Post-modernismo quasi futurista e rifiuto dell'uso del testo come trasmissione di concetti se non in modo ermetico: semmai l'uso della parola cantata è l'associazione canto-sound tra equilibri ed onomatopee (un "Je Sens La Vie" ripetuto in eterno mentre si insinua nel ritmo quasi 'jungle' di "La Vie" ne è l'esempio più immediato). La musica di Frank Rothkamm nasce ufficialmente nel 1990 con il debutto su cassetta "The Cult Of Cunt" per conto della Kult Production, ed in seguito la carriera dell' estroso artista si sviluppa lenta con uscite mirate e rade, almeno fino al 2008, complice anche l'autoproduzione con la sua Flux Records del proprio estro, sempre in bilico tra electro-funky spesso 'macchiato' di free-jazz, jungle e anarchie tipicamente 'clubber'. Ne deriva un sound ostico che necessita di supporti coreografici veri e propri: se lo scopo di Rothkamm dovesse essere l'arte della danza, non mancherebbero in "Frank Genius Is Star Struck" le ispirazioni per dar modo a corpi danzanti di esprimere il movimento seguendo le sincopate strutture del suono. Oppure l'alternativa visiva come diverso supporto del suono è l'altra soluzione ipotizzabile. Sicuramente in altri contesti la musica di questo full-lenght può trovare estimatori che meglio apprezzino le capacità del Nostro, ma per il pubblico del nostro ambito mancano quelle destinazioni più propense all'ambient che anche nell'IDM più breackcore si manifestano generose. In poche parole: troppa anarchia pregiudica le linee di strutture che sicuramente avrebbero necessità di espressioni maggiormente ponderate. Ne è un esempio l'ottimo brano (rallentato e 'gestito' dalle piccole plettrate riverberate di chitarra) "Bouncing Bubbles", dove effettivamente l'assetto sonoro si 'ovatta' dando l'idea di palloncini rimbalzanti. Indubbiamente Frank Rothkamm non è deficitario nel concettualizzare la sua musica, e se in futuro episodi come "Bouncing Bubbles" dovessero ripetersi (senza ovviamente pregiudicare la schizofrenia elettronica di altri momenti, per non cadere nell'opposto), non sarà un problema accostarsi con più interesse verso questo eclettico piccolo genio.
Nicola Tenani DARKROOM

A whole load of cut up pieces of music, sound bites, collaged together with electronic stitching – spoken word bites, slices from radio shows, riffs, cut ups, beats, we've heard this many times before (dare we ask if anyone remembers those Organ radio tapes of the late 80’s with the collaged bits between the bands that we laced together using cassette decks and bites from this and that?).

Conceptual sound art and a million samples from the respected LA based German composer – "nu skool mash up, old school classic"... Been there, heard that - re-synthesised cut up sound art that's pleasant enough on the ears, dialectic poptronics, not as revolutionary as all the trumpet blowing blurb that came with it would like is to tell you it is...

Frank Rothkamm is an artist from the San Fransisco area that has coined himself as being one of the only conceptual sound artists that can be labeled as “original”. Not just in his area of the large state of California, but apparently the whole world. It would seem then that an ego the size of the city in which he resides would be needed to back a release like “Frank Genius is Star Struck”. On the flip-side though, there's a strange ironic twist in the fact that he uses, at least for this release, recycled pop history layers and rips apart the face like some schizophrenic Thomas Hewitt (Leatherface), only to re-wear them as a bizarre, funky, even jazzy version of their mashed former selves. Needless to say, Frank Genius is Star Struck is downright weird and involves everything from jazzy layers to electronic madness in both the percussive and melodic vain.
Frank Genius is Star Struck opens up with a short track in “Atari” which basically gives us the track title and quickly heads into Chelsea Girl – whether or not the sample is taken from a Velvet Underground Cover, I don't know, but while the rhythm sounds the same, the voice obviously isn't. The voice-layering makes the track seem darker than it is given the jazzy background. The following track borrows from Madonna amongst other artists as the album continues on this path The primary constant throughout the album is the menas by which the beats are made themselves. They all have a nearly acoustic ambient aura surrounding them as their tone quality matches the strange treble pseudo-melodics that are present in the genre. However, the beat itself can vary from jazz to techno and pop, even to the industrial experimentations of Fetus and Raymond Watts (especially when matching “Vast” to Pig's “My Sanctuary”.)
Frank decides to end the album as strangely as it began, with a quote from the 17th century poet Robert Herrick's “On the Nipples of Julia's Breast:”
“Have ye beheld (with much delight)
A red rose peeping through white?”
Why he only chose the opening two lines from the poem, I do not know, but it is certainly an unseen, if not humorous, ending to an otherwise rather frail attempt at an “original” work of soundart. It is, however, true that each journalist will have his own opinion and Mr. Rothkamm has seen many positive reviews from us in the past – this album just doesn't happen to be one of those apparently impressive efforts. While the talent is obviously there, and his attempt is certainly in the right place, it just doesn't appear that he hit the mark that he was attempting to hit with this effort. Frank Genius is Star Struck unfortunately comes off as less “original”, and more of another recycled recording with break-beats galore and random genre orientation. There's nothing linear about the mindset or the music pattern here... To put it bluntly, any artist can splatter paint on a canvas. Its what you do with that technique that matters. This simply wasn't impressive, but through the listen one can see where others may find quality in his other works.

