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Frank Rothkamm [ Ghost of New York ]
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[Ghost of New York] Cover
[Ghost of New York] Press Release
[Ghost of New York] Art Work

Catalog No: FLX11
Artist: Frank Rothkamm
Title: Ghost of New York
Label: Flux Records
Length: 33:29
Composed: 2005-2006
Release Date: 10/10/2009
Edition Size: 200
File Under: pure electronic

As the first installment of the 3CD+1DVD �TETRALOGY� the Ghost of New York is a work of brilliant sonic alchemy that in a surreal sense gives a voice to the billions of souls who've passed through or lived in New York City.

One is struck by ROTHKAMM's use of spacial sound placement as well as his attention to compositional detail when listening to this electronic music of 33 minutes and 33 seconds. In a way, it's similar to watching a master Zen painter at work.

Interestingly, when viewing ROTHKAMM's pieces through a spectral analyzer one can see the shapes as well constructed musical koans with perfect brush strokes. Plus, Ghost of New York is filled with phrases that seamlessly morph through a palette filled with the sonic hues and subtle gradations of pure electronic waveforms. Then, like a playful poltergeist, ROTHKAMM drops in a small sonic surprise that subtly takes the music in a different direction before reintroducing familiar thematic electronic timbres.

Ghost of New York is a work worthy of the word "Masterpiece".

Stephen Goldstein

Tracklisting: year opus
[01] New York Ectoplasm Rejects 2005 45 7:04
[02] New York Self Levitation Science 2005 44 9:20
[03] New York The Betrothed of Wyoming 2006 55 7:34
[04] New York Overcome By Art 2006 47 5:19
[05] New York Lullaby 2006 57 4:12


Birgit Ulher; Radio Silence No More, OlofBright OBCD 22
Maja Spasova; The sound art of Maja Spasova, Olof Bright OBCD 20/21
Frank Rothkamm; Ghost of New York, Flux Records, FLX 11, CD
The Thing; Bag it!, Smalltown Superjazz, STSJ/155, CD
P. Brötzmann, S. Å. Johansson, A.v. Schlippenbach; Up and down the Lion, Olofbright OBCD 26
Nate Young; Regression, Ideal Recordings, iDEAL 076, CD
Henrik Rylander; Power Model X (Motherboard Drone Live), Ideal Recordings, iDEAL 044, CD
Audionom; Superior, Ideal Recordings, iDEAL 066, CD
Beth Laurin; 1984, Firework Edition Records, FER 1078, CD

If Maninkari’s “Un Souffle de Voix”, which I also reviewed recently, was about the darkness inherent in the exotic, this first CD in Frank Rothkamm’s projected Tetralogy is a series of five short stories on the darkness of memory in the everyday life of a modern city. Never having been to New York but having heard much about it and experienced it through the prophylactic of television and cinema, to me it’s still as unknown and exotic in its own way as the lands of the eastern hemisphere were in the days of exploration and expansionism. There are a thousand stories that can be told about any city, but conversely there are many that never get an airing, or remain secret. Here, Rothkamm pulls up the floorboards and prises off the wall-coverings to reveal the tales of what’s been hidden away by the years of accretions and alterations - the Victorian parlour spiritualists with their spectral ectoplasmic ejections, the charlatan fakirs claiming supernatural powers, the lonely, forgotten ghosts who wander around empty apartment buildings unable to let go, or the unexpected encounter with a shade of yesteryear just around that corner on an empty street somewhere at night. Add to that the trepidation of a new, scientific century looming on the horizon, and the tensions inherent in the potential friction between the two is bound to produce some creative sparks.

New York has immense history stuffed into its relatively short life, and has been built upon the lives, loves and labours of millions over the centuries since it was founded as the colony of New Amsterdam in 1624. What emerges most strongly out of these pieces are the voices and essences of the recent past, giving us a depiction of a fin-de-siècle city caught between the old certainties and expansionist modernity. We are made aware of a temporal clash between the old and the new here, between those spectres of a vanished age and the new world of electronic media. Flavours and textures chase and weave around each other, following on the heels of one another, a jumbled mass of descriptors fighting for attention in a vast tapestry. Track one, ‘Ectoplasm Rejects’, invites us into a late nineteenth century parlour for one of the popular séances of the time: ghosts assail us from all directions and strangely unintelligible voices whistle and squeak, intermingled and shot through with hints of the new science and all its promises. Dissonances abound, a conflict being waged on the cusp of new centuries and the future. The contradiction evident in the title of the second track, ‘Self-levitation Science’, appears to emphasise that conflict outlined in the previous story – the occult preoccupations of late nineteenth century society giving way to the burgeoning of scientific endeavour in the early twentieth.

