Review | By Beach Sloth
Artificial Memory Trace & Porya Hatami | REPREMONITIUM
Artificial Memory Trace & Porya Hatami hark back to early electronic music pioneers with the soothing bliss of “Repremonitium”. Quiet and contemplative the piece unfolds in discrete ways. Subtle transitions are of the utmost importance for the music shifts with grace and taste. By incorporating lovely tender analog sounds alongside found sounds and manipulated field recordings, the sound feels alive. Layer upon layer of this work results in miniature movements and symphonies, all of which come together in a blissful serene state. Nearly silent, the sparkling introduction begins the piece on a gentle note. With every sound fully realized the way that the piece unfurls feels gorgeous. []


Budhaditya Chattopadhyay (DE/IN) – solo
Listening and its discontents
Five Live Cinematic 4 Channel Sound Performances
12. Mai | Fr | 20:30 h
Alte Feuerwache Kino (2.Stock), Melchiorstr 3. – 50670 Köln


Review | By Klaus Halama / Sound & Image
Der Spielfilm „Timbuktu“ des malischen Filmemachers Abderrahmane Sissoko war nahe dran, in Cannes einen Preis abzustauben. Dass es dann letztendlich doch nicht geklappt hat, lag keinesfalls daran, dass der Inhalt nicht 100%ig gepasst hätte. Viel eher fehlte vielleicht das entscheidende Quentchen Glück, vielleicht aber auch ein insgesamt mangelndes Interesse am schon länger schwelenden Konflikt, der in Mali durch islamische Milizen heraufbeschworen wurde. Das Thema „Bürgerkrieg in Mali“ bleibt aber dennoch auf der Agenda all derjenigen, die das unsägliche Treiben von Al-Qaida verfolgen. Unter ihnen ist auch der Filmemacher Lutz Gregor, der den Dokumentarfilm „Mali Blues“ in die Welt gesetzt hat und der die Geschichte von vier malischen Musikern erzählt, die für einen toleranten Islam kämpfen. Allen voran die Singer-/Songwriterin Fatoumata Diawara, die das Land verließ, um nicht zwangsverheiratet zu werden. Aber auch der Ngoni-Spieler Bassekou Kouyaté ist ein weltoffener und weitgereister Kritiker der augenblicklichen Zustände. []


New Release:



Gruen 174/17
Sound Art
13 Tracks (63:14)
run: 1000 copies


Review | By textura
CLUBbleu | DARK~asian~ENERGY [singa~core album]
Gruenrekorder has probably never before released anything as weird and playful as DARK~asian~ENERGY [singa~core album], though the move is hardly unwelcome; if anything, it’s refreshing to see the label making room for material of a wilder nature. Issued as part of its Sound Art Series, the forty-five-minute collection is the brainchild of CLUBbleu members Felix Leuschner and Julia Mihály, the former a classically trained drummer with experience composing for music theatre, chamber music, and vocal-electronic pieces and the latter a composer-performer with backgrounds in classical singing and electronic composition. []


Gruenrekorder @ taz.mixtape
Wöchentlich | Freitag 17 – 18 Uhr
Das taz.mixtape wird konzipiert von taz-Musik-Redakteur Julian Weber und taz-Redakteurin Doris Akrap. Die Produktion und Moderation übernehmen die ByteFM-Redakteur_innen Diviam Hoffmann, Oliver Stangl und Klaus Walter.


New Release:



Artificial Memory Trace & Porya Hatami: ‘REPREMONITIUM
(GrDl 171/17)
Sound Art
Gruen Digital – 1 Track (78:46)


Louis Sarno, an American musicologist and author, has died. We are deeply affected and very sad. Our thoughts are with his family and all those who were close to him.


