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Frank Rothkamm [ Moers Works ] Limited Compact Disc Multiple $10.00
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[Moers Works] Cover
[Moers Works] Press Release


 
Catalog No: MV10
Artist: Frank Rothkamm
Title: Moers Works
Label: Monochrome Vision
Length: 51:41
Composed: 1982-1984
Release Date: 12/30/2006
Edition Size: 500
File Under: industrial
noise
musique concrete
experimental
post-classical


Introduction ()

"Frank Rothkamm is the one of most interesting musicians of today, contemporary of industrial culture. He is a true underground figure, the fighter of invisible front, who realized a number of projects, produced great records for his own Flux Records label. Being a professionally trained musician, he was shifting freely from tape collages in his teens, and going through different forms including chamber music and pop arrangements. "Moers Works" is his first experiment, discovered and unearthed by me incidentally. Archive materials recorded back in 1982-84 and released after quarter of century!"

Dmitry Vasilyev - Monochrome Vision Moscow

Biographical Notes

It was in the Southern German town of Nürtingen where Frank "boy genius" Rothkamm, after receiving his first piano lessons in his birthplace of Gütersloh, started composing music for pianos at the age of 12. Not satisfied with the timbre limitations and inability to notate music directly to a recording medium, he set out to design his own electronic music system. It was not until 1982 in the town of Moers, when Rothkamm was 16, that this dream was finally realized.

The system consisted solely of a turntable, a shortwave radio, a phaser, an EQ, a cassette recorder and an UHER reel-to-reel tape recorder. To accommodate this setup of rather moderate means he devised the method of irreversible additive overdubbing of monophonic tracks with stereophony achieved with tape delay.

Moers Works

All tracks on this CD were recorded with this completely analog "sampling" system which incorporated a borrowed Korg MS-20 synthesizer in Tracks 2 and 10. In Track 7 the base samples of guitar, piano, strings were recorded at the studio of the local Castle Theatre, where he trained as an actor.

Rothkamm perceived his compositional technique to be very "digital"; informed by both Punk Rock with its sudden shifts and hard cuts, and by the mathematics of permutation. All Moers Works were composed to be used in a live performance, and it was in these works where he developed his first piece that takes place in unusual locations. Track 3 was recorded during a 1 week experiment where he would live and work at night and sleep during the day. Track 7 was commissioned by the theatre and forms the overture to the Heiner Mueller play of the same name, commencing with a stone thrown through a window. Tracks 4 through 6 were part of his ambitious "Fisch II" series, first performed in 1984 in the 25-seat Pulverhaus, a 16th century ammunition powder storage building located in the park. This brought him publicity that he has never regained since.



Tracklisting: year opus
[01] Moers Ich 1983 209 3:25
[02] Moers Relikt 1982 205 5:47
[03] Moers Rückkopplung 1982 204 4:39
[04] Moers Industrie 1984 328 2:43
[05] Moers Wasser 1984 102 2:51
[06] Moers Klavier 1984 103 3:06
[07] Moers Quartett 1984 105 4:34
[08] Moers Kurzwelle 1983 325 2:56
[09] Moers Nein 1983 208 0:54
[10] Moers Arppegiator 1983 207 4:55
[11] Moers, Cologne Rauschmittel 1985 107 12:34
[12] New York hcI 1997 285 3:17




Reviews:

BASILISK - MUSICIAN. JOURNALIST. COLLECTOR. 
 
This disc - a great mystery, the composition is continuously evolving, but it is impossible to predict in which direction their "turn." Moreover, with each repeated listening to all the impressions left in the memory seem to be incorrect, the drive is perceived quite differently. As it happens - I know it was not possible. On the whole record evokes the impression poltergeytsta, who is flirting with musical instruments, then with some machines - if not obscure objects. At the same time (as in poltergeist activities, eslim believe the legends), the sense of a composer's action is too tselnok impression they cause, but to formulate it, I would not undertake. Sounds constantly occur, disappear - sometimes back, sometimes not, but forming a checkered cloth, behind which is very exciting to watch, and even more exciting - voprinimat simply as a backdrop to everything happening. Running this music in the player and went about his business, I have some time ceased to notice that I listen to music, but absorbed directly ... the mood? atmosphere? I do not know how to say it more precisely.What else do you want from a musician who is not happy with the traditional notation - and he invented his own. He began to play at age 12, and 16 year secondary, on the basis of enthusiasm for electronic music, has created its own system of sampling - and completely analog, built on the basis of the cassette tape. Songs included in the album were created over the past two years. For listeners, this release became available label efforts MONOCROME VISION, which released it on CD-ROM.
 
Basilisk BASILISK - MUSICIAN. JOURNALIST. COLLECTOR.

THE SOUND PROJECTOR  UK
 
download the PDF
 
Ed Pinsent THE SOUND PROJECTOR

NRZ  GERMANY
 
download the PDF
 
Karl Daniel NRZ

MECHANOISE LABS 
 
Old-school industrial experimentations recorded between 1982 and 1984 by Frank Rothkamm, a professionally trained musician who used to release his material on his own Flux Records label. Somewhere between tape collage, free-form ambient noise and chamber music, at times reminiscent of some instrumental Maria Zerfall tracks.
 
MECHANOISE LABS

HEATHEN HARVEST  USA
 
Frank Rothkamm is a musical genius. This is not just an opinion based on listening to this CD. Mr. Rothkamm began composing music for piano at the age of 12. Unhappy with the limitations of the instrument he decided to design his own electronic music system, which he did at aged 16, using only a turntable, a shortwave radio, a phaser, an EQ, a cassette recorder, and a reel-to-reel tape recorder. This system is what was used to create the sounds on this CD.