‘The Betrothed of Wyoming’ opens with what is probably the closest that Rothkamm has ever come to gracing us with a tune – it appears be a story written by James McHenry, and is an embodiment of the static, aging and ultimately decaying Southern society prevalent at the time at the end of the century before last. As such then, it can be taken as the model for broader society in general. That hint of a tune, though, soon gives way to a pot-pourri of dissonance and fragmentary snippets, an evolution from surety to uncertainty and the dissolution of what had always been. ‘Overcome by Art’, if by art is meant science, further undermines the pre-eminence of the old-established order, but also carries with it a sense of threat, a foretaste perhaps of what that destruction of the old order precipitated some years into the twentieth century. ‘Lullaby’, the final track, is perhaps better termed a lament, the putting to bed of the old century and its verities, once thought eternal. While tinged with sadness, one also gets a slight hint of looking to a future, uncertain though it may be.

In much of Rothkamm’s work, silence plays as much a part as the sounds do – and he invests as much danger and threat in those punctuating silences as he does in his selection of some of the sounds he uses. In essence then, Rothkamm is a master alchemist, shaping the base metal of raw sounds into the gold of sparkling stories. Furthermore, his mastery of his material is such that his stories are accessible and can be ‘read’ with ease, albeit a little imagination is a prerequisite for getting the most out of them. Taking one’s time to delve into his world repays with ample rewards, and as a prime example of the tapestries Rothkamm effortlessly weaves then this is recommended as a good starting point for anyone intrigued by what he has to offer. This particular genre can appear intimidating and/or far too esoteric for most – but as with anything worthwhile perseverance is key here. Scintillating!!

The first release of the planned series of three CDs and a DVD, "Tetralogy" by Frank Rothkamm starts with "Ghost Of New York", a spectral and detailed study of metropolitan poltergeist, a work in progress that since the beginning appears inspired by strong symbolic references, cryptic entities and energy "catches".

Paranormal phenomena to face not with a proton backpack and a ghost trap, but armed with digital and analog instruments, microphones and ad-hoc software, ready to record every slight fluctuation, separating the barely hinted frequencies from the more solid drones, the occult resonances, the blips and the intricate layers.

Very fleeting presences indeed, rarefied and destabilizing, that the sound artist - becoming a sort of medium - unfolds in five different tracks, exemplifying effectively how the strength of an invocation, just for the fact of being uttered, has an effect on reality. Disembodied intelligences, the very nature of all the abstract and conceptual artistic work, are what the listener faces here: "electronic voices" used to metaphonic phenomena.
Aurelio Cianciotta NEURAL

“Ghost of New York” was released on 10/10 and is Frank Rothkamm’s first installment of a 3CD plus 1DVD Tetralogy.

The next installments, “Zahra Fugues”, “Birth of Primary Cinema from the Spirit of Sound” and “Amerika” are released on 11/11, 12/12  and  01/01 respectively and what with “Ghost of New York” being 33 minutes and 33 seconds and being limited to 333 copies gives indication of an obsessive attention to detail.

Most probably composed with the sequences of numeric patterns as a score “Ghost” reveals a futuristic gamut of surreal synthetics.

Through parts “I. Ectoplasm Rejects” to “V. Lullaby” it bubbles with sci-fi blurbs, modulations and spluttered robotics and is often interrupted by caustic waves of space junk. “II. Self Levitation Science” sounds like a cathode-ray oscilloscope asking a wavering Theremin to dance.

Ghosts would imply presence of something passed yet the “Ghost of New York” is only just born.

Frank Rothkamm’s “The Ghost of New York” is a very comfortable album, yet with a surprise around every corner. The sounds are often familiar analog synth sounds, but the arrangements are new. They flutter and hover, doing their sci-fi tricks, but the layers are intense and intricate. There is plenty of room for blank space, and Rothkamm is not afraid to stop the music in the middle of the track in order to pause for some silence before jumping off to the next set of layers. Every so often, the music must crash and start anew.