Review | By Roger Batty / Musique Machine
Kg Augenstern | Tentacles
Tentacles brings together a selection of bridge based field recordings made on rivers & canals between Berlin and North-East France. The release comes in the form CD, and 44 page colour booklet from respected German field recording/ sound-art label Gruenrekoder. The release charts a series of journeys made between July 2014 & November 2014 on the MS Anuschka traveling from France & Germany. As the crew of sound-recordists went under different bridges, they used special installed metal tentacles to capture the sound profile of each structure they passed under it, as well as its surrounding sound environment. In all the disc takes in eight different recordings of these sonic profiles, and two shorter tracks from the resulting art installation connected to the project- with each track lasting between one minute forty & nearing thirteen minutes. []


Review | By Adam Skyes / Musique Machine
Sonic Drawings is a four track album of found sounds, analogue and digital machines and self built instruments, and is designed to give the listener the feeling and effects of the world around us. The chasm between silence and noise and what fills that void. The musicality and richness of the machines in our world played out across the albums 50 minute span. Starting with “Wand” just under two minutes of what can only be described as a robotic cow and I’m already to stop listening to the rest of this album. The description is pretentious enough without this as as opener. However continue I do, and I have to say track two “Vinschgau” actually piques my interest a little. []


5th Annual Workshop/Residency for sound artists & composers at Mmabolela Reserve, Limpopo, South Africa
Dates Workshop/Residency: 16-29 November 2017
Deadline for registration: 15 July 2017
You can find all the detailed information here:
Conceived and directed by Francisco López (
Coordination and logistics by Barbara Ellison (


Review | By Beach Sloth
Philip Sulidae | Appropriated field recordings from temporary data sources
Philip Sulidae opts for a surreal exploration of sound on the otherworldly presence of “Appropriated field recordings from temporary data sources”. Over the course of the album the way that Philip Sulidae lightly edits the world gives it a masterful, rich feeling. The attention to the smallest elements of sound, from meadows to machinery, ensures that he captures a wide swath of human experience. By taking on such an approach the sound teems with life, with some moments growing quite physical at times. Letting the beauty and ugliness of the world combine the album itself feels akin to a journey. []


framework radio | #590
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Philip Sulidae | Appropriated field recordings from temporary data sources



Gruenrekorder @ The Wire Tapper 43


New Release:



Philip Sulidae: ‘Appropriated field recordings from temporary data sources
(GrDl 169/17)
Field Recordings
Gruen Digital – 5 Tracks (41:33)


WDR 3 Open Sounds: Studio Elektronische Musik
Szene [48]: Das Label Gruenrekorder
Roland Etzin und Lasse-Marc Riek sind seit über 20 Jahren begeisterte Fieldrecordists. Diese Passion äußert sich nicht zuletzt im Engagement, mit dem sie ihrer Kunstform ein maßgebliches Forum geschaffen haben: Das Label Gruenrekorder.


Please listen and download here




Phonophon | March 2017
Institut für neue Medien (INM)
Schmickstraße 18
60314 Frankfurt am Main


01.03.2017: KONZERT E42.A8 (BE/FR) – Juan Manuel Castrillo (ES)
02.03.2017: PHONOTALK Sound Activism
04.+05.03.2017: WORKSHOP Initiation to Phonojournalism


Society for the Advancement of Phonography and Experimental Music (e.V.)


Review | By Beach Sloth
Angus Carlyle | In The Shadow Of The Silent Mountain
Offering a picture of true serenity, Angus Carlyle’s “In The Shadow of the Silent Mountain” is an immersive experience. Best listened to in a quiet environment this is an album of quiet contemplation. Effortlessly blending together the real and the manipulated, this album takes almost a surreal bent to field recordings. For this intersection of the digital and the real is quite profound, at times recalling a daydream of the day to day reality that encompasses all. A journey begins to take hold over the course of the album, an unspoken narrative that moves the album forward. []


Reviews | By IDWAL FISHER – an antimacassar for the hearing
Merzouga – 52 46 North 13 29 East – Music For Wax Cylinders
Cathy Lane – The Hebrides Suite
Christina Kubisch Und Eckehard Günther – Mosaïque Mosaic
Rodolphe Alexis – Morne Diablotins
Series Invisible. Collection II. Booklet


Review | By Aurelio Cianciotta / Neural
Kg Augenstern | Tentacles
Christiane Prehn e Wolfgang Meyer – aka KG Augenstern – have transformed a Anuschka ship into a traveling sound laboratory. In July 2014, the ship set sail from Berlin in the direction of France. On the way the ship encountered bridges of different kinds running across rivers and canals. They devised special tentacles consisting of long metal arms installed on board the ship in order to be able to scratch the bridges, revealing sound profiles created by their shapes and contours. The result of this unique sound research – which reflected the shape of the bridges, their practical use and their type of construction – have been presented in audio-visual performances throughout the journey, in specially chosen places along the banks of the river. []


