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AudioArt Compilation 03 | Various Artists<\/strong><\/p>\n Gruen 041 | Audio CD > [Sold Out<\/span>]<\/p>\n MP3 > iTunes<\/a> <\/p>\n 01 Anthea Caddy and Thembi Soddell<\/strong><\/p>\n plait<\/p>\n (P) 2006, Australia<\/p>\n <\/p>\n 02 Stefan Funck<\/strong><\/p>\n MP3<\/a><\/p>\n NachtLKw<\/p>\n (P) 2006, Hamburg\/Germany<\/p>\n <\/p>\n 03 Budhaditya Chattopadhyay<\/strong><\/p>\n Benaras<\/p>\n (P) 2006, Kolkata, India<\/p>\n <\/p>\n 04 Music for one<\/strong><\/p>\n MP3<\/a><\/p>\n Beginnings With No Ends<\/p>\n Live at The Social, Nottingham,UK (P) 2002, United Kingdom<\/p>\n <\/p>\n 05 Costa Gr\u00f6hn<\/strong><\/p>\n Fundacio Antoni Tapies<\/p>\n Field Recording, 28\/07\/2006, 15:00h Barcelona, Catalonia, Spain (P) 2006, Spain<\/p>\n <\/p>\n 06 Brandstifter<\/strong><\/p>\n Rauschgiftengelloops<\/p>\n Live at St. Bonifazius Church 05.11.05, Mainz (P) 2005, Mainz\/Germany<\/p>\n <\/p>\n 07 Bela Emerson<\/strong><\/p>\n MP3<\/a><\/p>\n Subaqua<\/p>\n (P) 2006, United Kingdom<\/p>\n <\/p>\n 08 Patrick Franke<\/strong><\/p>\n Cospudener See<\/p>\n Field Recording, Markleeberg\/Teichrohrs\u00e4nger (P) 2006 Leipzig, Germany<\/p>\n <\/p>\n 09 Suspicion Breeds Confidence<\/strong><\/p>\n Meriten der Begeisterungsresistenz<\/p>\n (P) 2006, T. Bucalic\/T. Schmitt, Germany<\/p>\n <\/p>\n 10 Lasse-Marc Riek<\/strong><\/p>\n Nord-Ostdeutschland 2006<\/p>\n Field Recording, Samow, P\u00f6nitz, Grimmen (P) 2006 Frankfurt am Main\/Germany<\/p>\n <\/p>\n 11 etzin<\/strong><\/p>\n MP3<\/a><\/p>\n me and myself<\/p>\n (p) 2006, Frankfurt am Main<\/p>\n <\/p>\n 12 etzin\/riek<\/strong><\/p>\n unter the bonnet<\/p>\n Field Recording, motorway service area (P) 2003 Frankfurt am Main\/Germany<\/p>\n <\/p>\n 13 Martin Moritz<\/strong><\/p>\n MP3<\/a><\/p>\n Mitsubishi<\/p>\n (P) 2006, Hamburg\/Germany<\/p>\n <\/p>\n 14 gran o\u00f9 l\u00e9e<\/strong><\/p>\n Klippenkeks<\/p>\n (Study for a live set) (P) 2005 Koblenz, Germany<\/p>\n <\/p>\n 15 Carsten Klook<\/strong><\/p>\n In der Diskothek<\/p>\n Taken from „Halbe Portion Jubel“ (P) 2005 Hamburg, Germany<\/p>\n <\/p>\n —<\/p>\n <\/p>\n 15 Tracks (71’28“)<\/p>\n CD (250 copies)<\/p>\n <\/p>\n Compiled by Gruenrekorder\/Frankfurt am Main<\/p>\n \u00a9 By the artists of Gruenrekorder<\/p>\n \u00a9 Photos\/Artwork: Hartmut Wirks\/Frankfurt am Main<\/p>\n Layout: E6<\/p>\n Gruenrekorder \/ Germany \/ 2006 \/ Gruen\u00a0041 \/ LC 09488<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n 01 Vital Weekly<\/strong><\/p>\n GRUENREKORDER AUDIOART COMPILATION 03 (compilation CD by Gruenrekorder)<\/p>\n Germany’s Gruenrekorder label releases many CDRs, all dealing with ‚experimental‘ music in it’s wide variety of forms. Field recordings play an important role, but also electronics, improvisation and sound poetry. Every once in a while they release ‚real‘ CDs, usually compilations, filled with their roster. As such ‚Audioart Compilation 03‘ is nothing new under the sun. Costa Gr\u00fchn, Lasse-Marc Riek, Stefan Funck, Gran Ou Lee, Etzin, Suspicion Breeds Confidence: they are all names we heard before, on ‚Audioart Compilation 02‘ and the variety works well here again: from the engine of a car to a techno like song, and more adventurous forms of electronica: they are all there. It’s almost like a nice experimental radio show, except that there is no talking in between. But perhaps after the introduction from before, you could wonder why they need to be introduced again? Most remarkable, and perhaps one of the few non-German contributions is the one by Anthea Caddy and Thembi Soddell. (FdW)<\/p>\n link<\/a><\/p>\n <\/p>\n 02 textura | Ron Schepper<\/strong><\/p>\n VA: Audio Art Compilation 03 – Gruenrekorder<\/p>\n Gruenrekorder’s compilation