The song titles encourage a sci-fi bent to the album – “Ectoplasm Rejects,” “Self-Levitation Science,” and “The Betrothed of Wyoming” are just three of them. Each song is equally unpredictable, moving from harsh layers, to bell like chimes, to the aforementioned silence. Other practitioners of analog synths, like Ernst Karel, come to mind, but Rothkamm is definitely carving out his own territory. He avoids low drones, hopping instead from sound to sound. “Overcome by Art,” is an interesting example, in which the blips soar and then drop and the rotate all over again, sounding like a prayer. Overall this is a journey of an album, none too delicate, despite its pauses.

“The music of ghosts is located here, in the movement from one pitch to the next, in the ambivalence of notes when one note has been left and the next one is not quite yet reached”. Frank Rothkamm - a Los Angeles resident who still remembers the nocturnal shadows of his Manhattan apartment - is a man of clear ideas, even when the images he tries to conjure up through his studio productions are not exactly explicable. There lies the fascination evoked by Ghost Of New York, first instalment of the 3-CD + DVD “Tetralogy”. If this is the inauguration, we’re in for a delightfully misplacing trip.

A limited edition of 333 copies, the duration set at 33'33''(numbers that recall the theoretically universal numerical perfection with which low-cost spiritual leaders usually lecture the aurally impeded, dressing all that wittering with recurrent grammar errors in escalating mnemonic earthquakes) the album consists of five tracks of erratically nonrepresentational music containing the most evident exemplifications of a street man’s failure to realize that Do-Re-Mi-Fa-Sol-La-Si is not the centre of the cosmos. Contrarily to the artist’s habit the sources are not made known to the mortal consumer, though I’m surmising that analogue synthesis and a computerized system might be held responsible for this hymn to the insufficient definition of a liquefied polymorphism.

The waves reach for our attention, constantly enticing, teasing us through intangible shapes, irreparable damages already done to that mechanism of reduction to basic constituents which the mind is prone to utilize when unable to recognize what’s happening. Complex draperies replete with bubbling fluids and swirling radiations are alternated with moments of uneasy stagnancy or dawdling levitation (I swear that this term was chosen before realizing that a track is called "Self Levitation Science"). Adjacent ephemeral circumstances fuse in a huge blotch as we drowsily connect the dots of a depressingly plumbeous day and the rerun of a vintage Azumah Nelson fight (whose picture’s colours are also extremely blurred). Does this lethargy mean we’re being hit in the head by these momentous synthetic protuberances? Have African boxers ever pondered about the inadequacy of a common illusionary stereophonic projection? Is the beginning of "The Bethroted Of Wyoming" a mutilated robotic quote of the incipit to Igor Stravinski’s Sacre Du Printemps? Why does this writer always ask questions in Rothkamm-related reviews? Unsolved mysteries, at least for now.

Although never antagonistic to the ears, this is not a choice soundtrack for dinner at home with your potential new fiancée, unless she’s a Conehead. This chef exclusively cooks food for thought (well, this is not really true – check this blog), accomplishing the goal via singular accentuations of the aspects of life (translated: "of sound") that are vaguely readable between the lines, which – as he himself seems to admit in the inner leaflet’s observations – remains a major artistic interest. This is the only type of truth-seeker accepted in my house.

In Frank's latest work, echoes of early synthesised electronic music take a decidedly spooky turn - which the packaging (sepia photographs) and the design as usual excellent - accompanying text reinforce.

This is highly atmospheric: between stations, between frequencies, between worlds, and rewards and supports immersive as well as casual listening. There is more here than meets the ear.

Narrow, but excellent.
Chris Cutler RER

Whenever a new Frank Rothkamm CD comes in, it’s party time – the man mixes in serious electronic research, absurdism, and dadaism with unequaled gusto.

Ghost of New York is introduced as the first installment in a tetralogy, and the titles and oblique liner notes set it up over a spiritism backdrop. This album of 33 minutes 33 seconds, five tracks, is made strictly of synthesizer music. In terms of tone palette, it takes us back to Rothkamm’s FB trilogy. However, everything’s unstable and evanescent: sounds slip in-between tones in nauseating sinewave patterns, they fly all around like St. Elmo’s fires, and they suddenly disappear, cut short, like poltergeists up to nothing good.

Marvelously destabilizing!

C’est fête au logis à l’arrivée d’un nouveau disque de Frank Rothkamm - l’homme allie recherche électronique sérieuse, absurdité, et dadaïsme avec un aplomb insurpassé.