Xerox Collabique #002: Mikel R. Nieto – Dark Sound
06.02.2017 – 20:00 Uhr
Der baskischen Fieldrecordist hat für uns die akustische Schönheit im Huaorani-Reservat in der Nähe des Yasuni-Nationalparks im ecuadorianischen Amazonasgebiet mittels verschiedenen Mikrophonen eingefangen. Was dieses Paradies in dunkles Schwarz färbt sind die Geräusche von Ölbohrmaschinen, Fördertechnik und sonstigen in der Erde wütenden Maschinen… Das Konzert beschäftigt sich mit den Auswirkungen der Ölförderung auf die dort lebenden Menschen und den Einwirkungen auf die Umwelt.


Dark Sound ist das schwarze Buch der Klanglandschaften.
Mitte 2016 ist das Buch/CD-Projekt bei Gruenrekorder erschienen. 176 schwarze Seiten, mit schwarzem Text bedruckt und 34 Tonaufnahmen auf einer schwarze CD.


Mikel R. Nieto ist ein spanischer Künstler und Forscher aus dem Baskenland.
Als Fieldrecordist beschäftigt er sich seit 10 Jahren mit unserer akustischen Umwelt und setzt sich künstlerisch forschend mit den Inhalten auseinander. Diverse Lehrtätigkeiten an verschiedenen Universitäten. Nieto ist Mitbegründer der baskischen Klangkarte, Mitherausgeber der Plattform und Radioautor.


Xerox Exotique present this event in collaboration with the Gruenrekorder label.
The first five visitors will receive a free Gruenrekorder CD.
06.02.2017, doors open at 20:00, starts at 20:30
Admission 5€
INM – Institut für Neue Medien, Schmickstraße 18, 60314 Frankfurt am Main


Xerox Collabique #001: Music from the horse factory
27.01.2017 – 20:00 Uhr


* Knüppel/Schmitt


* Roland Etzin


Admission free, donations welcome, byob
Alter Reiterhof, Hansenweg, Frankfurt
Presented by Gregor Knüppel & Xerox Exotique


Review | By Pierre Cécile / Le son du grisli
Mikel R. Nieto | Dark Sound
N’étant pas bibliophile, je ne me suis guère intéressé à ce livre (pourtant très beau) imprimé noir sur noir… Comme Dark Sound (le titre de l’ouvrage) contenait un CD c’est vers ce CD que je suis d’abord allé – Et là… des field recordings, bien sûr : c’est-à-dire qu’une fois encore des oiseaux dont je ne saurais jamais le nom chantent dans mon studio quand tout à coup un orage éclate. Rien que de très normal pour l’habitué du label Gruenrekorder que je suis. Si ce n’est qu’au bout de dix minutes environ, l’enregistrement m’a tout l’air d’une composition d’électronique minimale avant de changer encore d’aspect en virant musique concrète. []


Reviews | By Łukasz Komła /
Nowości z Gruenrekorder
Niemiecka wytwórnia ubiegły rok zamknęła dwoma sound art’owymi albumami.


CLUBbleu | DARK~asian~ENERGY [singa~core album]
To już trzecie wydawnictwo w dyskografii niemieckiego duetu CLUBbleu (Felix Leuschner, Julia Mihály). Oboje są klasycznie wykształconymi muzykami: Leuschner jest perkusistą, kompozytorem a Mihály studiowała śpiew i kompozycję elektroniczną. Ich albumy można określić jako serię portretów miejskich – uwzględniając przy tym architekturę, struktury społeczne i tło kulturowe danego miejsca. Dwa poprzednie krążki duetu ukazały nam Monachium i Augsburg. Na tej najnowszej płycie odwiedzamy Singapur, gdzie artyści zarejestrowali nagrania terenowe poddając je rozmaitym odkształceniom i deformacjom. []


murmer | songs for forgetting
Murmer to solowy projekt Patricka McGinley’a (urodził się w Stanach Zjednoczonych, ale od 1996 roku mieszka w Europie). W 2005 roku po raz pierwszy odwiedził południową Estonię, gdzie ostatecznie osiadł na stałe. W swoich pracach McGinley korzysta z przeróżnego field recordingu, znalezionych przedmiotów (choćby stara antena radiowa) i instrumentów (bandura, cytra, kora). Artysta koncentruje się na dźwiękach krążących wokół nas, na które zazwyczaj nie zwracamy większej uwagi, a wyrwane z kontekstu stają się nie do poznania, obce i niezwykłe: trzeszczące schody, brzęczenie owadów albo własny oddech. Materiał z „Songs for forgetting” powstawał na przestrzeni wielu lat. Pierwsze nagrania terenowe pochodzą z 2007 roku (Kolonia). []