As the first tracks play through, I can't help wondering how these recordings didn't end up becoming classics in the early Industrial and post-industrial scene. These pieces could easily stand side by side with early Coil, Nurse With Wound, and similar artists.

There's an eerie yet hypnotic feel running all the way through this CD. It starts with the creepy organ and echoing samples of album opener Ich and continues throughout the album. The three minutes of Klavier are beautiful and gentle washes of sound, especially contrasted with the following track Quartett, which was commissioned as an overture for a play. Quartett could be straight out of a David Lynch movie. Kurzwelle is a very subtle track with it's Arabic (I think) voice sample, shortwave radio squeal, and minimal manipulation by the composer. The real stand out track for me, and not just for the fact that it is the longest, is Rauschmittel. Right from the start of this twelve and a half minute track, it conveys a sinister, dream-like, cabaret or carnivale feel, before breaking into distorted voices, sounds of wretching, screaming, heavy breathing, and manipulated piano. It's like a twelve minute journey through a fairground funhouse that turns out to be an asylum. The constant background electronica helps to carry the listener through the madness.

For me this album strikes the perfect balance between the experimental "sound art" of the music academics and the sinister and evocative elements of the old school Industrial artists. It's also a pretty inspiring thought to consider that music this good was made on such basic equipment. This is Mr Rothkamms earliest experiments so I'm looking forward to exploring the rest of his work, which apparently includes chamber music and pop arrangements. I think many Heathen Harvest readers would get a lot of enjoyment out of this release.
 
Prenna Unsane HEATHEN HARVEST

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

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

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

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

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

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

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

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

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

CHAIN D.L.K.  USA
 
This is Rothkamm’s first sound experiments, released almost a quarter century after the fact. I was surprised at how, for the most part, the music still did not seem dated. It reminds me of some of the sound collages of Hafler Trio (Bang! An Open Letter) or Zoviet France (Loh Land). According to the website, “The system consisted solely of a turntable, a shortwave radio, a phaser, an EQ, a cassette recorder and an UHER reel-to-reel tape recorder.” This is considerably different from his most recent album (reviewed here previously), "FB02 - Astronaut of Inner Space," which is considerably more well produced. If you are looking for more like that, this isn’t the album to go to. This collection of tracks retains the intrinsic qualities of its lo-fi creation, which seems to be the core source of its strength. Sound sources are cobbled together to create engaging soundscapes. The sound sources are at times easily recognizable, but it is the juxtaposition that keeps them interesting. The only track that really sounds like a traditional composition is “Quartett,” with brass and orchestral percussion. Overall, this is an interesting album. I would recommend it to those into musique concrète especially, and experimental music in general.
 
eskaton CHAIN D.L.K.

TOUCHING EXTREMES  ITALY
 
There are self-proclaimed “artists” whose music sounds like adolescent bedroom experiments, and there are instead experiments that, born in similar circumstances, already possess the seriousness and the sonic poise of important compositional efforts.

Frank Rothkamm’s “Moers Works” belong to the second cathegory, of course; not that I had any doubt, in consideration of Mr. Rothkamm's illustrious past and his penchant for inventing new instruments and tunings that make the Western systems look ridiculous at best.

When Frank was a bright young kid, he assembled a basic setup to record his ideas: turntable, shortwave radio, phaser, equalizer, cassette and reel-to-reel tape recorders. By overdubbing masses of monophonic sounds and getting a pseudo stereophony through tape delay, he generated the twelve tracks that we have the good luck of hearing now (two of them also feature a Korg MS-20 synth).

What we receive is an objective vision of hundreds of stacked, layered and fragmented formations that collect residual noise, hiss, malfunctioning and distortion to exploit their inherent force; but that alone wouldn’t be enough, hadn’t been Rothkamm's vision so clear even at that tender age. As a matter of fact, his timbral insight appears so acute that it just looks like he was already able to penetrate the essence of the elaboration itself, processing and counterprocessing even the tiniest details of an apparently shapeless matter to highlight its most functional characteristics. Therefore, a synthesized sequence, a looped segment of muzak, a shortwave interference and the cheapest musique concrete experiment weight just the same, as they’re all components of a continuous flight of fantasy alimented by the composer’s will to determine a structure behind the "flash idea", all the while establishing a kind of transcendental organicity which makes this music sound - for lack of a better adjective - natural, driven by a necessity of communication that goes well beyond the pure experiment. And, lo-fi or not, it's just great to these ears.
 
Massimo Ricci TOUCHING EXTREMES

BAD ALCHEMY  GERMANY
 
MONOCHROME VISION (Moscow)
Futurismus, Bruitismus und Musique concrète, zu Industrial und Noise
Art verschärft, haben in Dmitry Vasilyev einen Aficionado und Sachwalter
gefunden, der in konsequentem Schwarz-Weiß-Design sowohl aktuelle
wie retrospektive Beispiele zur Erbauung und Belehrung nachwachsenden
Generationen anbietet. Moskau als Front- und Prügelhauptstadt
des Neokapitalismus - wer hätte sich das je träumen lassen?
- ist dafür leider nur zu gut qualifiziert.