Ghost of New York est annoncé comme la première partie d’une tétralogie et placé sous le sceau du spiritisme. Ce disque de 33 minutes 33 secondes, cinq pièces en tout, consiste strictement en musique de synthétiseurs, ce qui, au niveau de la palette sonore, nous ramène près de sa trilogie FB. Mais tout est instable et évanescent: les sons glissent entre les tons en sinusoïdales nauséuses, ils volent en tous sens comme des feux follets, et ils disparaissent soudainement, coupés courts, comme des poltergeists sur un mauvais coup.

Merveilleusement déstabilisant!

Francois Couture CFLX

Frank Rothkamm has devised another puzzling release of rather queasy and bewildering electronic music, and wrapped it up in a contextual conundrum.

Previous releases have alluded to the history of electronic music in both the groves of academe and in the movie theatre (science-fiction soundtracks), but on Ghost of New York (FLUX RECORDS FLX11) the chosen theme is Spiritualism. The track titles refer to ectoplasm and levitation, and there’s an ingeniously concocted spirit photograph on the front cover with all the other artworks tinted in sepia tones to drag the unwary listener back into a semi-fictional past. The back cover view of the Empire State Building is especially striking, for some reason.

As usual, Rothkamm offers a rather difficult listen, packed with unnatural electronic sounds and very little underlying structure in evidence, in spite of the very extreme dynamics of composition.

Hot on the heels of last week's 'Alt' release, Frank Rothkamm now presents the first installment of the 3CD + 1DVD 'Tetralogy'.

In this first work the city of New York plays a central role, or actually the many people who lived, translated to music. No ambient music here like last week, but works from the analogue synthesizer, that depict quite well the hectic of the city, the crawling of so many people on such as small space. Sounds bouncing in all directions, but also very occasionally take back control and we see the contours of mighty sky scrapers, but also of much smaller buildings. Like always Rothkamm knows how to surprise me with his music.

This particular release wasn't the best I heard from him I must admit, it sounded a bit too easy, too much like 'Music From Forbidden Planet' type of synthesizer play, but it has some nice moments. But in his catalogue of music, this is surely another odd-ball. Odd-ball admitst other oddities.

This release lasts exactly 33 minutes and 33 seconds, in an edition of 333 copies, and released on 10/10/09 - the next one on 11/11/09 etc. - Numbers are great. (FdW)
Frans de Waard VITAL WEEKLY

As you know that small circle that has got to deal with the work of Frank Rothkamm, this American author has always had the primary purpose of linking sounds to experiment with concepts, creating a music always aimed to communicate thoughts. No exception "Ghost Of New York", the first part of a tetralogy that will be composed of three CDs and a DVD to 'give voice' to the many souls who have lived in New York. An ambitious work and fantasy that finds its pin electronics abstract made of curious quibbling analog minimal layers similar to the retro sounds of an old video game crazy and ambient noise from the strong connotations vintage. In the end it is hard to find the link between the songs to the theme, however remains impressed some cool background, perhaps caused by a strong pleasure in proposing sounds weird interlinked so absurd, traces through all the same. The print run (333 copies), the duration and titles evoke ectoplasmic setting, but not horror: Unfortunately synthesizers can not go the same way too self become caught in a speech, devoid of any atmosphere and, ultimately, more curious and experimental, and uncommunicative. In his long career and obscure Rothkamm certainly managed to make albums more effect than this "Ghost Of New York", which unfortunately left with a bitter taste.

-- original Italian --

Come già saprà quella ristretta cerchia che ha avuto modo di confrontarsi con i lavori di Frank Rothkamm, questo autore statunitense ha sempre avuto il precipuo scopo di sperimentare collegando i suoni ai concetti, creando così una musica sempre finalizzata a comunicare pensieri. Non fa eccezione "Ghost Of New York", il primo tassello di una tetralogia che sarà composta da 3 CD e 1 DVD per 'dare voce' alle tante anime che hanno vissuto a New York. Un lavoro ambizioso e fantasmatico che trova il suo perno in un'elettronica astratta fatta di curiosi arzigogoli analogici, stratificazioni minimali retrò simili ai rumori di un vecchio videogioco impazzito e un noise ambient dalle forti connotazioni vintage. Alla fine si fa fatica a trovare il nesso che lega i brani al tema portante, per contro rimane impressa una certa freddezza di fondo, causata forse da un forte compiacimento nel proporre suoni strambi legati tra loro in modo assurdo, attraverso tracce tutte uguali. La tiratura (333 copie), la durata e i titoli rimandano ad un'ambientazione ectoplasmatica, ma non orrorifica: purtroppo però i sintetizzatori non riescono a percorrere la medesima via arenandosi in un discorso troppo autoreferenziale, privo di qualsivoglia atmosfera e, in definitiva, più curioso che sperimentale, nonché poco comunicativo. Nella sua lunga ed oscura carriera Rothkamm è riuscito sicuramente a comporre album di maggiore effetto rispetto a questo "Ghost Of New York", che purtroppo lascia con l'amaro in bocca.
Michele Viali DARKROOM