Review | By Gunter Heidegger / The Sound Projector
Hein Schoer | The Sounding Museum: Box of Treasures
All Or Nothing
Talk about getting what you wish for. The Sounding Museum: Box of Treasures could have been assembled and (re)issued in direct response to Jennifer Hor’s review of ‘soundscaper’ Hein Schoer’s original in 2012, CD-only edition of The Sounding Museum: Two Weeks in Alert Bay in the Sound Projector in 2012. The CD contained field recordings of the mountainous ‘Namgis region of Western Canada along with documentation of the aboriginal inhabitants’ oral tradition of songs and stories; the two being contextually inseparable. Yet the disc proved unsatisfying and incomplete to some listeners, owing to a lack of background detail, though whether or not this effect was by design is unclear. However, Jennifer’s dissatisfaction with this under-represented subject matter – and potentially extending to other ethnographic documents – was qualified by a recommendation for accompanying DVD and map of the area in question. []


Review | By Gunter Heidegger / The Sound Projector
Various Artists | Landscapes of Fear
Dislocation Recordings
One to disrupt the harmony of your CD shelf is this oversized card wallet containing an obliquely labeled, monochrome OS map of the area surrounding Cologne and 2 CDs of discomfiting sound art pertaining to the themes of 1) Landscapes and 2) Fear. A simplistic summary perhaps, but given the density of the accompanying text – which will assuredly sort the men from the boys among us – some distillation is required. We might ponder the dichotomy posed by these two situational extremes: the tangible and idyllic terra firma juxtaposed with the most chaotic and disembodying of emotions; security and exile – two extremes of human existence. []


Review | By Frans de Waard / VITAL WEEKLY
murmer | songs for forgetting
Patrick Tubin McGinley works, as Murmer, since many years is not someone who releases a lot of music. In fifteen years, ‚Songs For Forgetting‘ is his eleventh album and deals, as much of his other work, with field recordings, but on this album McGinley explores also musical instruments. Zither like such as in the title piece but he doesn’t always conventional instruments, such as an old radio antenna. The goal of each of the four pieces is to mix up field recordings (although these can also be spaces in which the music is performed) and these instruments and come up with a more musical context than what is usually the case with this kind of music. Four lengthy pieces, of which the title piece is a fine string piece, mildly plucked and ‚Another Song For Forgetting‘ works with overtones and the rattling of objects; maybe the overtones are created with the use of feedback, but it nicely wanders around. []


Review | By arsonal
Daniel Blinkhorn | Terra Subfónica
Tras resultar premiado en la octava edición del Concours International d’Art Radiophonique Luc Ferrari (La Muse en Circuit, Centre National de Création Musicale, 2009) por su pieza para clarinete y sonidos fijados ‚In situ bacia‘, el compositor australiano Daniel Blinkhorn disfrutó, en 2010, de una residencia artística concedida por la Australian Broadcasting Corporation (ABC). En el transcurso de la misma realizó „Terra Subfónica“, composición de la cual es objeto este registro publicado recientemente por el sello alemán Gruenrekorder. []


Review | By illustrated amateur
Roger Döring & Konrad Korabiewski | Komplex
For as much as my aesthetics may define me, there are some bits that are still pretty mysterious. I can’t always explain what attracts me, even if something exerts a strong pull. The odd pairing of saxophone with electronics seems inexhaustibly interesting to me. My previous attempts at explaining the attraction fail to fully answer for its appeal. Thus, I ended up buying a copy of Roger Döring and Konrad Karabiewski’s Komplex, after listening to only to a scant few samples. []


Nowamuzyka’s list of 58 favorite albums of the world – 2016
Among these:
– Mikel R. Nieto – „Dark Sound” (Gruenrekorder)
– Rodolphe Alexis – „The glittering thing on the mountain” (Gruenrekorder)


Globale Mittelhessen | 29. Januar 2017
Dunkler Klang – aufgeklärte Ohren? (Diskussion mit Einspielungen)