ROTHKAMM, der kürzlich erst (BA 52) mit seinem aktuellen
Release FB02 - Astronaut of Inner Space erstmals in den BAOrbit
eingedrungen ist, scheint bereits früh vom Sonic Fiction-
Virus befallen gewesen zu sein. Schon 1982-84, also
noch als grüner Junge, damals in Moers (er ist 1965 in Gütersloh
geboren), hatte er sich ein Raumschiff gebaut, um abzuheben
aus den irdischen Niederungen. Nicht um sich aus
dem Staub zu machen, sondern um eine bessere Position für
kritische Blicke einzunehmen. Seine Klangmaschine bestand
aus ‚turntable, a shortwave radio, a phaser, an EQ, a cassette
recorder and an UHER reel-to-reel tape recorder‘. Nur für
zwei der 12 Tracks seiner Moers Works (mv10) borgte er sich
einen Korg MS-20. Rothkamm war damals Schauspielschüler
am lokalen Schlosstheater, einer der kleinsten städtischen
Bühnen hierzulande, die sich dennoch damals an Heiner Müller
versuchte - ‚Quartett‘ entstand als Ouvertüre dafür. Seine
Arbeiten waren für Liveperformances angelegt und ‚Industrie‘
& ‚Klavier‘ wurden tatsächlich auch im Moerser Pulverhaus
aufgeführt. Die Moers Works zeigen den damaligen Teenager
als temperamentvollen Maximalisten mit Neigung zu plastischen
Noise-Loops, theatralischen Samples und medienkritischen
Collagen. Radio und Schallplatten lieferten Werbemüll
und Orchesterpathos, eine Mischung, die im 12 1/2-min. Opus
max. ‚Rauschmittel‘ eine üppige Blüte trieb. Da trat jemand
an, der sich nicht scheute, das, was er zu sagen versuchte,
mit ‚Ich‘ zu beginnen. Für einen ‚Genialen Dilettanten‘ fehlte
ihm das Dilettantische. Seine Zukunft hieß The Science World
of British Columbia in Vancouver, Hollywood, Manhattan. Aber
es ist trotzdem gut, wenn man einen Mann in Moskau hat.
 
Rigobert Dittmann BAD ALCHEMY

OUTERSPACEGAMELAN  CANADA
 
If you know who Frank Rothkamm is, you're already a step ahead of me. "Moers Works (1982-1984)" was greeted with nothing but a blank stare when I laid eyes on it, but then again nobody ever accused me of being the most knowledgeable of ones. Can't say the label was a tip off for me either. Monochrome Vision operates out of Russia and generally releases archival material of 80's and 90's avant-garde electronic and tape music, although they've been known to present modern works too.

Frank Rothkamm, meanwhile, is a computer programmer, professionally trained musician and composer, not to mention sole proprietor of the Flux Records label. Born in 1965, he apparently began his composing career (for piano) at age 12 but an attraction to electronic music was soon borne out of the limitations of the piano and and at age 16 (in the town of Moers) he created an analogue sampling system comprised of a turntable, a shortwave radio, a phaser, an EQ, a cassette recorder, and an UHER reel-to-reel tape recorder. He also devised what the liner notes refer to as "the method of irreversible additive overdubbing of monophonic tracks with stereophony achieved with tape delay". I hope that means something to you because while it sure sounds impressive to me, I'm no gearhead and can scarcely imagine just what that all means. I think when I was 16 I was getting notes sent home to my parents for talking in science class. Regardless. Since these initial works, Rothkamm has kept himself busy with other recordings: 9 solo albums to date on labels as disparate as Capital, PolyGram and Knitting Factory as well as close to 300 compositions with numerous soundtracks, remixes, jingles, and such under his belt. Not exactly of Edward De Deyster scale elusiveness, to say the least.

"Moers Works" boasts a wide range of methods and sound sources. For example, "Relikt" and "Arpeggiator" feature a Korg MS-20 synthesizer, "Ruckkopplung" was recorded during a week-long sleep schedule adjustment, "Quartett" serves as the overture to a Heiner Muller play of the same name and tracks four through six ("Industrie", "Wasser" and "Klavier") are excerpts from his "Fisch II" series, written for four "actors/instrumentalists", four lights, tape, and fish - the ritual killing of which on-stage would bring Rothkamm his highest degree of notoriety within the public eye.

But despite all this, "Works" still - ahem - works as a coherant and fully-formed album and not merely a compilation. What's even more is that all the tracks are totally great.

"Rauschmittel" clocks in as by far the longest piece at 12 and a half minutes but every single second is pure joy - an amusing/frightening work of warped tape, electronic/synth gulps, orchestral pomp and chamber pop, and packed the gills with lots of samples, jump cuts and plunderphonia of just about everything you can imagine. The perpetual pulse reminds me of the first time I heard "Dark Side of the Moon" and I have to think that kinda stuff bore some degree of influence on Rothkamm when he made this.

The aforementioned "Quartet" is a great theatrical piece indeed, the brunt of which is devoted to stretched out violin whines but also makes time for an epic sci-fi sounding soundtrack loop.

The three "Fisch II" tracks are ominous atmoscapes of dark water electronic-induced ambience and noise that match up pretty evenly with the likes of Nurse With Wound, Throbbing Gristle, Whitehouse, and the Schimpfluch actionists.

Also worth mentioning is "Relikt". At just under six minutes it's the second longest track on the compilation and is a definite stand-out - Conrad Schnitzler-type space drones are bathed, first in a static pummel, then in the sound of delirious chime glimmer, and finally back to the onrushing waterfall of stasis that started it off.

The two book-ending tracks "Ich" and "hcI" are lovely slices of fuzzy ambience and chopped up voices, providing almost a direct lineage to the paths of current electronica names like Tim Hecker and Thomas Koner.

What's startling is the fact that there's nary a dull moment or a bad sound to be found over the course of these 50 minutes. What's shocking is that he was still in his late teens when he produced this unearthly music.

"Moers Works (1982-1984)" probably takes more than a few cues from 60s/70s electronic and electronic-inspired artists (some of whom are no doubt getting the reissue treatment from the likes of Creel Pone even as we speak) but it's still no less an amazing collection.