As a kid, my most-read book was a peculiar little volume called, roughly translated, the Horror Handbook. In a dozen or so chapters, it set out the basics of horror: what kind of creatures you might encounter in horror stories, essential horror movies, essential reading, and so on. The chapters were accompanied by black-and-white, charcoal illustrations of the creatures and situations described: a head sprouting legs, a creepy shaman, the emaciated undead, etcetera. Most intriguing was the chapter on ghosts. Not only did it describe (and depict, most creepily) your typical pale dead persons walking through walls and stirring things up a bit, it also delved into ghosts of an inanimate nature: ghost carriages, ghost cars, and many other ghost possessed items.

Fervent music fans will start to wonder: what about ghost(ly) music? Unfortunately, the Horror Handbook offers nothing on this particular topic. To this reviewer, ghostly music seems like something fleeting and drifting; odd, sparse notes hanging in the background, with some soft whispers here and there, perhaps a slightly-off key music box, and, of course, creepy, atmospheric ambient (effectively, yes, a Resident Evil soundtrack). Frank Rothkamm has his own intriguing view on ghost music; in the liner notes he explains how he believes that the music of ghosts is located in between the known system’s twelve fixed pitches that evenly divide the octave. Ghost music, then, can be heard at moments of transition, and it seems sensible – ghost music is, in this way, unavoidably fleeting, sparse, somewhere out of time.

To capture, or rather: play, ghost music, Rothkamm uses analogue synths – at least so, on this album, aptly titled Ghost of New York. The music he so creates bears little resemblance to anything musical: it’s largely devoid of structures, melodies and composition. Instead, seemingly random synth beeps and blips and whirrs bounce around between my left and right ear, then rather violently, then more laid-back. As also laid out in the liner notes, the music is wholly reverbless, instead moving and creating spatial illusions solely through frequency modulation, and it must be said that the experience is pleasantly hallucinatory, at the album’s best moments.

Though Ghost of New York, at least in theory, is an album of ghost music, it will primarily sound as a sort of sci-fi experiment gone wrong to the casual listener. The blips and beeps resemble, more than anything, fiery lasers; the whirrs space ships descending to earth to then wreak havoc; and the havoc is perfectly scored by the remaining atmospheric sounds of doom and suspense. While doubtlessly Rothmann set out to execute diligently the principles laid out in the liner notes, and so doubtlessly achieved some degree of success, there is little in Ghost of New York for those listeners who hope for a listening experience that is frightening, disconcerting and ghostly.

The main limitation lies perhaps in the choice for analogue synths: they, above all, make the music sound tinny and slightly outer space. Moreover, they make it quite the acquired taste: an album full of bleeping synths, even if it’s only just over thirty minutes long, will only appeal to the most hardcore of synth lovers. I personally don’t mind synths at all, especially not when whirring and raging like mad (Atrax Morgue, XV Parowek, to name two artists who have done synth material I love to bits), but at the end of Ghost of New York, I feel a bit like I’ve overdosed on them.

Ghost of New York is quite a fascinating ride in more than one way, but ultimately it falls just slightly short. What’s on offer does not seem to fulfill the full potential of Rothkamm’s idea of ghost music, and the album itself is a bit too one-dimensional to offer any sort of revelatory listening experience. As is, much like ghosts themselves, Rothkamm’s ghost music is a few shades too pale, and a bit too flimsy, too.

Frank Rothkamm’s ‘Ghost of New York’ is the first installment of his 3 CD+1 DVD “Tetralogy”. Elsewhere, ‘Ghost of New York’ has been hailed as “a brilliant work of sonic alchemy,” and “a masterpiece”. I’m afraid I can’t jump on that bandwagon. Maybe it’s because I have been listening to experimental electronic music since the late 1960’s, or because my first synthesizer was an ARP 2600 back in the 1970’s. So the awe and wonder of the analog waveforms has worn a bit thin over the years, especially in light of so many technological advances in electronic equipment.