Das Label Gruenrekorder aus Frankfurt am Main beschäftigt sich seit Jahren mit Ökopolitiken und Klang. Vor kurzem wurde „Dark Sound“ von Mikel R. Nieto veröffentlicht – mit Texten, Fotos und Audioaufnahmen, sowie Berichten verschiedener Gruppen und Institutionen, die von den Auswirkungen und den Zusammenhängen des Noise der Ölindustrie in Bezug auf Menschen, Flora und Fauna handeln. Der Preis von Buch und CD bemisst sich süffisanterweise am tagesaktuellen Preis eines Barrel Brent Rohöl. An dieser Stelle, wo sich Ökologie und Ökonomie kreuzen, diskutieren wir, u.a. an Einspielungen von Fieldrecordings, mit Lasse-Marc Riek und Roland Etzin von Gruenrekorder die Hörbarkeit politischer Implikationen, die Beziehung von Umwelt und Kapitalinteressen, aber auch die Release-Policy des Labels.
Moderation: Matze Schmidt (Berlin/Kassel)


WDR 3 Open Sounds: Studio Elektronische Musik
Szene [48]: Das Label Gruenrekorder – 21.01.2017
Open Sounds | 21. Januar 2017, 22.04 – 00.00 Uhr | WDR 3


Roland Etzin und Lasse-Marc Riek sind seit über 20 Jahren begeisterte Fieldrecordists. Diese Passion äußert sich nicht zuletzt im Engagement, mit dem sie ihrer Kunstform ein maßgebliches Forum geschaffen haben: Das Label Gruenrekorder.


Deutschlandfunk | Atelier neuer Musik
Invading Pleasures (Nikola Lutz & Mark Lorenz Kysela) | Infinite Jest


Review | By Guillermo Escudero / Loop
murmer | songs for forgetting
North American sound, performer and radio artist Patrick McGinley (AKA murmer) in based in Europe since 1996 and since then he has been working with found sounds and found objects. He hold a string of releases and compilation appearances. Murmer’s work consists of micro sounds and field records and on this album McGinley collects sounds in different parts of Europe between 2007 and 2014, like a sand timer recorded in Cologne, Germany in August 2007. Other field recordings were made with rain dripping through cannons of the Soviet era in the small village of Tóravere in Estonia. Then in the same month; daytime fireworks in Valencia, Spain (March 2008); a pebble beach in Étretat, France (June 2008); underwater life on a branch of the Andelle river in Perruel, France (May 2009); and more recently, the rain gutters in my current house in Põlgaste, Estonia (September 2013) and the squeaking and trampling of an ant colony in the island of Kemiö, Finland (July 2014). []


Reviews | By Beach Sloth
murmer | songs for forgetting
Quite surreal murmer explores the ignored small sounds that occupy life on “song for forgetting”. Merging elements of ambient and field recordings these are pieces that at times recall the raw industrial edge of early Zoviet*France albums. Within these pieces murmer forgoes melody and rhythm for something much looser. Almost improvisational in their approach the way that the songs evolve has a life-like cryptic element to it. By taking on this tact murmer creates layer upon layer of sound that interact in a plethora of unexpected strange ways. Things open up with the tiny sounds of “Another Song For Forgetting”. Setting the tone for what follows the sounds seem to be living, breathing creatures, small bursts of their breath emerges out of the sonic ether. []


Mikel R. Nieto | Dark Sound
Mikel R. Nieto’s “Dark Sound” truly has love for its surroundings. Quite soothing in its exploration of the great unknown this is a field recording from the night when all else remains silent. Throughout the piece the attention to detail feels incredible as literally every last possible detail is amplified in full. Edits are done with the utmost of care and consideration as the many variations of the sound feel alive. Layering is done in an intricate way that emphasizes the importance of the smallest elements to celebrate those elements of an aural environment that so often go completely overlooked. The smallest sounds are given great care. Raindrops find their intrepid way into the mix without overwhelming the rest of the balance. []


Serene and surreal Roland Etzin’s “Sonic Drawings” offer compelling looks at otherworldly terrains. Over the course of the album Roland Etzin explores the mystical within the mundane. Regular experiences are filtered through a wide variety of distortions, disorientations, and otherwise reconfigured beyond recognition. Featuring such a wide swath of styles Roland Etzin offers a unique take on the art of field recordings allowing them to become something entirely different. Sounds bounce off of each other resulting in entirely different soundscapes in which nothing is quite as it seems. Easily the highlight of the album is the majesty of “Garten”. Within this singular piece Roland Etzin allows for a single drone to embody everything. This drone feels akin to a gigantic symphony. []