In fact this sounds like exactly the kind of thing Creel Pone would be handling, if it didn't fall outside their statute of limitations on the golden age of electronic music. Or maybe something you read about one day out of the blue on Mimaroglu Music Sales (and who better than Keith Fullerton Whitman to provide the straight dope on a guy like Frank Rothkamm) but it ain't there, at least not yet. Whatever Trevor - if you see this around I'd strongly suggest picking it up. Ain't nothing fancy about it (I'm starting to understand the name Monochrome Vision a little more...) but it ain't none need to be when the sounds are this boggling.
 
Matt McKeogh OUTERSPACEGAMELAN

VITAL WEEKLY  NETHERLANDS
 
More from Russia on the Monochrome Vision label, who is specialized in bringing old masters from the 80s and 90s experimental music.

Sometimes new work by them, but also old work. Frank Rothkamm is these days known for his synth based popmusic, but he started working with a reel to reel tape machine, radio, a phaser an EQ and started with overdubbing, looping, tape delay and thus created his first compositions at the age of sixteen. These are now to be found on 'Moers Works', named after the German city where he was then living.

Known elements from classical and pop music leak through these collages of sound, giving it a highly plunderphonic feel. Despite his limit methods of sound production this sound remarkable good.

Short and witty pieces of music, which made the 'Rauschmittel' remix from 1997, the longest track but also the one with his later synthesizer sounds, a bit superfluous.

Very nice CD from somebody who I wouldn't have thought of thinking about the past.


[REPLY FROM ROTHKAMM]

Thank you, Frans.

'Rauschmittel' (German for 'Drug') is actually from 1984 with only a few samples added a year later in Cologne. It represents the culmination point of my early analog tape experiments, which might make it sound like a later work.

'Rauschmittel' utilizes a library of hand made samples from Easy Listening Music, John Cage, Richard Wagner, U2, Joy Devision, BBC Horror Sound FX, German TV commercials, Insects, Mauricio Kagel, György Ligeti, Japanese Shakuhachi Music and a Pierre Henry style door which hallucinate in and out of a Sample and Hold Korg MS-20 synthesizer patch.

The only remix on Moers Works is actually the last track, entitled 'hcI'. But the letters hcI are merely the letters Ich (German for 'I') spelled backwards and 'Ich' is the first track on Moers Works. Indeed, the music of 'hcI' is 'Ich' played backwards in 1997 in New York.
 
Frans de Waard VITAL WEEKLY

THE SOUND PROJECTOR  UK
 
Frank Rothkamm has a compilation of his early material, Moers Works (mv10), with vintage voola from 1982-1984.

Another refugee from ‘industrial culture’, presumably this is the same Rothkamm who’s currently in NYC whence he sent me his FB01 and FB02 records, those bizarre sci-fi pastiche records which apparently satirise vintage electronic music of the Cologne school.

Here however, we have evidence of his early and crude ’sampling’ experiments using the KORG MS-20 and analogue tape. Bound to be a goodie!
 
Ed Pinsent THE SOUND PROJECTOR


Radio:

De Vrije Radicalen hebben maar één motto: lekkere muziek. Soms thema’s, meestentijds geen thema’s, soms nieuwe uitgaven uit verre landen, veelal niet genrespecifiek, gewoon totale vrijheid. Of het nu knetterende U.S. hardcore, verstilde Japanse shakuhachi-muziek, experimenteel gefröbel uit Syrië of een swingende raga gespeeld op de santur-citer is. De Vrije Radicalen maakt het niets uit.

1. Benjamin Zephaniah. Rong Radio Station (Benjamin Zephaniah, Trevor Morais).
CD: Naked (2005). One Little Indian, TPLP403 CDL
2. Porest. Tom And His Wife (Porest).
CD: Mood Noose (2005). Resipiscent, RSPT006
3. Pretty Things, The. Well Of Destiny (John Povey).
LP: S. F. Sorrow (1968). EMI Columbia, SCX 6306
4. Lubomyr Melnyk. KMH Pt. 2 (edit) (Lubomyr Melnyk).
CD: KMH - Piano Music In The Continuous Mode (2007). Unseen Worlds, UW 002 CD
5. Hush Arbor. Devil Made You High (Keith Wood).
CD: Yankee Reality (2009). Ecstatic Peace!, E?100L
6. Anarchist Republic of Bzzz. Neural Highways (Seb El Zin, Sensational).
LP: Anarchist Republic Of Bzzz (2009). Sub Rosa, SRV285
7. Polvo. The Pedlar (Polvo).
CD: In Prism (2009). Merge, MRG360
8. All Shadows and Deliverance. Single Combat (All Shadows And Deliverance).
CDR: Tron II (2010). USAIN BOLT, 001
9. Frank Rothkamm. Kurzwelle (Frank Rothkamm).
CD: Moers Works (1982 - 1984) (2006). Monochrome Vision, mv10
10. Ata Ebtekar and the Iranian Orchestra For New Music. Tonus (Alireza Mashayekhi, Ata Ebtekar).
CD: Performing Works Of Alireza Mashayekhi (2009). Sub Rosa, SR284
11. Tones. Crash (Bajir Cannon, Kabir Green).
DL: Distance (2010). Eigen Beheer/Bandcamp, ???
12. Jerry Teel and the Big City Stompers. Chicken Snake (Jerry Teel And The Big City Stompers).
LP: Jerry Teel And The Big City Stompers (2008). Bang!, Bang!-LP32
13. Toiling Midgets. Fabric (Toiling Midgets).
CD: Son (1992). Hut Recordings, CD HUT 6
14. Bullion. Young Heartache (Nathan Jenkins).
CD: Young Heartache (2009). One-Handed Music, HAND12003
15. U.S. Saucer. Hold On Dear Brother (Blondie Chaplin, Ricky Fataar).
CD: Tender Places Come From Nothing (1994). Amarillo, ACM-592
16. Fe-Mail. Jacob's Toy (Maja Solveig Kjelstrup Ratkje, Hild Sofie Tafjord).
CD: Syklubb Fra Hælvete (2004). Important, imprec033
17. Spacemen 3. Call The Doctor (Pete Kember, Jason Pierce).
CD: The Perfect Prescription (1989). Fire, REFIRE CD6