Treading the well-trodden terrain of early electronic music experimenters such as Varese, Stockhausen, Subotnick, Beaver & Krause, La Monte Young, The Barrons (“Forbidden Planet”) and so many others, the sonic collages on ‘Ghost of New York’ are a bit clichéd. These synth oscillator modulations and white noise burblings have been done so often before they don’t offer much new. I have listened to this CD a half-dozen times (it is only 33 ½ minutes) just to make sure I wasn’t missing anything. I don’t believe I was. It all sounded a bit too sterile. It might work with a visual display or art installation but it left me rather cold as an audial experience. The reason for this is explained in the CD liner notes, and while rational (yet somewhat esoteric), it did not improve my listening experience. On the positive side, the graphics on the CD are intriguing.

I didn’t get any impressions of ghosts, spirits, apparitions, or poltergeists either. Then again, I don’t believe in spooks, so you can take my skepticism for what it’s worth. On his website, there is a detailed explanation of Rothkamm’s “aesthetic of supermodernism,” the psycho-cybernetic philosophy he employs as a basis for his musical vision having to do with the randomness of man and machine. Although some valid points were raised, I found it a bit pretentious. I cannot see the means justifying the end result here.

Too bad about this CD too; I had high hopes when I saw the promo picture postcard showing Frank in a chair from the back hard at work laboring with his equipment eerie lit by a pair of halogen lamps done in sepia tone similar to the CD cover. I thought, “hmm, interesting. Maybe this has possibilities.” Guess I was wrong, at least for me.

This is a limited release of 333 copies. Not easy to find unless you go to his website. Maybe I might like next installment better. I know he has dozens of releases going all the way back to the early 90’s. I have never heard any of them so there is no basis of comparison. He’s worked with the Hardkiss Bros, Peter Scherer, Elliott Sharp, DJ Spooky and a slew of other people. Perhaps if you’re craving an experimental, purely electronic work just for the sake of hearing something new, you might want to check this out. But if you’re not familiar with the classics, you should really check them out first.
Steve Mecca CHAIN D.L.K


Playlist Kicks 02/12/2009

Voivod: God Phones (Infini - cd Nuclear Blast)
Loudblast: Taste Me (Loud, Live & Heavy - cd/dvd XIII Bis records)
the use of ashes: 9 glowing lights (white nights: glowings lights - cd Tonefloat)
Dying Fetus: Conceived into Enslavement (Descend Into Depravity - cd Relapse records)
Orphan Fairytale: Phantom Shapes (Ladybird Labyrinth - lp Ultra Eczema)
Persistence: Infinite Madness (In Blood and Heart - cd Deity Down records)
Burzum: Inn i slotted fra droemmen (Hvis lyset tar oss - cd Misanthropy records)
Frank Rothkamm: Ectoplasm Rejects (Ghost of New York – cd Flux records)
Murder Therapy: Two Shots in Colbroke (Symmetry of Delirium - cd Deity Down records)
Coldworker: I am the doorway (Rotting Paradise – cd Relapse records)
Ignaz Schick – Martin Tétreault: cave12 part 1 (Live - cd Ambiances Magnétiques)

Channel Zero: Unleash The Dog
Ruhr Hunter: Come Back, My Brother
Annihilator: Insomniac
Shinjuku Filth: Edge Effect
Hellhammer: Revelations of doom
Poopshovel: Tones of Yore
Lacuna Coil: The Prophet Said

Playlist Kicks 25/11/2009

Bruce Friedman: MCT-2 with Solos (O.P.T.I.O.N.S. - cd pfMENTUM)
Slayer : World Painted Blood (World Painted Blood – cd American recordings)
Frank Rothkamm: The Betrothed Of Wyoming (Ghost of New York – cd Flux records)
Vermin : I Walk Among You (Define : Divine – cd Deity Down records)
Rainer Wiens: Shh... Whisper to the Wind (Shadows of Forgotten Ancestors – cd Ambiances Magnétiques)
Sleeping at the Popes : Jesus Christ Super Saver Plan (Up the Fuckin' Popes – 7” BroederKont records/Starving Times records)
Fuck on the Beach : Innocent Yourself (10” RSR)
Ignaz Schick – Martin Tétreault: 3-p45 trois ( Live - cd Ambiances Magnétiques)
Devious: Respiration of Fear (Vision - cd Deity Down records)
R.J. Schrey with Kenji Siratori: Part 4 (Future Embryo - cdr R.O.N.F. records)
Lout Society Kürse : just fuckin' shit (Waiting for the Apocalypse – lp Subversive Ways/Semtex records and more)
Ganesh Anandan – Hans Reichel: Once upon a time... (Self Made – cd Ambiances Magnétiques)
Venomous Concept :Check Out (Poisoned Apple - cd Century Media)
Tim Brady: Double Quartet (Hommage à Dmitri Chostakovitch) Impossible Pizzicato Machine + An Infinity of Four + Hocket, Canon, Fugue (My 20th Century – cd/dvd Ambiances Magnétiques)