features soundscapes from India, Australia, Spain, the UK, and primarily Germany. Inhabiting one end of the spectrum are relatively \u2018pure‘ field recordings (Budhaditya Chattopadhyay, Lasse-Marc Riek) which build arrangements from \u2018real‘ sounds (water ripples, birds, chanting voices, boat creaks, wind), the extreme case etzin\/riek’s „under the bonnet,“ four minutes of engine car noise recorded at the Autobahnrastst\u00e4tte; at the other end are more conventionally musical pieces which stand out all the more for being fewer in number. The prettiest is music for one’s live electric guitar setting, „Beginnings With No Ends,“ where simple motifs and swooping arcs turn hypnotic as they grow in number. Compelling too is UK cellist Bela Emerson’s „Subaqua“ whose loops and effects generate swirling, kinetic rhythms that at times verge on country-techno. Ranging further beyond are Suspicion Breeds Confidence’s „Meriten der Begeisterungsresistenz,“ a slow-moving exercise in psychedelic post-rock, and Martin Moritz’s „Mitsubishi,“ an anomalous sampling of bleepy techno sputter. More representative of the collection are pieces that straddle multiple realms: Stefan Funck’s eerie, multi-layered dreamscape „NachtLKw,“ Brandstifter’s „Rauschgiftengelloops,“ which drowns blurry choral voices in ambient noise, and „plait“ by Australian sound artists Anthea Caddy and Thembi Soddell which layers violent cello scrapes over a nearly inaudible base. AudioArt Compilation 03 offers a good representation, then, of soundscape-related activity dedicated to exploring the \u2018musicality of natural sound‘ though now might be as good a time as any to suggest a moratorium on bird and water sounds. January 2007<\/p>\n link<\/a><\/p>\n <\/p>\n 03 Quietnoise | Tobias Bolt<\/strong> 2007-01-24<\/p>\n Review – \u00bbAudio Art Compilation 03\u00ab Various Artists – \u00bbAudio Art Compilation 03\u00ab (Gruenrekorder)<\/p>\n Auch mit dem dritten Teil dieser Sampler-Reihe erm\u00f6glicht Gruenrekorder einen sch\u00f6nen Blick auf zumeist recht aktuelle Arbeiten der beteiligten K\u00fcnstler, wobei gleich mal auff\u00e4llt, dass im direkten Vergleich zum Vorg\u00e4nger einige neue Namen im Booklet auftauchen. Inhaltlich geraten die f\u00fcnfzehn Tracks dann erneut zu einer erfreulich widerborstigen Ansammlung von quer \u00fcber den hier schwammig zu denkenden Begriff Soundscape gef\u00e4cherten Beitr\u00e4gen, die von gewitzter Sound Poetry – Carsten Klook mit dem fantastischen Rausschmei\u00dfer \u00bbIn der Discothek\u00ab – \u00fcber spr\u00f6de Klangskulpturen, wie beispielsweise \u00bbSubaque\u00ab von Bela Emerson, bis hin zum klassischen Aufgabengebiet Field Recordings reichen. Diese stellen auch den Gro\u00dfteil der Arbeiten, dabei entweder g\u00e4nzlich im Urzustand belassen oder auch mittels lediglich sanften Treatments zu atmosph\u00e4rischen Soundcollagen verstrichen. Ein besonders sch\u00f6nes Beispiel f\u00fcr die zuletzt genannte Kategorie ist \u00bbNachtLKW\u00ab von Stefan Funck, der auf Tausendfuessler bereits eine kopfkinolastige Kurzstudie aus Eis und Schnee entworfen hat, und hier elegant Feldaufnahmen zu schwerelosen Drones \u00fcbereinander schichtet. Brandstifter liefern mit \u00bbRauschgiftengelloops\u00ab einen ebenso gelungenen Live-Mitschnitt aus der St. Bonifaz Kirche in Mainz, in dem Schallplatten-Loops von Chorges\u00e4ngen zu ruppig waberndem, vielschichtigem Ambient verklebt werden. Unbearbeitete Field Recordings steuern unter anderem Budhaditya Chattopadhyay (Indien), Costa Gr\u00f6hn (Barcelona), Patrick Franke (Cospudener See, Markleeberg) und Lasse-Marc Riek (Nord-Ostdeutschland) bei, wogegen man bei \u00bbMeriten der Begeisterungsresistenz\u00ab von Suspicion Breeds Confidence einer sehr entspannten \u00dcbung im Einzugsgebiet von elektronisch generiertem Ambient beiwohnen kann und music for one auf \u00bbBeginnins With No Ends\u00ab einfache Gitarrenfiguren hypnotisch geloopt um sich selbst kreisen lassen. Und auch die weiteren Beitr\u00e4ge bef\u00f6rdern den positiven weil ausgesprochen eigenwilligen Gesamteindruck eines Projekts, das sich als kraftvoller und h\u00f6renswerter Entwurf weit abseits von herk\u00f6mmlichen Anspr\u00fcchen und zugekn\u00f6pften H\u00f6rgewohnheiten pr\u00e4sentiert.