Samenstelling: Pieter Bos & Jurgen Veenstra
 
 Pieter Bos & Jurgen Veenstra .CONCERTZENDER

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, May 20, 2007
Guest Hosted by Alex Lazarevich
--------------------------------------------------

Glenn Branca - So That Each Person Is In Charge Of Himself -
Indeterminate Activity Of Resultant Masses [Atavistic]
Ben Grosser - dimbit - []
Donnacha Dennehy - Glamour Sleeper II - []
Frank Rothkamm - Quartett - Moers Works [Monochrome Vision]
Frank Rothkamm - Kurzwelle - Moers Works [Monochrome Vision]
Paul Oehlers - Spawn - Passages [EMS]
Frank Rothkamm - Industrie - Moers Works [Monochrome Vision]
William DeFotis - Breaking Up Immediately Recognizable Units
Of Significance Is Hard To Do - New Graduate Works [Denon Digital]
Darren Copeland - Faith-Annihia - Perdu Et Retrouvé [Empreintes Digitales]
Ben Grosser - Mix With It - Grosser Music []
Darren Copeland - On A Strange Road - Perdu Et Retrouvé [Empreintes Digitales]
Herbert Brün - itoLD You so! - CMS Vol 3 [Centaur]
Michael Mizuma - DSP - New Graduate Works [Denon Digital]
Robert Normandeau - Chorus - Puzzles [Empreintes Digitales]
 
 Jay Eychaner, Jason Finkelman, Alex Lazarevich WEFT

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, April 8, 2007
Hosted By Jay Eychaner and Jason Finkelman
--------------------------------------------------

Darren Copeland - Early Signals - Perdu Et Retrouvé [Empreintes Digitales]
BTMZ - The Waltz - 11 Ways To Proceed [For 4 Ears]
Territory Band-5 - Fall With A Vengence [For Park Chanwook] -
New Horse For A White House [Okka]
Ethnic Heritage Ensemble - There Is A Place - Hot 'N' Heavy [Delmark]
Circle - Gesterlund - Tower [Last Visible Dog]
Ganelin Trio Priority - Homage To Friends -
Live at the Lithuanian National Philharmony Vilnius 2005 [Nemu Records]
The No Neck Blues Band - Back To The OMind (I'd Rather Not Go) -
Stick And Stones May Break My Bones But Names Will Never Hurt Me
[Sound At One]
William Parker & Hamid Drake - Heavenly Walk -
First Communion + Piercing The Veil [Aum Fidelity]
The Mighty Vitamins - Celebration - Take-Out [Public Eyesore]
Frank Rothkamm - Ich - Moers Works (1982-1984) [Monochrome Vision]
Vladimir Ussachevsky - Wireless Fantasy -
Electronic And Acoustic Works [New World]
5uu's - Equus - Hunger's Teeth [RéR]
Jorma Tapio & Terje Isungset - Turja - Aihki [Ektro]

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

- Frank Rothkamm "Moers Works" [Monochrome Vision]
- Circle "Tower" [Last Visible Dog]
- Claudio Parodi "Horizontal Mover (homage to Alvin Lucier)" [Extreme]

 
 Jay Eychaner and Jason Finkelman WEFT

Difficult Listening - 25 March 2007
-----------------------------------

John Adams

Short Ride in a Fast Machine (4'13")

San Francisco Symphony Orchestra/ Edo de Waart


CD: John Adams: The Chairman Dances (Elektra Nonesuch: 979 144-2)


Melanie Auclair

Sunday Driver (7'9")

Melanie Auclair, cello; Simon Meilleur, foley; Jean-Sebastian Cyr, laptop; Luc Sicard, piano; Antoine Berthiaume, guitar; Lori Freedman, clarinets; Martin Leon, narration


CD: Décor sonore (Ambiances Magnetiques: AM 158)


Marie-Soleil Belanger & Normand Guilbeault

La marche du sel (7'50")

Marie-Soleil Belanger, violin; Normand Guilbeault, double bass


CD: Les Salines (Ambiances Magnetiques: AM 160)


Warren Burt

Portrait of John Chalmers (10'25")

CD: Harmonic Colour Fields (Pogus: P21028-2)


John Cage

Music for Marcel Duchamp (1947) (6'4")

Stephens Drury, p


CD: In a Landscape - John Cage (Catalyst: 9026-61980-2)


Music for Marcel Duchamp (5'2")

Boris Berman, piano


CD: John Cage: Music for Prepared Piano, Vol. 2 (Naxos: 8.554562)


Das Synthetische Mischgewebe

Minimization pt. 9 (1996) (14'48")

CD: Das Synthetische Mischgewebe (Monochrome Vision: mv09)


Taylor Deupree

Haze It May Be (9'18")

CD: Northern (12K: 12k1037)


Frank Rothkamm

Rauschmittel (12'29")

CD: Moers Works (1982-1984) (Monochrome Vision: mv10)


Ziya Tabassian

Touchez du bois (8'49")

Ziya Tabassian, tombak


CD: Tombak (Ambiances Magnetiques: AM 161)


Ian Wadley

forgotten you (11'47")

CD: Three Uneasy Pieces (Sweatlung: 004)
 