1. Chefkirk & Ironing, ‘Notorious’
From Notorious, USA HYMN 29 CDR (2009)
2. Nikasaya, ‘Ramadan’
From One Summerheim, AUSTRALIA SOMEONE GOOD RMSG009 CD (2009)
3. Frank Rothkamm, ‘Overcome by Art’
From Ghost Of New York, USA FLUX RECORDS FLX11CD CD (2009)

4. Ischio Romantico, ‘Urbane Deserts vs Sylphides (part one)’
From From The Hip, UK SHADAZZ 10 CD (2009)
5. Nörz, ‘no’
From (also known as) acker velvet, GERMANY SCHRAUM 10 CD (2009)
6. Zanzibar Snails, ‘Gilded Stars & Garters’
From Journey Into Amazing Caves!, USA MAYYRH RECORDS MYH06 CDR (2009)
7. Akira Kosemura, ‘Tyme’
From Polaroid Piano, AUSTRALIA SOMEONE GOOD RMSG007 CD (2009)
8. Painting Petals on Planet Ghost, ‘Akatsuki no hoshi’
From Haru no omoi, JAPAN PSF RECORDS PSFD-190 CD (2009)
9. Cremaster, (Part Three)
From Noranta Graus A L’Esquerra, POLAND MONOTYPE RECORDS mono 026 CD (2009)
10. Ischio Romantico, ‘Urbane Deserts vs Sylphides (part four)’
From From The Hip, op cit.
11. James Tenney, ‘Spectrum 4?
From Spectrum Pieces, USA NEW WORLD RECORDS 80692-2 2 x CD (2009)
12. Age Of Disinformation, (Track 2)
From Age Of Disinformation, USA MAYYRH RECORDS MYH08 CDR (2009)
13. Cory Allen, ‘HIF.3?
From Hearing Is Forgetting The Name of the Thing One Hears, USA QUIET DESIGN RECORDS ALAS010 CD (2009)

part one

track - pull back
artist - music vs physics
cd title - slept awake
author - music vs physics
duration - 2.50
record label - love + mercy/shock
cd no. - promo pre-release

track - emnete
artist - mulatu astatke
cd title - new york - addis - London the story of ethio jazz 1965-1975
author - astatke
duration - 3.30
record label - strut/inertia
cd no. - strut051cd

track - jesus maria I
artist - el gaucho
cd title - muller & makaroff
author - muller & makaroff
duration - 4.40
record label - manana/naive/select
cd no. - mm425011

track - vtr
artist - k mason
sourced from pool
author - k mason
duration - 8.00
unreleased, available to either stream or download from pool

track - lullaby
artist - frank rothkamm
cd title - ghost of new york
author - rothkamm
duration - 4.10
record label - flux
cd no. - flx11cd

track - double quarter [homage a demetri chostakovitch] part 3 hocket, canon, fugue
artist - tim brady
cd title - my 20th century
author - brady
duration - 12.40
record label - ambience magnetiques/dame
cd no. - am189cd

part two

track - duck for cover
artist - numatica
cd title - dubutary
author - numatica
duration - 8.40
record label - cyan music/psy-harmonics
cd no. - cy-003

track - diet lemonade
artist - projekt inertia
cd title - someone like you
author - sallur, kleyweg
duration - 6.35
record label - trans:com
cd no. - download only

track - punchy
artist - benza
cd title - if
author - rynderman
duration - 7.15
record label - sub/psy-harmonics
cd no. - sub-004