Review | By Frans de Waard / VITAL WEEKLY
CLUBbleu | DARK~asian~ENERGY [singa~core album]
Right by the looks of this release, one realizes this something different, unusual in the world of Gruenrekorder. The cover and booklet shows us distorted digital images, and also the titles of the pieces make you raise an eyebrow; ‚Bambi Died Of Lung Cancer‘, ‚Singacore Sling‘ or „#fuckyourselfie – ethnology of solitude‘ aren’t ones we see a lot in this label’s catalogue. The back cover has this little text: „while field recording in autumn 2014, CLUBbleu dived into the pulsating multi-cultural metropolis of Singapore, trying to catch the most characteristic urban sound scapes. []


framework radio | #578
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley
Craig Vear | Antarctica


Pauline Oliveros & David Rothenberg & Timothy Hill | Cicada Dream Band
Already familiar with some of Pauline Oliveros’ work courtesy of a few solo accordion albums I own, only clarinetist David Rothenberg’s name otherwise rings a distant bell here. Alongside Timothy Hill’s addition of voice, used rather more as an instrument itself than to mouth anything even resembling lyrics, and some field recordings, all three artists weave a setting given to something caught between the theatrical, a late night cabaret club and primeval swamplands. It’s not a place that pulls you in completely to begin with, but as each of the eleven pieces unfurl the proceedings steadily become more engaging, especially when the voice is less overstated and used more sparingly. Like so much such music, however, this is not concerned with trifles such as accessibility. Instead, it courses on the deepest of emotions and those generally untapped areas of expression only too often pushed aside in favour of easier outlets. While Cicada Dream Band may sometimes lapse due to its very nature as improvisational music, it’s hard not to respect those using this springboard who succeed in finding a common voice. On that count, this works completely. RJ.


Christina Kubisch & Eckehard Güther | Mosaïque Mosaic
I am mostly familiar with Kubisch via her incredible minimal drone-driven modern classical compositions, which she has been making since the 1970s. Here, however, she collaborates with Eckehard Guther on a collection of thirteen pieces recorded throughout Cameroon after their having organised a number of workshops throughout this country dedicated entirely to field recordings. The idea was to work with local musicians and artists on the idea of paying attention to the sounds around them; something both Kubisch and Guther initially felt the country’s inhabitants might not do yet were surprised to discover just how much sound does impact on people’s lives. The recordings themselves are taken from the duo’s travels throughout the country and depict everything from a wide variety of natural sounds to that of traffic, a street procession (replete with musicians playing away) and a choir rehearsal. Nothing has been processed, leaving each piece to serve as a nice and tantalising snapshot of a country which clearly has much to offer in terms of sound and beyond. What is especially interesting, however, is that this work only goes to illustrate just how much sound is heavily integrated into people’s lives, no matter where they live or how much they might not even concede to it. RJ.


Daniel Blinkhorn | Terra Subfónica
A large collection of miniatures form what appears to be the debut release by this artist given to moulding fragmented field recordings together with micro-electronics, the occasional melodic thrum, shapeshifted clarinet and gnarled tonal sweeps. Together, they form a radiophonic exploration, although each piece can be taken as self-contained as well as part of the entire narrative. Although far from unique, Terra Subfonica remains interesting enough to accompany a quiet and solitary domestic chore, such as ironing. Would I return to this after having just caught up with a huge pile of shirts, though? I guess you read my mind. RJ.


Mikel R. Nieto | Dark Sound @ ACL 2016: The Year’s Best Packaging
A black disc lodged in a black book with black print? This didn’t seem like such a good idea, until we read the text and thought about it for a while. As it turns out, the project is a parabolic reflection of its subject matter, the redacted and silenced voices of the oppressed. This is a perfect example of a label fully committing to a vision, and in this case, amazingly, the risk pays off.


