All posts by clarke

richardScott

Richard Scott

Richard Scott is a free improvising musician and electroacoustic composer working with electronics including modular synthesizers and controllers such as the Buchla Thunder and Lightning and his own self-designed WiGi infrared controller developed at STEIM. He has been composing and performing for over 25 years, recently working with Evan Parker, Jon Rose, Richard Barrett, Kazuhisa Uchihashi, Shelley Hirsch, Ute Wasserman, Michael Vorfeld, Frank Gratkowski and his own Lightning Ensemble. He studied free improvisation in the 1980s with John Stevens, saxophone with Elton Dean and Steve Lacy, and electroacoustic composition with David Berezan and Ricardo Climent. He has released many albums, for example with Grutronic and Evan Parker for PSI records, The Magnificence of Stereo (sruti BOX) and has a solo double modular synthesizer LP, Several Circles, and an album with Sidsel Endreson, Debris in Lower Earth Orbit, both due for release on CUSP Editions in 2015.

www.richard-scott.net

audrey1

Audrey Chen

AUDREY CHEN – voice

Chen is a Chinese-American musician who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialisation in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic.
Chen’s work delves into her own version of narrative and non-linear storytelling. A large component of her music is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of the homemade analogue synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language. Over the past decade, her predominant focus has been her solo work with the cello, voice and electronics, but she has more recently begun to shift back towards the exploration of the voice as a primary instrument.
Recent projects, aside from performing solo, include her duo with London based vocalist Phil Minton, a duo with NYC abstract turntablist Maria Chavez and a collaborative project with German conceptual artist John Bock. Recent album releases (2013) include a quartet LP with Nate Wooley, C. Spencer Yeh and Todd Carter on Monotype (Warsaw) and a duo record with Phil Minton on Sub Rosa (Brussels).

lloydcole

Lloyd Cole

LLOYD COLE – modular synthesizer

Born in 1961 in Buxton, England, Lloyd Cole established himself as one of the most articulate and acute songwriters of the post-punk era, through both his lauded work fronting Lloyd Cole and the Commotions and his more eclectic solo efforts. In 1987 he disbanded the Commotions and moved to New York City to establish himself as a solo performer. After a songwriting and performing career of many twists and turns he released a very surprising electronic record, Selected Studies, Vol. 1 in March 2013 with the Krautrock legend Hans-Joachim Roedelius. It received favourable reviews and kick-started another unique chapter in Cole’s distinguished career. The following year he curated Kollektion 02, a retrospective compilation of Roedelius’s music. In 2015, Cole released 1D Electronics 2012-2014, a collection of solo modular synthesizer experiments originally recorded for his collaboration with Roedelius.

axelDorner

Axel Dörner

Axel Dörner has worked with numerous internationally respected figures in the fields of improvised music, contemporary music, jazz and electronic music. He has developed a unique style of trumpet playing based in part on unusual, often self-invented techniques. He has toured in Europe, America, Australia, Asia and Africa and has appeared on numerous CD and record releases for Intakt, FMP, PAN, Delmark, Erstwhile Records, Doubt Music, Creative Sources, Ftarri, Hibarimusic etc. Among others, he has collaborated with Phil Minton, Rudi Mahall, Kevin Drumm, Paul Lovens, Alexander von Schlippenbach, Sven-Åke Johansson, Sam Rivers, George Lewis, Evan Parker, Zeena Parkins, Lol Coxhill, The London Jazz Composers Orchestra, Berlin Contemporary Jazz Orchestra, Mats Gustafsson, Günter Christmann, Barry Guy, Andrea Neumann and Annette Krebs.

www.shef.ac.uk/misc/rec/ps/efi/musician/mdorner.html

ThomasLehn

Thomas Lehn

Since the early 1980s Thomas Lehn has been working as an author and performer of contemporary music. Parallel to his work as a pianist, since the early 1990s his most widely renowned work has been performing and producing live-electronic music. Rooted in the experience of a wide spectrum of musical fields based on his background as an interpreting and improvising pianist in classical, contemporary and jazz music, and having been involved in numerous other projects like music theatre, dance, multimedia etc, he has been developing an individual language of electronic music. The electronic equipment he uses consists of analogue synthesizers from the late 1960s, and since 1994 in particular the EMS Synthi A. Besides the substantial sound qualities of its analogue synthesis, the ability of this modular instrument to modify electronic sounds directly, as well as to combine and to control several parameters of the sound synthesis at the same time, allow him to spontaneously act in close contact with the various structural levels of the musical process.