Another collection of cultural detritus and pilfering assembled around a dance beat. One wonders if there's anything original to the artist in this kind of musical expression. Of course he is the assembler, but could he actually come up with an original melody or beat without the digital machinery? Or perhaps there's no point asking that question. I'm wondering why the copyright lawyers aren't all over this guy. Fourteen tracks ranging from :04 to 4:09 all melting into each other for the ultimate DJ experience. His take on fascism (or is it just a pompous operatic sample) and Heavy Metal on track #12 "Ascending Megablast" is pretty funny though, and maybe not as ironic as that sounds.
John Gore CHAIN D.L.K.


Barcelona ( Spain ) Descarga 25-3-2009

CURTIS : digitalismo, música experimental, computer music, electroacústica...

Frank Rothkamm – Frank Genius Is Star Struck – Flux Records
Angel – Hedonism – Editions Mego
Alva Noto – Xerrorx Vol. 2 – Raster Noton
Atom TM – Liedgut – Raster Noton

Radio Ciutat Vella 100.4 fm.
Miércoles - Wednesday 22pm - 24 pm

With susanna

Thu Mar 19th 2009 7.00pm–10.00pm

R=listener request. N=music new at the station. L=local music.

Like everything else, times are approximate. Spinitron and this station are not liable for errors or omissions.

Time zone: Eastern


Edip Akbayram “Yakar Inceden Inceden” from Edip Akbayram CD COMP (Shadoks 2006)


Skream “Tek-a-Pill” from Skreamizm Vol. 4 (Tempa 2008)


Filastine “Strategy of Tension” from Dirty Bomb CD ALBUM (Soot 2009) — playing with Nettle at Brandeis, 3/21 and at the Enormous Room 3/23


Keiichiro Shibuya “Untitled 5” from ATAK000 CD ALBUM (ATAK 2004)


Lawrence English “The Surface of Everything” from A Colour for Autumn CD ALBUM (12k 2009)


Cernlab “09delay” from 52.09 CD ALBUM (Electroton 2009)


Nino Rota “Vitelloni's Bar” from LSD Roma CD COMP (El 2005) — from the soundtrack to the 1972 film, Roma


Aphex Twin “Untitled 1” from Selected Ambient Works Volume II CD ALBUM (Sire 1994)


Tim Hecker “Radio Marti” from Radio Cubano 12-INCH SINGLE (En/Of 2005)


Oneohtrix Point Never “Betrayed in the Octagon” LP ALBUM (No Fun Productions 2009) — performing at Great Scott, April 12


Felix Kubin “Russian Robot in N.Y.” from Axolotl Lullabies CD ALBUM (Oral 2008)


Gatekeeper “Tense Past” from Let Go / Tense Past 12-INCH SINGLE (Punch Drunk 2008)


Janek Schaefer “to New York to Eugenie to Perth” from Migration CD ALBUM (Bip-Hop 2005)


Thomas P. Heckmann “06:08:69” from Raum LP ALBUM (Mille Plateaux 1999)


Frank Rothkamm “Bouncing Bubbles” from Genius is Star Struck CD ALBUM (flux 2008)


EsRM “White” from RGB [an audio spectrum] CD SPLIT (source research 1998) — EsRM = Leif Elggren + Source Research + Matmos