 Bryce Moore Sarah Combes RTR FM

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

- Frank Rothkamm "Moers Works" [Monochrome Vision]
- Glenn Branca "Indeterminate Activity Of Resultant Masses" [Atavistic]
- Phillip Bimstein "Larkin Gifford's Harmonica" [Starkland]
- Social Interiors "Spatial Circumference" [Endgame]
- Fennesz "Endless Summer" [Editions Mego]

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, March 18, 2007
Hosted By Jay Eychaner and Jason Finkelman
--------------------------------------------------

Circle - Gehtisalo - Tower [Last Visible Dog]
Sean Noonan Brewed By Noon - Noonbrews - Stories To Tell [Songlines]
Boris Hauf - Waste Management Business - Soft Left Onto Westland [Mosz]
Phillip Bimstein - Half Moon at Checkerboard Mesa -
Larkin Gifford's Harmonica [Starkland]
Zu & Nobukazu Takemura - Everyone Gets His Own Nemesis -
Identification With The Enemy: A Key To The Underworld [Atavistic]
Ilya Monosov - Untitled Performance In Open Air -
Somethings #1 [Last Visible Dog]
Robert Normandeau - Éden - Puzzles [Empreintes Digitales]
Uke Of Spaces Corners County - Outter Spaceways -
So Far On The Way [Corleone Records]
Uke Of Spaces Corners County - Intermission -
So Far On The Way [Corleon Records]
The Mighty Vitamins - Get A Good Job - Take-Out [Public Eyesore]
Eddie The Rat - Chasing The Sun -
Once Around The Butterfly Bush [Edgetone Records]
Frank Rothkamm - Rückopplung - Moers Works [Monochrome Vision]
Muhal Richard Abrams, George Lewis & Roscoe Mitchell -
Soundhear - Streaming [Pi]
Magicicada - Secret History - Everyone Is Everyone [Public Guilt]
Far Corner - Endangered (excerpt) - Endangered [Cuneiform]
 
 Jay Eychaner and Jason Finkelman WEFT

NewCan
Con
ArtistTitleAlbumLabelTimeLength
  Wet Gatepart 7Live Performanceindependent23:314:29
 YPierre-Yves MartelMulo: primo segmentoEngagement & ConfrontationAmbiances Magnetiques23:352:55
 YPierre-Yves MartelMulo: secondo segmentoEngagement & ConfrontationAmbiances Magnetiques23:382:31
  Dan JosephLotus QuintetArchaeaMutable23:4017:26
Y RothkammIndustrieMoers Works (1982 - 1984)Monochrome Vision00:242:39
Y RothkammWasserMoers Works (1982 - 1984)Monochrome Vision00:262:49
Y RothkammKlavierMoers Works (1982 - 1984)Monochrome Vision00:293:00
  Al Margolis/If BwanaNatrajRex Xhu PingPogus00:339:09
Y TarantismGray Water PurgeStuck to the BottomResipiscent00:424:18
 YFeuermusikRecessionalGoodbye, Lucilleindependent00:465:04
  ICP OrchestraHam on AirOh, My Dog!Bvhaast00:512:51
YYContrasts Trio / E. RaumBaroque SuiteHow Bodies Leave Ecstatic MarksCentrediscs01:0711:49
  Sirius String Quartet / N. DidkovskyTube Mouth Bow StringTube Mouth Bow StringPogus01:1912:27
  David Palmer / B. LeeShadow VariationsCanadian Organ Music ShowcaseCentrediscs01:319:09
  Zellepart 7n(tm)L-ne01:464:35
  loop.poolFaux Voix #1Faux Voixindependent01:516:36
  loop.poolChris Slice FunkFaux Voixindependent01:581:36

 
 James Bailey, Ron McFarlan CKLN

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, March 11, 2007
Hosted by Jay Eychaner
--------------------------------------------------

The Mighty Vitamins - Stoppages - Take-Out [Public Eyesore]
Glenn Branca - Harmonic Series Chords -
Indeterminate Activity of Resultant Masses [Atavistic]
Sarah Peebles - Music For Incandescent Events No.1, After Sunset With Crescent
Moon Settling Over Field - Somethings #1 [Last Visible Dog]
Curtis Glatter & Nathan Hubbard - Vampyr - Rivulet [Circumvention]
Robert Normandeau - Chorus - Puzzles [Empreintes Digitales]
Philip Jeck & Janek Schaefer - Aegean Tea - Songs For Europe [Asphodel]
Sandoz Labs Technicians - Crocus Blossom - The Western Lands [Last Visible Dog]
Piers Whyte - Waxing Sentimental - Piers Whyte [Ache]
Social Interiors - Silent Latitudes - Spatial Circumference [Endgame]
Molar - Pulse - The Time And Motion Studies [False Walls]
Frank Rothkamm - Rauschmittel - Moers Works [Monochrome Vision]

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

- Social Interiors "Spatial Circumference" [Endgame]
- Eddie The Rat "Once Around The Butterfly Bush" [Edgetone]
- The Free Zen Society "The Free Zen Society" [Thrill Jockey]
- Frank Rothkamm "Moers Works" [Monochrome Vision]
- Bill Horist and Marron "Sleep Hammer" [Public Eyesore]
- Phillip Bimstein "Larkin Gifford's Harmonica" [Starkland]
 
 Jay Eychaner WEFT

7:03PM
Bjorn Olsson “Schweinfest” from UPA CD ALBUM (Gravitation www.gravitation.nu 2002)

7:07PM
Motor “Untitled #1 & 2” from Hexen CD ALBUM (Audio.NL www.audionl.com 1997) — classic minimal techno from Moscow

