Label: Canto Crudo

Gunther Rablの意志を受け継ぐコンポーザーのソロ音源!!1953年オーストリアの都市リンツ出身、ジャズ及びアヴァン・ベーシストながら70年代中頃から多くの電子音楽の作曲を行っていた孤高のコンポーザーGunther Rabl。現在の氏の代理でレーベル活動をサポートしつつ自身も作家として活動、ここCanto Crudoや人気レーベルmappaにも音源を残している作曲家/サウンドアーティストVinzenz Schwabのシリーズ作品第一弾。ライブエレクトロニクスと即興演奏をベースにアテネでのデモ行進や寒々しい情景のフィールドレコーディング、レーベルメイトである伝説的電子音楽家Dieter Feichtnerのシンセなど、様々な素材をコラージュ的にも使用した激昂内容。このレーベルの路線好きには間違いなく刺さる内容です。

>>SAMPLE<<



dings #1 (thingamajig #1) is the beginning of my edition of works on the austrian label canto crudo.in addition to improvised live electronics, the composition of computer music is my chief musical activity. starting from mostly self-recorded sound material, the pieces were developed with the vasp and amp programs. the script language of these programs enables a quick and “simple” working with a large number of sounds, routines and parameters.
the pieces “musik ist ein dickes waldtier” (“music is a fat forest animal”), “variations from piano” and “quartett für gruben & sträucher” (“quartet for pits and shrubs”) are originally conceived for 4 to 8 loudspeakers. each loudspeaker is to be understood as an independent instrument in the space, whereby the polyphony and the metamorphoses of the sound characteristics of the individual voices become more comprehensible. the three pieces appear on the album in a specially customized stereo version.
for dings #1 recordings, among others, by gloria damijan (piano), fm einheit (objects), michael moser (cello), field recordings of protests in athens and the recording of an improvisation of the late, great synthesizer virtuoso dieter feichtner were deconstructed, transformed and incorporated into concrete and abstract “thingamajigs” with mundane, extraordinary, personal and fictive traits.

musik ist ein dickes waldtier (music is a fat forest animal) is a six-voice piece that was distributed in the space with 6 speakers by means of the cave routine and partially uses the 25-tone lucy-harrison scale.the sounds and noises were recorded in the bourgogne region of france and in the waldviertel region of austria. the composition ostensibly forms the conclusion of a phase of searching, collecting and bringing together ideas and materials “like a wild pig; enigmatically, the elongated phonetic hills of meaning are a sensible attunement to a however more than less chosen aloneness.”
walked by is music for the stop-motion short film “i paint for therapy” by barbara wilding about the painter chaim jackler and strongly orientates itself towards its structure. in the at times quickly edited film one is led through tel aviv by a dog. partly wild outbursts of the animal are interrupted by animations made of sand and the painter’s tombstone.
variations from piano begins with the destruction of a piano at a piano graveyard. after sketching a coarse structure, gloria damijan plays several improvisations on a partially prepared piano. this was material for further transformations which, separated by an unmodified piano part, permeate the piece. employing deconstruction and variation, i attempted to bring out different sides of the instrument’s character. recordings of a piano, tools and fire were exclusively used.
resizewizard is an early sketch that, on one hand, processes the kitchen music recorded by fm einheit and, on the other hand, tests the permutations of numerical series. The same methods later flow into the pieces “music ist ein dickes waldtier” (“music is a fat forest animal”) and “quartett für gruben und sträucher” (“quartet for pits and shrubs”).
quartett für gruben und sträucher (quartet for pits and shrubs) when günther rabl (who looks after the archive of dieter feichtner) provided unreleased material by dieter to several composer friends in order to make new pieces from it, i chose an improvisation which this four-voice piece begins and ends with. noises from a cesspit, recorded on both sides, and recordings of the cutting of overgrown bushes form the frame. in between, a multitude of sound fragments from my archive forge a bridge between the synthesizer recordings.
expand.piquein the summer of 2014, cameraman edward chapon left me recordings that he had made during protests in athens. i mixed these with recordings from the city of buenos aires. for a second voice i asked the cellist michael moser to play a long glissando, which was transposed one octave lower and repeatedly emerges between the field recordings and transformations of the cello. towards the end the piece comes to a head and breaks off.the name refers to a vasp routine that thins out the buffer content (sound). it only lets those samples which has a position that is a multiple of a chosen number stand; all others are muted.
december 2014
vinzenz schwab