Label: Pogus Productions

老舗レーベルを主宰者する3者が共同で制作したフィールドレコーディング/物音のミックス音源!!"Pogus Productions"のAl Margolis、"Gebrauchtemusik"のGerald Fiebig、"Attenuation Circuit"のEmerge、それぞれが自主レーベルを運営し、また作家としても活動する3名が共同で仕上げた面白物件[tripolar exercises]。まずメンバー1人が素材を提供、2人目が別のパートを重ね、そして3人目が最後のトラックを追加してミックスを行うという、事前の計画はなしに素材の偶然の出会いを重要な要素として考えた"準シュルレアリスム的アプローチ"で仕上げた不思議な音響作。面白いです。







Al Margolis: strange instruments
Gerald Fiebig: objects, Auki the dachshund, chickens
EMERGE: sound recycling, photo, design, mastering

The first collaboration of Al Margolis (aka If,Bwana), Gerald Fiebig, and EMERGE dates back to the early days of attenuation circuit: In 2012, Fiebig and EMERGE (along with local colleague elektrojudas) supported If,Bwana at his first ever live show at attenuation circuit's homebase in Augsburg, and joined him for a collective improvisation which was subsequently released as the double-album 'crossgrained'. This beginning of a great friendship was followed by a split LP by Margolis and Fiebig, another collective live set in 2015 including elektrojudas, and EMERGE joining If,Bwana on tour across Europe. Ten years after their first meeting, Margolis, Fiebig, and EMERGE set about composing a collaborative album in a completely different manner – and this is the result.

Anyone familiar with the work of the three collaborators would argue that the common denominator of their practices is the drone, and in fact this idiom is present in the interludes of this album, for which EMERGE supplied sounds that were processed, or 'recycled', by Margolis and then joined by other lifeforms via field recordings supplied by Fiebig. The three main pieces of the album, however, tend to exploit other approaches. They were composed over distance, with one participant recording a track, the second one adding another, and the third one adding the final track and mixing the piece. For each of the three pieces, the sequence of the contributors changed as indicated. The challenge of contributing relevant parts to a piece 'emerging' without a preconceived plan, while at the same time leaving enough room for subsequent contributions, along with the choice of obscure sound sources, gives this album its particular texture, in which 'chance meetings' play a rather significant part. The track titles reflect this quasi-surrealist approach, while the first letters of the words in the titles are related to the sequence of the contributors in these 'tripolar exercises'.