7:17PM
Senking “Maybe” from Tap CD ALBUM (Raster-noton www.raster-noton.de 2003)

7:21PM
Jason Kahn, Norbert Moslang, Gunter Muller, Keiichiro Shibuya, Maria “Untitled #1” from Signal to Noise vol. 1 CD ALBUM (For4ears www.for4ears.com 2006) — Jason Kahn will be playing the Axiom Gallery next Thursday, March 8

7:30PM
Fennesz “Endless” from Endless Summer CD ALBUM (Touch www.touchmusic.org.uk 2007) N — reissue

7:33PM
Dj Hekla “Eruption” from Eruption 1970 7-INCH SINGLE (Planet Mu www.planet-mu.com 2002) L

7:38PM
Daphne Oram “Snow” from Oramics CD ALBUM (Paradigm Discs www.stalk.net/paradigm 2007) N — from 1963

7:46PM
Bernard Parmegiani “Asynchronique” from Chants Magnetiques CD ALBUM (Fractal www.fractal-records.com 2007) N

7:49PM
Mika Vainio “Huone 11” from Revitty CD ALBUM (wavetrap www.wavetrap.com 2007) N

7:53PM
Rosy Parlane “Kees.1” from the peetoom 7-INCH SINGLE (Tonschacht www.tonschacht.com 2001)

7:57PM
Svalastog “Snow Tracer” from woodwork CD ALBUM (Rune Grammofon www.runegrammofon.com 2006) N

8:07PM
Janek Schaefer “Recital in the Old Library” MP3 ALBUM (Audioh www.audioh.com 2007) — mp3 release on Janek's label

9:02PM
Lasse Marhaug “It's My Kind of Top” from The Shape Of Rock To Come CD ALBUM (Smalltown Supersound www.smalltownsupersound.com 2004)

9:10PM
Jason Lescalleet “My Petition” from The Pilgrim LP ALBUM (Glistening Examples 2006) — recorded live at the Intransitive Music Festival in Boston

9:23PM
Peter Roehr “Horen Sie” from Tonmontagen I + II CD ALBUM (Suppose www.suppose.de 2005) — music from 1966

9:24PM
Eric Malmberg “Det hogre medvetandet” from den gatfulle manniskan CD ALBUM (Hapna www.hapna.com 2005)

9:29PM
Rothkamm “Arpeggieator” from Moers Works (1982-1984) CD ALBUM (Monochrome Vision www.monochromevision.ru 2007)

9:36PM
Mobius - Plank - Neumeir “Speed Display” from zero set CD ALBUM (Captain Trip www.captaintrip.co.jp 2007) N — originally released on Sky

9:42PM
Leo Nilsson “Early Ear (1982)” from 5 September 1982 LP COMP (Fylkingen www.fylkingen.se 1983) N

9:47PM
Alog “Change Position” from Miniatures CD ALBUM (Rune Grammofon www.runegrammofon.com 2005)

9:52PM
Fe-mail “Dunlin Dante” from Voluptuous Vultures 10-INCH EP (Psychform Records www.psychform.com 2005)

9:53PM
Martin Grunwaldt “Morgens einen, mittags einen, abends einen Kuss” from Ruckblende 10-INCH EP (Klang der Festung 2004)

9:54PM
Peggy Zeitlin “Spin Spider Spin” from Fuzzy-Felt Folk CD COMP (Trunk www.trunkrecords.com 2006) N

10:03PM
Henagar-Union Sacred Harp Convention “Farewell Anthem 260” from I Belong to this Band CD COMP (Dust to Digital 2006) N
 
 Susanna WZBC

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, March 4, 2007
Hosted By Jay Eychaner and Jason Finkelman
--------------------------------------------------

Social Interiors - Things Change Things Remain The Same -
Spatial Circumference [Endgame]

Zoloto - Svet Moy - Emerald Sea [Alchemia Records]

The Mighty Vitamins - What A Way To Go - Take-Out [Public Eyesore]

The Mighty Vitamins - Marked - Take-Out [Public Eyesore]

Vershki Da Koreshki - Real Life Of Plants - Real Life Of Plants [Long Arms]

Phillip Bimstein - EatDrinkGambleSex - Larkin Gifford's Harmonica [Starkland]

ARC Trio - Path Of The Holy Spirit - Triptych Mirror [Circumvention]

Andrew Deutsch & Joe McPhee - For Fluxus Joe - Something #1 [Last Visible Dog]

Sainkho Namchylak - Letter 4 - Letters [Leo]

Dead Voices On Air - Ralbag - How Hollow Heart [Invisible]

Michael Dessen - Flecha - Lineal [Circumvention]

Eddie The Rat - I Spy A Human Inside Of You -
Once Around The Butterfly Bush [Edgetone]

Frank Rothkamm - Klavier - Moers Works 1982-1984 [Monochrome Vision]

Charlemagne Palestine -
A Sweet Quasimodo Between Black Vampire Butterflies For Maybeck -
A Sweet Quasimodo Between Black Vampire Butterflies For Maybeck [Cold Blue]
 
 Jay Eychaner and Jason Finkelman WEFT

--------------------------------------------------
Fanfare For The Speeding Bullet!
Sunday, February 25, 2007
Hosted By Jay Eychaner and Jason Finkelman
--------------------------------------------------

Stefano Pilía - Makes Us Meloncholy - Healing Memories And Other Scattering Times [Last Visible Dog]

Sean Noonan Brewed By Noon - Dr Sleepytime - Stories To Tell [Songlines]

Frank Rothkamm - Quartett - Moers Works [Monochrome Vision]

The Free Zen Society - Dream Escapes - The Free Zen Society [Thrill Jockey]

