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| Frank Rothkamm [ K5 ]
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Limited Compact Disc Multiple  |
$33.00  |
| Unlimited MP3 Multiple |
$ 3.00 |
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| Catalog No: |
FLX16 |
| Artist: |
Frank Rothkamm |
| Title: |
K5 |
| Label: |
Flux Records |
Length: |
33:30 |
| Composed: |
2004/2012 |
| Release Date: |
3/3/2013 |
| Edition Size: |
100 |
| File Under: |
5th state of matter
additive Synthesis
Industrial |
"K" is the 5th letter in the first and third name of Frank Holger Rothkamm (FHR).
"K5" is the name of a sound synthesizer built by the Japanese company Kawai in 1987.
"K5" is also the name of a 33 minute long CD produced by FHR in Hollywood and New York with the "K5" synthesizer. It was performed for the first time on the "Day of Noise" at Stanford University KZSU radio in the second month of 2012.
"K5 as the Fifth State of Matter" is a 26 minute lecture and a 33 minute audio-visual performance of "K5" which took place at Harvestworks in New York in the 3rd month of 2013. FHR used a hammer as an instrument and nailed 33 K5 CDs to the projection wall. A reception followed. |
| Reviews: |
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SOUNDBEHINDTHECORNER |
I follow the German artist (now stably integrated in the skin tissue and offices of the United States) and every time I am going to put into the player his new work, I never know what sound you meet, what material has shaped his intellect giving sound and structure .
From romantic suite for piano at the forefront of "Reno", a career that fluctuates between culture and classical training flights brain and in the future, temporal place to meet people who expects the extremism in the Art innovative.
"K 5" is not only cutting edge but the projected reminder of what in the past was the pure composition for the modern era, the one we live in today, evil absorbed, little studied, almost avoided in understanding the general mediocrity media.
For this you will always avant-garde because it ties the Man in its history, comes to light as a nebulous idea of ??the artist's thought and becomes progressively eurythmy even in the chaos, but harmony, which you have to situate you.
In its nine tracks "K 5" new art, the curtain of this work stands up with "ID 17" and from that moment a swarm of buzzing synth sound invades, twelve-tone scales, sequences from stasis and sudden swift in coming expand into ranges evolved.
Artificial life forms that live in the score imaginary Rothkamm grow in small high-pitched sounds or tensions modular, each following its own trajectory, such as electrons and swirling in their apparent pursuit of orbital levels were set and the music is divided into many layers they meet and intersect lines, exploding in crowds, compressing slowly until the collapse provided by the author.
And new life is born and a new sound was born ...
Sci-fi sounds of that particular genre that accompanied the science fiction films of the 60s or 70s when science and fiction were not overlapping each other and the Cosmos source of Terror, ambush likely and the music emphasized this source of research with its research, words and instruments such as the Moog (one of the key innovation of the synth) were spreading among the musicians and the music in the service of the images expanded even more the imagination of the authors.
In "K 5" meets the history of electronics that paints ultra-modern music, not for nothing is also the name of a historic synth Kawai of Japan, from this encounter thousands of exploding shrapnel, thousands of sounds grow and form conceived in 'uterus mental Rothkamm, gestated in time and meticulous care in an attempt to not suppress his expression that needs to be constant and changing the light / dark contrast through nine suites, nine paintings abstract Spatialists and vorticistici, suitable for listening album or audio support to an installation figurative and metabolization of them is gorgeous drown between the long wave ebbs and digital sound.
Drowning in the infinite sense of Art that swallows and returns in time ...
Swallows and returns ... over time, with boldness.
-- original Italian ---
Seguo l’artista tedesco (oramai stabilmente integrato nel tessuto cutaneo e intellettuale degli Stati Uniti) ed ogni volta che mi appresto ad inserire nel lettore un suo nuovo lavoro non so mai quale suono incontrerò, quale materia ha plasmato il suo intelletto donandole suono e struttura.
Dalla suite romantica per pianoforte alle avanguardie di “Reno”, una carriera che fluttua tra cultura e formazione classica e voli cerebrali nel futuro, luogo temporale per incontrare chi nell’Arte pretende l’oltranzismo innovativo.
“K 5” è non solo avanguardia proiettata ma il richiamo a ciò che nel passato fu la composizione pura per l’era moderna, quella che viviamo oggi, male assorbita, poco analizzata, quasi evitata nella comprensione dalla mediocrità mediatica generale.
Per questo sarà sempre avanguardia perché lega l’Uomo nella sua storia, esce alla luce come idea nebulosa dal pensiero dell’artista e diventa man mano euritmia anche nel caos, ma armonia, quale dovrete inquadrarla voi.
Nelle sue nove tracce “K 5” è nuova Arte, il sipario di quest’opera si alza con “ID 17” e da quel momento uno sciame sonoro invade tra ronzii del synth, scale dodecafoniche, sequenze improvvise fulminee nell’uscire dalle stasi ed ampliarsi in gamme evolute.
