Label: Zeitkratzer

なんとCostis Drygianakisとの共演!!お見逃し無く!!ケージやルシエ、ジェームス・テニーといった重鎮コンポーザーの名作リアライズから、灰野敬二氏とのコラボレーション音源数種を残しているドイツの超強者集団Zeitkratzer。このグループの創設者であり凄まじいピアノ録音を残すリーダーReinhold Friedlが、あのギリシャの伝説的実験プロジェクト"Optical Musics"の創設者Costis Drygianakisと共に作り上げた一時間超えの暗黒音響大作。ヴィンテージマイク、安価なカセットレコーダー、ディクタフォン、多種多様なマイクで録音したピアノ内部演奏をCostis Drygianakisがホームスタジオで加工、ノイズを含んだ大規模なオーケストラ作品として提示した超傑作。



zeitkratzer records is glad to announce the forthcoming release of a new Duo-project by pianist and composer Reinhold Friedl and the Greek composer and electronic musician Costis Drygianakis, known as founding member of the legendary experimental music project Optical Musics. Reinhold Friedl and Costis Drygianakis first met in Thessaloniki in 2017 and exchanged recordings since. The pandemic gave Reinhold the opportunity to revisit his record collection and was stoked by the rediscovery of Costis last releases. The plan to work together came up immediately and was realized in summer 2021.

Costis Drygianakis recorded Reinhold Friedl’s special piano sounds on a Blüthner grand piano with a bunch of extremely diverse microphones, ranging from a beautiful old Neumann U67 to a cheap tape cassette machine and even a Dictaphone. The resulting recordings have been classified, selected and processed at his home studio in Kritharia, Greece. No other sounds have been used.

Drygianakis turns Friedl’s piano sounds into a futuristic landscape, keeping always a mediterranean feeling; e-bows on the strings mutate into ship horns, huge piano intensities create foggy sound clouds, prepared notes turn into beautiful bells. The music starts overwhelming, loud, dense, a Ken-Russel-like sound circus. The sound masses transform slowly in a transparent, almost romantic Lied; airy breaks take it further to an even more sensual level: it is not a single piano that you hear, but a huge variety; intimately close-miked sounds, juxtaposed with sonic atmospheres, evoking long forgotten memories, dreamy and chanting… more and more enriched with cheap, wonderfully noisy recordings, transforming the sophisticated instrument into an industrial machine. In this one hour long piece, reminding huge orchestra compositions, the multifaced and radical recording techniques reveal spatial deepness: A sound trip and a love declaration to this Blüthner grand piano in Volos, a survivor from another century. Always fluid, semper mutantes, piano, recording techniques and electronic treatments finally merge in the great final structure and become pure music and turn “two into one”! As the title states: “ta amfótera en” (Ephesians 2.14)