In 2000 his solo album Feldstärken was released on German label Random Acoustics. Today his discography totals around 80 CD publications. Long term collaborations include ensembles KONK PACK, TOOT, THERMAL, FUTCH, MIMEO, SPEAK EASY, 6IX, VARIO-34, as well as duos with Marcus Schmickler, Tiziana Bertoncini, Gerry Hemingway, Paul Lovens, Frédéric Blondy Urs Leimgruber and John Butcher.

www.thomaslehn.com

Obermayer

Paul Obermayer

Paul Obermayer is most well known as half of the electronic duo FURT (with Richard Barrett), as a member of the mighty BARK! trio and as a long time participant in Evan Parker’s Electroacoustic Ensemble. Before the era when experimental laptop musicians flooded the stage, Obermayer was one of the few to pioneer the sampler as a feasible instrument for performance and free improvisation. He helped show that live electronics could coexist and compete with acoustic instruments, harnessing new digital tools and helping to introduce a new physicality, responsiveness and sense of infinite invention to live electronics. As this album shows, he remains one of its most accomplished and enthralling exponents. Paul has released music on Bruce’s Fingers, ECM, Foghorn, JdK, Matchless, psi, Treader, Unsounds and X-OR.

furtlogic.com/node/96

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David Ross

David Ross is a restless and unconventional multi-instrumentalist who brings an intensely musical quality to every instrument he touches. For the past 25 years Ross has played drums, kalimba, Jew’s harps, kantele and electronics in a series of quietly eccentric groups such as The Kenny Process Team, The Happy Couple and Twinkle³, navigating the margins and crossing points between many different musical idioms, including folk, post-rock, electroacoustic composition and free improvisation. In recent years he has become increasingly absorbed in analogue electronics as a member of Grutronic, who made two superb albums for Evan Parker’s psi label, and through a long-running series of musical projects with Clive Bell and Richard Scott. The Davestation is an electronic instrument he has honed over several years, morphed from his earlier instrument the Drossillator and specifically designed for real time composition. Ross remains perhaps the only musician to have composed an album entirely using an analogue synthesizer built into a kettle. David has released music on Hemiola, Bingo, Sonic Arts Network, Barley Wheel, psi, Metier Jazz, Ini itu, Cusp Editions, Game of Life and Functional Electric.

Wolfgang_seidel_2013

Wolfgang Seidel

WOLFGANG SEIDEL – Buchla Music Easel synthesizer and tabletop guitar Born in 1949 in West Berlin in the last weeks of the blockade of the city by the Soviet army, Wolfgang Seidel has been heavily involved with the music scene in Berlin since he started playing drums in rock bands as a teenager. In the late 1960s he found himself in the vicinity of Joseph Beuys’ student Conrad Schnitzler and the Zodiak Free Arts Lab, one of the cradles of the music which would later get the label “Krautrock”. He played in Conrad Schnitzler’s group Eruption, an experimental unit which looked for new sounds and new forms of musical interaction. In 1970, Seidel was among the founders of Ton Steine Scherben, one of the first bands to combine rock music with the German language. Founding their own label in 1971, Ton Steine Scherben became the precursor of independent music in Germany. Their re-released album recently made it into the German album charts, a mere 45 years since the original release! Around 1980, Seidel brought the experience of rock music and free improvisation together in groups such as Popular Mechanics and in collaboration with Alfred Harth. Today he is active in Berlin’s thriving Echzeitmusik and free improvisation scenes as a drummer and synthesizer player. Despite his long musical history, the Basic Electricity concert on 11 September 2015 was his first ever solo performance.

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Hiss and Viscera

Audrey Chen & Richard Scott
Hiss and Viscera
Sound Anatomy SA004

AUDREY CHEN – voice
RICHARD SCOTT – modular synthesizer

1. chimaera
2. hiss and viscera
3. tonguefish
4. cascade creatures
5. they’re always throwing in the air
6. anthozoa
7. my heidegger
8. barrel eye
9. that’s a moray

recorded in Berlin, 2 August 2015
recorded, mixed and mastered by Richard Scott
image by Philippa Jeffery
design by Clarke Robinson

Richard and Audrey“Hiss and Viscera” is Sound Anatomy’s fourth album release and presents a striking debut recording from two highly distinctive voices in the richly varied Berlin improvising scene. On the face of it the human voice and analogue synthesizer may appear to have little in common but Chen and Scott share an intuitive, corporeal and dynamic sound world out of which an intense and sustained musical conversation develops. Phrases and interjections bounce and ricochet between Chen’s vivid lexicon of glottal pops, rasps and expulsions and Scott’s exhaustive catalogue of electronic clangs, plosives and propulsions. The resultant musical conversation may not always seem entirely human in origin, conjuring sonic images of stories, languages and environments populated by many unearthly creatures, real or imagined.