Michael Fahres - Sevan - The Tubes [Cold Blue]

Far Corner - Claws - Endangered [Cuneiform]

TV Pow - The International Brigade -
TV Pow Presents Michael Hartman, Todd A. Carter And Brent Gutzeit As TV Pow [Southport]

Eddie The Rat - Mu (Unask The Question) - Once Around The Butterfly Bush [Edgetone Records]

Sandoz Lab Technicians - Crocus Blossom - The Western Lands [Last Visible Dog]

Brad Dutz - I'm Thinkin' About Buyin' A Chainsaw - When Manatees Attack [pfMentum]

Dimitri Voudouris - Praxis - NPFAI.1/Palmos/NPFAI.3/Praxis [pfMenutm]

Lines - Lines In Australia - In Australia [Emanem]

Social Interiors - Spatial Circumference - Spatial Circumference [Endgame]
 
 Jay Eychaner and Jason Finkelman WEFT

PLAYLIST of the 501st radio show « Le Vestibule »
February 24, 2007 from 9:00 P.M. to 11:00 P.M.
Hosted by JEAN-FRANCOIS FECTEAU
on CFOU 89.1 FM


1) Roche Limit: “Cosmonaut” (ROCHE LIMIT)

2) Minus The Bear: “The Game Needed Me (The Oktopus Remix)”
(SUICIDE SQUEEZE RECORDS)

3) Enduser: “Off” (AD NOISEAM)

4) Snow Patrol: “Wow (Eddy Temple-Morris Losers RMX)” (BOTCHIT & SCARPER)

5) Monta: “Capitulate” (KLEIN RECORDS)

6) O Yuki Conjugate: “In Dreams, Perhaps” (OYC LIMITED)

7) Side Liner: “When The Time Has Come” (COSMICLEAF RECORDS)

8) Predominant Lunatics: “Episode Epilogue” (AURORA MUSIC)

9) Maxime Robin: “Supreme Special Kentonnais” (MAXIME ROBIN)

10) Damero: “Passage To Silence (Featuring Apparat)” (BPITCH CONTROL)

11) Ghost In The Machine: “Birth (Of A Monster)” + “Monster” (808 MULTI MEDIA)

12) Pacha Massive: “Cruisin’ ” (NACIONAL RECORDS)

13) Frank Rothkamm: “Industrie” (MONOCHROME VISION)

14) 4Hero: “Sophia” (MILAN RECORDS)

15) Le Rhinoceros: “Zoing (Excerpt)” (JEAN-MARC MONTAROU)

16) Emilie Simon: “Fleur de Saison” (BARCLAY/MILAN RECORDS)

17) Qntal: “Amis Raynault” (NOIR RECORDS)

18) Seabound: “Scorch The Ground (Version)” (METROPOLIS)

19) Blind Divine: “Soul Supreme” (MYSTICUS PUBLISHING)

20) Dive: “Power Of Passion (Bahntier Remix)” (DAFT RECORDS/AUDIOTRAUMA)

21) Fix8:Sed8: “(BLC PRODUCTIONS)
 
 Jean-Francois Fecteau CFOU

The Sound Projector radio show
originally broadcast on Resonance 104.4 FM
Mixed bag o'nails (TSP radio show 23/02/07)

1 Circle, 'Gaurila'
From Tower, USA LAST VISIBLE DOG LVD-112 CD (2007)

2 Frank Rothkamm, 'Relikt'
From Moers Works 1982-1984, RUSSIA MONOCHROME VISION mv10 CD (2006)

3 Spotlight, 'Sane Al'
From Lo-Fi Confessional #8, USA GRAND DECEIVER RECORDS NO NUMBER CD [2007]

4 Alexei Borisov and Anton Nikkil?, 'Metaphysics of Swing'
From Where are they now, N&B RESEARCH DIGEST NBRD-08 CD (2007)

5 Ergo Phizmiz, 'SymphonieVum'
From Nose Points in Different Directions, UK WOMB RECORDS WOMB103 CD
(2007)

6 The Caution Curves, 'Christmas'
From A Little Hungry, USA SOCKETS 001 CD (2006)

7 Tarantism, 'Occam's Razor'
From Stuck to the Bottom, USA RESIPISCENT RSPT017 CD (2006)

8 Herpes ? Deluxe, 'Funkenflug'
From Kielholen, GERMANY HINTERZIMMER HINT 01 CD (2007)

9 Greg Malcolm and Tetuzi Akiyama, 'Comes and goes'
From Six Strings, NETHERLANDS KORM PLASTICS KP 3027 CD (2007)

10 Richard Lerman, 'Promenade Version' (from
Travelon Gamelan (Music for Bicycles) 1982)
From Music of Richard Lerman 1964-1987, JAPAN EM RECORDS EM1063DCD (2006)

11 Das Synthetische Mischgewebe, 'Ephemera part II'
From The escape of the electrified
dermatologistS, RUSSIA MONOCHROME VISION mv09 2 x
CD (2006)

12 Cultural Amnesia, 'Scars for E'
From Enormous Savages, UK ANNA LOGUE RECORDS ANNA 007 (2007)

13 Lieutenant Caramel, 'Le Concert Des Anges'
(from Je ne veux plus voir le ciel, 1988)
From Early Tape Works, RUSSIA MONOCHROME VISION mv08 2 x CD (2006)

14 Corsican Paintbrush, 'Goldenrod Fields'
From Aquarian Hymns, USA DIGITALIS digi035 CD (2006)

15 Nick Didkovsky, 'Tube Mouth Bow String'
From Tube Mouth Bow String, USA POGUS PRODUCTIONS P21042-2 CD (2006)
 
 Ed Pinsent RESONANCE 104.4 FM