& ACL 2016: Top Ten Field Recording & Soundscape
Dark Sound tells a story that few want to hear, but that all need to hear: a story of a culture obliterated by greed and “progress.” The black book contains black prose and even blacker thoughts, while the field recordings provide a soundtrack to desecration. The sounds of nature continue to vibrate beneath the machines, but they do so with progressively weaker sounds. We strain to hear them as we strain to read their stories, and yet we must. In the words of Martin Niemöller, First they came for the Socialists, and I did not speak out …. (Richard Allen)


Xerox Exotique #005: Premiere of ExpeRheiniMainental
Sonntag, 15. Januar, 16.00 Uhr


von & mit
Weinglas / Trabouliste / Dirk HuelsTrunk / Roland Etzin / Sebastian Scherer & Felix Pausch / LDX#40


Filmscreening und Live Set


INM – Institut für Neue Medien
Schmickstraße 18
60314 Frankfurt am Main


New Release:



murmer: ‘songs for forgetting
Vinyl + Digital
Sound Art
Gruen 172/16
4 Tracks (39:07)
run: 300 copies


New Release:



CLUBbleu: ‘DARK~asian~ENERGY [singa~core album]
CD + Digital
Sound Art
Gruen 165/16
10 Tracks (45:32)
run: 500 copies


Review | By Annick Rivoire / poptronics
Kg Augenstern | Tentacles
De l’intérêt de gratter des ponts, par Kg Augenstern
Il est des artistes qui reprennent inlassablement le même motif, creusent le même sillon, traquent la même obsession. Christiane Prehn et Wolfgang Meyer sont de ceux-là, qui pratiquent autant qu’ils expérimentent à bord de leur péniche, l’Anuschka, un art sonore de la navigation. Le duo compose Kg Augenstern qu’on a croisé à Paris une fin d’été particulièrement pluvieuse, tandis que « Tentacles », leur performance de « grattage » de pont, s’insérait dans la programmation de Bande Originale, un festival et parcours sonore le long du canal de l’Ourcq (poptronics avait d’ailleurs contribué au projet par ici). []


framework radio | #577
phonography / field recording; contextual and decontextualized sound activity
presented by patrick mcginley


04.12.2016 – Xerox Exotique #002: Initiation
Vacuum (F) & Autumn Appreciation Society with Image Accumulator (D)
The first Xerox Exotique concert will take place on December 4th at the Waggon in Offenbach featuring Vacuum from France.


* Vacuum are Yann Gourdon (hurdy gurdy) and Antez (percussions).


* Autumn Appreciation Society are Roland Etzin (Gruenrekorder) and Tobias Schmitt (Acrylnimbus, Suspicion Breeds Confidence). They produce an IDM-Fieldrecording-Noise-Hybrid.


They are supported by Image Accumulator, a live video project featuring QTCT and LDX#40. Their main goal is to process the visually elaborate into the mundane.


Waggon am Kulturgleis, Mainufer near Isenburger Schloss, 63065 Offenbach
Doors 19:00, starts 19:30
Free admission, donations welcome


Review | By Adam Skyes / Musique Machine
Willem Sannen | Brussel Noord
Brussel Noord is a field recording album presenting sounds from the North District of Brussels. The area is dominated by a large train station, commuters and office towers. The album captures the soundscape of this place in five movements over 24 minutes. [] The latter 3 pieces of this release seem to explore the distance and disconnection of the city. You are part of it, but not in an intimate way. There’s less space around you, but with that comes a larger feeling of being alone. The sounds of the familiar become the sounds of the unfamiliar and are drawn out over a period to make them almost eerie to hear. Exploring the goings on, movement of people into their industry across 5 pieces, Willem Sannen explores a cityscape in wondrous detail. This album is a beautiful document of urban living. []


Review | By Aurelio Cianciotta / Neural
Christina Kubisch & Eckehard Güther | Unter Grund
Unter Grund was presented in 2014 in the context of the NOW/ Parallele Welten festival, in Zollverein, the world heritage site of the German Customs Union. That 26 channel sound installation is now condensed in field recordings captured throughout the Ruhr area, mainly in machine rooms, above or under ground, pumping stations, waterworks, ponds, shaft sumps, cages and spillways – just some of the industrial locations that were the object of Christina Kubisch and Eckehard Güther’s research. The Ruhr area is now one of the largest conurbations in Europe and while this industrial heritage remains intact, it is also one of the places in the world with the highest concentration of museums dedicated to modern art. []


In the Shadow of the Silent Mountain | book trailer



Mitschnitt der Sendung „Fangschalltung“
von Martin Speicher vom 14.11.2016 im Freien Radio Kassel (FRK) mit Matze Schmidt. Über Sonicykle am 17. und 18.11.2016 im Rahmen des 33. Kasseler Dokumentarfilm- und Videofest. Eine Veranstaltung des Ohrenkratzer e.V.
Unter anderen mit Klängen von Ulrich Phillipp, Uli Böttcher, Gruenrekorder (Lasse-Marc Riek und Roland Etzin), Tobias Schmitt (Acrylnimbus), Stefan Riebel, Joshua Weitzel, Martin Speicher und Matze Schmidt.