Uncle Woody Sullender “Where the Flowers on the Rivers Green Margin May Blow” from Live at Barkenhoff CD ALBUM (Kunstlerhauser Worpswede 2009) N


Laszlo Dubrovay “Oscillations No. 2 (1977)” from Live Electronic CD ALBUM (Creelpone 2008) N


Lasse Marhaug “Sleeper” from The Shape of Rock to Come CD ALBUM (Smalltown Super Sound 2004)


San Ul Lim “5” from San Ul Lim CD ALBUM (World Psychedelia 2005)


Filastine “Hungry Ghosts” from Dirty Bomb CD ALBUM (Soot 2009)


The Shadow Ring “Start Repeating” from Life Review (1993 - 2003) CD ALBUM (KYE 2009) N


Harmonia “Kekse” from Deluxe CD ALBUM (Lilith 2006)


Ibimeni “Baroumuga / Sleep” from Ibimeni - Garifuna Traditional Music from Guatemala CD ALBUM (Sub Rosa 2009) N

Copyright ©2009 Spinitron and WZBC. ‘Spinitron’, the speedy-vinyl logo and the Spintron logotype are trademarks.
 susanna WZBC

With susanna

susanna at

Thu Mar 12th 2009 7.00pm–10.00pm

R=listener request. N=music new at the station. L=local music.

Like everything else, times are approximate. Spinitron and this station are not liable for errors or omissions.

Time zone: Eastern


Filastine “Desordenador” from Dirty Bomb CD ALBUM (Soot 2009)


Cernlab “07delay” from 52.09 CD ALBUM (Electroton 2009)


Kode9 “2 Bad” from Bad / 2 Bad 12-INCH SINGLE (2008)


Infinity Window “Sheets of Fire” from Artificial Midnight LP ALBUM (Arbor 2009) L


Lawrence English “...And Clouds For Company” from A Colour for Autumn CD ALBUM (12k 2009)


Hecker “Acid in the Style of the David Tudor” CD ALBUM (Editions Mego 2009) — forthcoming


Said El Kurdi “Kassem Miro” from Give Me Love: Songs of the Brokenhearted CD COMP (Honest Jon's 2008)


Astral Social Club “Pilgrim Sunburst” from Octuplex CD ALBUM (VHF 2009)


Oneohtrix Point Never “Parallel Minds” from Betrayed in the Octagon LP ALBUM (No Fun Productions 2009)


Fonseka, and Party “Kapirigna” from The Secret Museum of Mankind Vol. I. CD COMP (Yazoo 1995)


Frank Rothkamm “Elvis” from Genius is Star Struck CD ALBUM (flux 2008)


Henri Pousseur “First Parabolic Mix” from Paraboliques CD ALBUM (Sub Rosa 2001) — RIP Henri Pousseur


Atom TM “Im Rausch der Gegenwart I” from Liedgut CD ALBUM (Raster-noton 2009)


The Association “Pandora's Goden Heebie Jeebies” from My Mind Goes High CD COMP (Warner 2005)


Jorg Follert “Inbox” from Visor CD COMP (Karaoke Kalk 1998)


The Shadow Ring “Prawnography” from Life Review (1993 - 2003) CD ALBUM (KYE 2009) N


Ester John, Fadhili ^William, Ben ^Nicholas & Fundi ^Konde “Mwanamali Wa Maridadi” from Lipa Kodi Ya City Council LP COMP (Mississippi Records 2007)


Peter Cook and Dudley Moore “Bedazzled” CD ALBUM (acme 2008) N


Vic Mizzy “Hero's Picnic” from The Ghost and Mr. Chicken CD ALBUM (Percepto Records 2004)


Esognomig “Side 2” from S/t 12-INCH SINGLE (Sonig)


Mika Vainio “Hampaat II” from Revitty CD ALBUM (wavetrap 2007)


Studio 1 “8” from Studio 1 CD ALBUM (Studio 1 2009) N
 susanna WZBC

Spooky sounds and crisp beats. New albums that already have me really excited.