Forme di vita artificiale che vivono nello spartito immaginario di Rothkamm crescono nei piccoli suoni acuti o nelle tensioni modulari, seguendo ognuna la propria traiettoria, come elettroni nel loro apparente e vorticoso inseguimento su livelli orbitali prefissati e la musica si divide in molte stratificazioni incontrandosi ed intersecandosi nelle linee, esplodendo in materia folle, comprimendosi lentamente sino al collasso previsto dall’autore.
E nuova vita nasce e nuovo suono nasce …
Sonorità sci-fi di quel particolare genere che accompagnava i film fantascientifici degli anni ’60 o ’70 quando scienza e finzione erano tra loro disgiunti ed il Cosmo fonte di Terrore, d’agguato probabile e la musica sottolineava questa fonte di ricerca con la sua ricerca, parole e strumentazioni come i Moog (uno dei momenti fondamentali dell’innovazione del synth) si diffondevano tra i musicisti e la musica al servizio delle immagini ampliava ancora di più la fantasia degli autori.
In “K 5” s’incontra la storia dell’elettronica che dipinge musica ultramoderna, non per nulla è anche il nome di uno storico synth della nipponica Kawai; da questo incontro migliaia di schegge esplodono, migliaia di suoni crescono e si formano concepiti nell’utero mentale di Rothkamm, gestati nel tempo e curati nel minuzioso tentativo di non reprimere la sua espressione che necessita di essere costante e mutevole nel contrasto luce/buio tramite nove suite, nove dipinti astratti spazialisti e vorticistici, adatti per essere album d’ascolto o supporto audio ad un’installazione figurativa e nella metabolizzazione di essi è stupendo annegare tra le lunghe onde e riflussi digitali del suono.
Annegare nell’infinito senso d’Arte che inghiotte e restituisce nel tempo …
Inghiotte e restituisce … nel tempo, con audacia.
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 Nicola Tenani SOUNDBEHINDTHECORNER
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CLFX |
Dans Frank comme dans Rothkamm, le K occupe la 5e position. Et K5 est le nom d’un synthétiseur fabriqué par Kawai en 1987. Cet album, Rothkamm l’a produit entièrement sur le K5. D’une durée de 33 minutes, il propose cinq œuvres composées en 2004, plus quatre intercalaires miniatures. Les pièces de 2004 se rapprochent beaucoup du matériel qui compose la trilogie FB (2005-2007), soit une musique électronique microtonale faites de glissandos et de rapports harmoniques déstabilisants, une musique qui évoque celle des pionniers de l’électronique abstraite, de Brün à Xenakis.
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In Frank as in Rothkamm, the fifth letter is K. And K5 is the name of a Kawai synthesizer from 1987. Rothkamm produced this album solely on the K5 synthesizer. It consists in five works written in 2004, plus four ultra-short interludes, for a total of 33 minutes. The 2004 pieces are very close in sound and style to the material found in the FB trilogy (2005-2007), i.e. microtal electronic music made of glissandi and destabilizing harmonic structures. This music evokes the pioneers of abstract electronic music, from Brün to Xenakis.
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François Couture CLFX
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VITAL WEEKLY NETHERLANDS |
The 33 CDRs Frank Rothkamm produced where nailed against a wall as part of an exhibition and later sold as an art item. Its a pity that my particular copy was nailed through the actual CDR so it doesn't play. But Rothkamm send me a download link so I can hear it anyway, while I now have an art object disguised as a CDR. There seems to be less of a conceptual edge to this work than on some of Rothkamm other works, and the nine pieces here last 33 minutes and 33 seconds. The whole art thing was part of a lecture and audio-visual performance
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Rothkamm is a collector of vintage synthesizers, which he puts to good use here. Some of these pieces are quite short, and hardly with any sound. The longer pieces are studies for the K5 synthesizer (well, all are, but here at least we hear something) made by Kawai in 1987
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The music is not too dissimilar to what I sometimes refer to as 'Planet Of The Apes' film score. That soundtrack has become the template of almost anything that sounds like analogue synthesizers without the cosmic use of arpeggio's - space is not place here, but with all that microsound gliding and sustaining, bouncing in and out of the mix. Its actually nice music
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Perhaps it doesn't stand out with some others in the same field, and perhaps the conceptual Rothkamm edge is not apparent, but purely as a musical release it is very nice
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(FdW)
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Frans de Waard VITAL WEEKLY
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KZSU USA |
Frank Rothkamm played the world debut of his newest song set, titled K5, to be released later on his Flux record label. We had a fun interview as well, where he talked about his love for older technologies: vinyl records, analog synths. He’s got one of the very first (if not the first) Hewlett-Packard oscillators in his possession, it seems. And on his way out of the station, he was intent on visiting the Computer History Museum, which seemed fitting.
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Craig KZSU
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discography
Bruno & Peggy RADIO CENTRAAL