Berlin Solos: Live at Basic Electricity

Lloyd Cole & Wolfgang Seidel
Berlin Solos: Live at Basic Electricity
Sound Anatomy SA003

LLOYD COLE – modular synthesizer
WOLGANG SEIDEL – Buchla Music Easel, tabletop guitar

1. Anthaler (Cole) 12:36
2. Berlin Solo (Seidel) 24:43

recorded live in concert at Basic Electricity @ Lichtblick Kino, Berlin, 11 September 2015
mastered by Richard Scott
image by Philippa Jeffery
design by Clarke Robinson
thanks to Navs and Basic Electricity

Sound Anatomy is delighted to present a historic release consisting of two modular synthesizer solos recorded live at one of Berlin’s oldest and wisest experimental electronic music concert series, Basic Electricity.

Both Lloyd Cole and Wolfgang Seidel are veteran performers each having long and eclectic musical careers behind them: Cole, a celebrated English dissident soulboy indie-rocker known for his sardonic wit and lyricism, and Seidel, a Krautrock legend who played drums with the likes of Conrad Schnitzler and Ton Steine Scherben back in the days when the Wall still divided the city. In recent years both musicians have become deeply absorbed by the charms of analogue modular synthesizers. Amazingly, neither of them had performed solo in such a context before this concert was recorded in September 2015. These recordings thus represent world premieres of both of them performing as modular synthesizer soloists.

LloydCole02With “Anhalter” Lloyd Cole has created a unique and original piece of ambient electronic music, curiously perched between tension and resolution, its rhythmic pulsing and stretched tonality suggesting directions which are perhaps all the more curious for being hinted at but not taken. Eerie and curious, it is an accomplished work and also a tantalising glimpse of possible future developments.

Wolfgang_seidel_2013“Berlin Solo” documents Wolfgang Seidel’s first public performance with his recently acquired Buchla Music Easel synthesizer, though there is no evidence of trepidation in the way he launches into this deeply sonorous exploration of tone, drone and texture. The synthesizer is interpolated with chords from a tabletop guitar (a reminder of the sound of early Kluster and Eruption) building, looping and hovering. Seidel spins a beguiling tale at once sensitive, dark and ominous.

Sound Anatomy I: Richard Scott & Audrey Chen + Sam Andreae #91

Richard and Audreyhttp://spektrumberlin.de/events/detail/sound-anatomy-i-richard-scott-audrey-chen-sam-andreae-91.html

Doors: 19:30 / Start time 20:00

Sound Anatomy presents:

Richard Scott & Audrey Chen, modular synthesizer and voice, launching this new series and their new work “Hiss and Viscera” on the Sound Anatomy label, plus Sam Andreae (Tombed Visions)

“After a recent performance in Berlin at the Geoff Stern Gallery a member of the audience came up and asked how I was processing Audrey’s voice with my synthesizer. He was surprised when I said that I wasn’t at all. But this kind of overlap, this common approach to material, is certainly part of what gives our sound its character. Voice and analogue synthesizer may seem to have little in common but we share a brittle, visceral, dynamic and often percussive sound world out of which a rather unusual and mysterious musical conversation develops; swapping syllables and phrases, somewhere between the telling of a story and the exploration of a dank, mysterious sonic environment.”

Part of the transmediale/CTM Vorspiel 2016 festival

Audrey Chen is a Chinese-American vocalist who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialization in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic.

Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her work is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of the homemade analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language.

Over the past decade, her predominant focus has been her solo work with the cello, voice and electronics, but she has more recently begun to shift back towards the exploration of the voice as a primary instrument. Recent projects, aside from performing solo, include her voice only duo with London based artist, Phil Minton, a duo with NYC abstract turntablist, Maria Chavez and a collaborative project with German conceptual artist, John Bock. Her most recent album releases (2013) include, a quartet LP with Nate Wooley, C. Spencer Yeh and Todd Carter on Monotype (Warsaw), and a duo record with Phil Minton on Subrosa (Brussels).

Richard Scott is a free improvising electroacoustic composer working with electronics including modular synthesizers and controllers such as the Buchla Thunder and Lightning and his own self-designed WiGi infra red controller developed at STEIM. He has been composing and performing for over 25 years recently working with artists such as Evan Parker, Jon Rose, Richard Barrett, Kazuhisa Uchihashi, Shelley Hirsch, Ute Wasserman, Michael Vorfeld, Frank Gratkowski and his own Lightning Ensemble. He studied free improvisation in the 80s with John Stevens, saxophone with Elton Dean and Steve Lacy, and electroacoustic composition with David Berezan and Ricardo Climent. He has released many albums, for example with Grutronic and Evan Parker for PSI records, The Magnificence of Stereo (sruti BOX) and has a solo double modular synthesizer LP, Several Circles and an album with Sidsel Endreson, Debris in Lower Earth Orbit, both due for release on CUSP Editions in 2015.
http://richard-scott.net/