Highlights are new albums from Pimmon, Frank Rothkamm and Spoonbill - Solid Steel is by Kid Vector.

art one

track - evil household ceremony
artist - pimmon
cd title - smudge another yesterday
author - gough
duration - 4.45
record label - preservation
cd no. - pre021

track - chantier naval
artist - philippe lauzier, pierre-yves martel, kim myhr, martin tetreault
cd title - disparition de l'usine ephemere
author - lauzier, martel, myhr, tetreault
duration - 6.05
record label - ambiances magnetiques/dame
cd no. - am 181 cd

track - 5 notes from beauty
artist - datson hughes
sourced from pool
author - datson hughes
duration - 2.55
unreleased, available to either stream or dowmload from pool

track - dilandid
artist - loomer
cd title - ep
author - loomer
duration - 4.50
record label - independent
cd no. - free digital download

track - looking at the bible
artist - frank rothkamm
cd title - frank genius is starstruck
author - rothkamm
duration - 4.10
record label - flux records
cd no. - flx10

track - bouncing bubbles
artist - frank rothkamm
cd title - frank genius is starstruck
author - rothkamm
duration - 3.10
record label - flux records
cd no. - flx10

track - sunny side up
artist - spoonbill
cd title - zoomorphic
author - moynihan
duration - 3.10
record label - omelette/amphead
cd no. - omelette 005

track - uruk
artist - linsey wellman + mike essoudry
cd title - linsey wellman + mike essoudry
author - wellman, essoudry
duration - 8.30
record label - ottawa/malasartes musique/dame
cd no. - mam 006

part two

track - the sound is god
artist - exile
cd title - radio
author - exile
duration - 4.25
record label - knowfoowl music/plug research/inertia
cd no. - foowlcd011

track - fortress
artist - tim exile
cd title - listening tree
author - exile
duration - 6.10
record label - warp/inertia
cd no. - warpcd173

track - flint and amaranth
artist - julian williams
cd title - liquidambar
author - williams
duration - 4.25
record label - synthaethesia
cd no. - synspill021

track - ego tripping
artist - nicki giovanni
cd title - fly girls! b-boys beware, revenge of the super female rappers! - various artists
author - giovanni, diggs
duration - 2.00
record label - soul jazz records/inertia
cd no. - sjrcd206

track - take yo' praise
artist - camille yarborough
cd title - fly girls! b-boys beware, revenge of the super female rappers! - various artists
author - yarborough
duration - 4.10
record label - soul jazz records/inertia
cd no. - sjrcd206
 Tim Ritchie ABC

PLAYLIST of the 609th radio show « Le Vestibule »
March 14, 2009 from 9:00 P.M. to 11:00 P.M.
on CFOU 89.1 FM

1) Biobazar: ?Ventricule (Ventricule Ambient)? (STUDIO STEREO RECORDS)

2) Seabound: ?Breathe (Hecq Remix)? (METROPOLIS)

3) No Knife: ?The Spy? (TIME BOMB RECORDINGS)

4) Frank Rothkamm: ?Looking At The Bible? (FLUX RECORDS)

5) Lal Meri: ?Take Me As I Am? (SIX DEGREES RECORDS)

6) Friendly Fires: ?Paris (Aeroplane Remix) Feat. Au Revoir Simone?

7) The Ladies Of Sport: ?Schoolbus? (THE LADIES OF SPORT)

8) A-Trak: ?Fabriclive.45 (Excerpt):
Metronomy: ?Heartbreaker (Diskjokke Remix)?
His Majesty Andre: ?Peep Thong?
Zombie Nation: ?Forza?
Alex Gopher: ?Aurora? ? (FABRIC RECORDS)

9) Critical System Error: ?Digital Antichrist? (PFF PRODUCTIONS)

10) Empty: ?Blue? (APHOTIC AUDIO)

11) Side Liner: ?Crying Cities? (COSMICLEAF RECORDS)

12) Ruby Jean & The Thoughtful Bees: ?You Don?t Miss Me? (YOUTH CLUB)

13) King Roc: ?Lunar People? (PROCESS RECORDINGS)

14) Max Cavalerra: ?1000CCM? (BROQUE)

15) Alice And The Serial Numbers: ?Face (FFFRRRREEEQ Remix)?

16) West Indian Girl: ?To Die In LA (Nynex I Will Never Be The Same Mix)?

17) Opera Multi Steel: ?Tes Levres, Un Abat-Son? (WAVE RECORDS)

You can listen to the podcast version of the March 14, 2009 radio show Le Vestibule at : .
 Jean-Francois Fecteau CFOU