<\/p>\n link<\/a><\/p>\n <\/p>\n 04 DE:BUG <\/strong> | link<\/a><\/p>\n <\/p>\n 05 Heathen Harvest<\/strong><\/p>\n Gruenrekorder\u2019s Audio Art Compilation 03, a collection of soundscapes from across the world, provides an excellent accompaniment to a windowed early morning train ride to work. There\u2019s just enough hushed noise of the birds and water variety to create a seamless blend between the cloud-filled, blue sky of the world outside and the interior space of one\u2019s headphones. At first. Then comes the rush of industrial organization, wheels grinding into place, and bells ringing. Throughout the album the artists circulate wildly between these poles, intruding on pacifying moments with bowed screeches and electronic whirs. And, since, hopefully one\u2019s commute to work isn\u2019t as long as this record, the last few tracks provide a pick-me-up, a few danceable beats even, to carry one home after work and over a new threshold entirely.<\/p>\n <\/p>\n Every so often a song interrupts the nature and klaxon mix to introduce a daydreamy concept, a few stolen moments of fading away from one\u2019s fellow commuters. Standing out among these stand outs is Music for One (Canadian guitarist Sherry Ostapovitch)\u2019s charming „Beginnings With No Ends“, which sounds like an outtake from Lee Ranaldo\u2019s recent guitarwork at its most lucid, chiming moments. The guitar beats slowly step over the frets, pausing between notes, as if the guitarist is casting her eyes over the surrounding scenery, adding the slow motion time of a visualscape to the soundscape. Whereas Music for One\u2019s guitar drifts oscillates wildly, Bela Emerson\u2019s „Subaqua“ renders the cello unrecognizable, looping it rapidly, as wider themes circumscribe vicious scrapes of and sawings at the instrument. The density of these two pieces adds a welcome degree of interruption to an album that can occasionally drift into the mesmerizing calm of soundscape beachcombing. Among the tracks that wring unease from soundfields and quiet are Suspicion Breeds Contempt\u2019s „Meriten der Begeisterungsresistenz“ and Lasse-Marc Riek\u2019s „Nord-Ostdeutshland 2006,“ both pieces that distend the more ambient forays found elsewhere on the album.<\/p>\n <\/p>\n Gruenrekorder has embarked on a difficult task, collecting soundscapes without sidestepping too far into bird squawks and wind tunnels, and for the most part, they\u2019ve succeeded in a creating an album of sparkly sequencing.<\/p>\n link<\/a><\/p>\n <\/p>\n 06 skug – Journal f\u00fcr Musik | Alfred Pranzl<\/strong><\/p>\n <\/p>\n Dem Ausloten von Klang gibt die \u00bbAudio Art Compilation 03\u00ab (Gruenrekorder) Raum. \u00bbNachtLKW\u00ab von Stefan Funck etwa hat ein b\u00f6ses Bassfrequenzwummern, w\u00e4hrend \u00bbBenares\u00ab von Budhaditya Chattopadhyay ein stimmiges Field Recording aus der indischen Pilgerstadt am Ganges ist. Music For One tr\u00e4gt ein wahres Juwel mit postrockigen Gitarren bei, oder Bela Emerson wundersame repetitive Geigenloopverschr\u00e4nkungen. Eine Vogelstimmencollage von Suspicious Breeds Confidence und ein originelles Mopedsample von Klippenkeks sind weitere Glanzpunkte aus der spannenden Compilation.<\/p>\n
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