Sam Andreae has developed a distinct methodology as a composer and sound artist. His composition work crosses into sound art explorations and he enjoys playfully exploiting behavioural/interaction based elements. However deeply thought out a work might be, Sam believes keeping a certain lightness in any performance situation is essential in order to achieve an engaging and truly spontaneous experience. From Manchester and now based in Berlin, Sam has his roots in a very much DIY creative scene with community and collaboration at it’s heart. http://samandreae.com/

“Andreae delves into an impressive vocabulary of skilfully controlled overtones, rapid keypad flutters and fragile harmonics, glistening like filaments held up to the light” – Daniel Spicer, The Wire (May 2015)

Time Probe

Paul Obermayer and David Ross
Time Probe
Sound Anatomy SA002
Release date: Dec 1st 2015

PAUL OBERMAYER, DAVID ROSS – electronics

Time Probe 1 2.05
Time Probe 2 6.43
Time Probe 3 2.07
Time Probe 4 5.12
Time Probe 5 7.31
Time Probe 6 2.49
Time Probe 7 2.05
Time Probe 8 3.10
Time Probe 9 2.15

Recorded in London, 5 April 2015

mastered by Richard Scott
image by Philippa Jeffery
design by Clarke Robinson

For our second release Sound Anatomy are delighted to present Time Probe, the debut recording from two of London’s most creative musicians. Paul Obermayer and David Ross have been persistently inventive forces in the city’s musical underground for the last two decades and more.

Time Probe is a nine-part suite of unedited excerpts from a single recording session using two self-designed instruments: Paul Obermayer’s POlymod, a Max MSP based polyphonic sample modulator, and David Ross’s Davestation, a hardware based control voltage time modulator. The title of the recording obliquely refers to news of NASA’s space probe arriving at Pluto that same week, and also to Sun Ra’s Space Probe (1974), especially the 18 minute Moog solo title track.

Ross and ObermayerThis is very “electronic” music made with bold and tactile gestures. Modulated textures of glistening purity are cut with moments of startling distortion and decay, and dissolve into voids of ambiguous darkness and silence. For all its physicality, a sense of otherworldliness seems to haunt these sounds, which avoid obvious reference points yet are unafraid to travel into spheres of abstract and galactic funkiness when the moment demands it. The listener senses there is nowhere to hide; nothing is looped or layered or consolidated into the lazy, the relaxing or the familiar. Cliché is eschewed in favour of a constant sense of questioning and mystery, making the clear shapes that emerge all the more astonishing.

Orbit, Dialogue and Trajectory: Live in Berlin

Thomas Lehn, Richard Scott, Axel Dörner
Orbit, Dialogue and Trajectory: Live in Berlin
Sound Anatomy SA001

Release date: 1 December 2015

THOMAS LEHN – analogue synthesizer
RICHARD SCOTT – modular synthesizer
AXEL DÖRNER – trumpet

1. Orbit (Lehn/Scott/Dörner) 12’32”
2. Dialogue (Lehn/Scott) 19’08”
3. Trajectory (Lehn/Scott/Dörner) 12’48”

recorded live in concert on the 21st August 2014, at AUXXX in the Lichtblick Kino cellar, Berlin.

recorded, mixed and mastered by Richard Scott
image by Philippa Jeffery
photo by Christian Zahn
design by Clarke Robinson

This album launches the Sound Anatomy imprint and captures a rare musical encounter between the remarkable trumpeter Axel Dörner in collaboration with two notable analogue synthesizer players: Thomas Lehn, who has carried the torch for the EMS Synthi analogue synth as a tool for free improvised experimentation for some 30 years, and Richard Scott, a very active presence on the Berlin modular synthesizer, electroacoustic and improvised music scenes. The combination is a natural one in which the musical division of labour is negotiated and renegotiated throughout. Lehn and Scott take a visceral and almost “acoustic” approach to their dials, wires and circuitry, while the influence of electronic music on Dörner’s own oeuvre is striking: the trumpet’s envelope shapes, low frequency oscillations and sustained, noise-laden textures seem inspired as much by musique concrete and tape music as they are by extended brass techniques.

Richard, Axel, ThomasWith no little humour, the original flier for the concert (part of the long-running AUXXX series) reads: “Two men with sinister-looking suitcases full of mysterious knobs and dials meet the tweed suited man-with-the-golden-horn one Thursday night in a cellar of a tiny East Berlin cinema… What could possibly happen next??? You will have to come to find out…” And indeed we may perceive something both cinematic and subterranean in this intense, atmospheric musical underworld. Sometimes we hear the surprising emergence of groove-like rhythmic patterns and harmonic incidents which do not entirely forget melody, though these are not elements the trio choose to hang onto for long, giving a sense of continuous unfolding and making us most curious about where this collaboration will lead in the future.