Pauline Oliveros, an accomplished composer, accordionist, and experimental music pioneer, has died. We are deeply affected and very sad. Our thoughts are with her family and all those who were close to her.


Review | By Beach Sloth
Willem Sannen | Brussel Noord
Willem Sannen explores the amplification of the everyday routine on the voyeuristic field recordings of “Brussel Noord”. Over the course of the album a journey begins to emerge. Every single sound relates to something that hundreds of millions of people go through each day. Doubly refreshing is the way that Willem Sannen sequences these many elements together, from the lonely aspect of waking up to simply traveling amongst vast groups of strangers. Respect for the surroundings results in some particularly fine exploration of spacial acoustics. By far what ties the many pieces together is the sense of continuity that comes to define the album. []


Review | By Ed Pinsent / The Sound Projector
Invading Pleasures (Nikola Lutz & Mark Lorenz Kysela) | Infinite Jest
Intensive exploration of the possibilities of the saxophone in modern music on Infinite Jest (GRUENREKORDER Gruen 156). The duo Mark Lorenz Kysela and Nikola Lutz, calling themselves Invading Pleasures, are consummate players dedicating to pushing envelopes and expanding the boundaries of what is considered possible to play on the saxophone. To that end, here are six compositions and situations set up to test their mettle, including works by Uwe Rasch, Malte Giesen, Remmy Canedo, Joseph Michaels, and Lutz herself. They treat the sounds of their instruments extensively with live electronics, play multiple instruments at the same time, and draw no lines between composition and improvisation. []


Review | By Frans de Waard / VITAL WEEKLY
Angus Carlyle | In The Shadow Of The Silent Mountain
Well, technically this is listed as a book, well actually two books, but there is also music to hear, which you have to download from the label’s website. All of this I would think is some kind of poetry cobbled together through field recordings, words and photography. One book has only words and the other has pictures, and I assume all of this upon a mountain somewhere in Italy. Or not Italy, maybe it’s the name of the website that distracts me? Confusing indeed, I must say. I will repeat what I say above, my mantra, „as much as I would love to do so, reviewing anything else than music is really a hard task. []


Review | By Roger Batty / Musique Machine
Rodolphe ALEXIS | The glittering thing on the mountain
[] The tracks offer up a mix of bird, insect, frog, & bat recordings, with sometimes the backdrop of water recordings appearing from the streams that make their way through the islands greenery. These recordings were captured at different times of day, so you also get the nice mix of type of sound activity in the jungle. From the dense yet subdued simmer of the night-time jungle, through to the bright chirp & awaking of the mourning, on to the more vibrate & chatting interplay of the daytime. In summing-up The Glittering Thing On The Mountain is another well presented & conceived collection of field recordings from the Gruenrekorder label. It’s a release that mangers to whisk one off on sonically rich & often unique sound journey- that’s both soothing, beautiful and at times quite alien.


Review | By Pierre Cécile / Le son du grisli
Kg Augenstern | Tentacles
Le ciel est triste hélas et j’ai mangé tous mes sous : pas de quoi faire un Bruxelles-Berlin… Heureusement il y a KG Augenstern (projet de Christiane Prehn and Wolfgang Meyer) qui me propose un Berlin-Amarages-de-Maguelone en passant par Charleroi à un prix défiant toute concurrence = celui d’une brochure qui sert d’étui à un CD. Prehn et Meyer ont fait tout ce voyage en bateau (le MS Anuschka) en 2014. Le couple a enregistré une partie de son périple (surtout des passages de ponts) en même temps qu’il prenait les photos reproduites dans la publication d’une quarantaine de pages. A Arles et à Valence (voir / entendre l’extrait ci-dessous), ils ont imaginé avec tout ça de premières installations. []




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