Then we go off for our weekly set from coldcut's solid steel radio show, this week.... pablo

track - in the flowers
artist/author - animal collective
duration -4.00
record label - domino

track - what up man
artist/author - cool kids
duration -5.00
record label - xl

track - auditorium [feat slick rick]
artist/author - mos def
duration -4.00
record label - downtown records

track - jolly mary
artist/author - july
duration -3.00
record label - major minor

track - jealous of roses
artist/author - bibio
duration -4.00
record label - warp

track - sex machine
artist/author - flying lizards
duration -4.00
record label - statik

track - spirits
artist/author - luumi
duration -3.00
record label - cdr

track - accapulco
artist/author - family fodder
duration -4.00
record label - parole records

track - secondo coro delle lavandaie
artist/author - Roberto de simone
duration -5.00
record label - emi

track - raimondo
artist/author - populos
duration -5.00
record label - morr records

track - jumbo jet jam
artist/author - space jam
duration -4.00
record label - guidance

track - computer world
artist/author - kraftwerk
duration -4.00
record label - emi

track - nowhere to run [a cappella]
artist/author - martha
duration -3.00
record label - gordy
 Tim Ritchie ABC

Experimental Music For Experimental People

Self Levitation Science;

Frank Rothkamm;

Flux Records;



Timeless Transcension;

Maeror Tri;

EE Tapes;








Everything But The Beginning N° 4;

Colin McLean / Andy Moor;




The Mirrored Corner;

Seth Nehil / Jgrzinich;




Scalpel Sad;

Juozas Milasius;

Nemu Records;


 Nico Bogaerts FM BRUSSELES

Live internet broadcasts are available. Go to this URL:

Foldover broadcasts on Wednesdays, from 11am - noon (EST).

---------------------------- -

playlist for Wednesday, November 11, 2009

Mathieu Arsenault Edges
Adam Basanta Transients and Resonance
Jean-François Blouin Catacombes
Tim Brady Strumming
Dai Fujikura Abandoned Time
Thierry Gauthier [pjanistik]
Philip Mantione FrankenCircuit - excerpt
Philip Mantione UUUUT Experiment - excerpt 1
Philip Mantione UUUUT Experiment - excerpt 2
Frank Rothkamm Lullaby
Du Yun Vicissitudes No.

---------------------------- -

FOLDOVER airs every Wednesday from 11am - noon (EST) on WOBC 91.5 FM
in Oberlin, Ohio (just outside of Cleveland).

FOLDOVER focuses primarily on electro-acoustic music though recordings
of acoustic works are broadcast.
 Tom Lopez WOBC

PLAYLIST of the 642nd radio show « Le Vestibule »
October 31, 2009 from 9:00 P.M. to 11:00 P.M.
on CFOU 89.1 FM

You can listen to the podcast version of the October 31, 2009 radio show Le Vestibule at :

1) End: ?The Dangerous Class? (HYMEN RECORDS)

2) Assemblage 23: ?Angels & Demons? (METROPOLIS)

3) Notic Nastic: ?Punched At The Disco? (NOTIC NASTIC)

4) Clubfeet: ?Teenage Suicide (Kap10Kurt Remix)? (PLANT MUSIC)

5) Alice And The Serial Numbers: ?Zombie Barbie? (TASTY BYTES RECORDS)

6) Frank Rothkamm: ?Ectoplasm Rejects? (FLUX RECORDS)

7) The Heavy: ?Short Change Hero? (COUNTER RECORDS)

8) One Percent Free: ?Executive Loops? (SELF-RELEASED)

9) Son Of Kick: ?Byrdkick (Feat. Arabyrd) (Son Of Kick 4KL Remix)?

10) The Prairie Cartel: ?The Glow Is Gone? (THE PRAIRIE CARTEL)

11) Dropa: ?Thread? (SOFT STAR RECORDS)

12) Markus Kienzl: ?Point Of No Return (Feat. Oddatee)? (KLEIN RECORDS)

13) Future Trail: ?Breaking New Ground? (EQUINOXE RECORDS/RUPAL RECORDS)

14) Zero 7: ?Swing (Feat. Binki Shapiro from Little Joy)? (ATLANTIC)

15) Erik Wollo & Bernhard Wostheinrich: ?The Wayfarers? (DIN)

16) Paral-lel: ?Mute & Shift (Remix by SKNDR)? (BEE RECORDS)

17) The Dielectric: ?Flight (Feat. Ann-Mari Thim)? (THEDIELECTRIC.ORG)

18) Empire State Human: ?Melancholic Afro (Feat. Wolfgang Flur/Yamo)?

19) Natural Self: ?All Static? (TRU THOUGHTS RECORDS)

20) Thomas Muller: ?Rebirth? (BPITCH CONTROL)