{"id":11903,"date":"2014-06-02T10:47:20","date_gmt":"2014-06-02T10:47:20","guid":{"rendered":"http:\/\/www.gruenrekorder.de\/?page_id=11903"},"modified":"2017-08-07T20:50:20","modified_gmt":"2017-08-07T20:50:20","slug":"komplex-roger-doering-konrad-korabiewski","status":"publish","type":"page","link":"https:\/\/www.gruenrekorder.de\/?page_id=11903","title":{"rendered":"Komplex | Roger D\u00f6ring &#038; Konrad Korabiewski"},"content":{"rendered":"<p><img decoding=\"async\" title=\"Komplex | Roger D\u00f6ring &amp; Konrad Korabiewski\" src=\"https:\/\/www.gruenrekorder.de\/Photos\/komplex_lp_cover.jpg\" alt=\"Komplex | Roger D\u00f6ring &amp; Konrad Korabiewski\" border=\"1\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Komplex | <a href=\"https:\/\/www.gruenrekorder.de\/?page_id=11899\">Roger D\u00f6ring<\/a> &amp; <a href=\"https:\/\/www.gruenrekorder.de\/?page_id=11895\">Konrad Korabiewski<\/a><\/strong><br \/>\nGruen 126 | Vinyl &gt; [<a href=\"https:\/\/shop.gruenrekorder.de\/?full#Gruen_126\" target=\"_blank\" rel=\"noopener\">order<\/a>]<br \/>\n<a href=\"#reviews\">Reviews<\/a><br \/>\nngg_shortcode_0_placeholder<\/p>\n<p>&nbsp;<\/p>\n<p>The project was created over two years in Sey\u00f0isfj\u00f6r\u00f0ur, Iceland and in Berlin, Germany, and is an evolving conversation between D\u00f6ring\u2019s improvisation on acoustic instruments such as clarinet and saxophones, and Korabiewski\u2019s electronic live treatment and composition with D\u00f6ring\u2019s sounds. A third compositional element is contributed by the particular ambiences of the spaces in which the recordings took place, as Korabiewski and D\u00f6ring came together to record at sites with personal and acoustic resonance, from D\u00f6ring&#8217;s apartment in Berlin to an abandoned herring factory by the sea in east Iceland.<\/p>\n<p>&nbsp;<\/p>\n<p>Musically Komplex moves seamlessly between ethereal ambient re- frains, to a somber, churning low end, to a hypnotic looping rev- erie that slowly disintegrates as if under the burr and scratch of a gramophone needle. Melodic elements occasionally distort and peak into noise, lending the simplicity of solo instrumental im- provisation an atmospheric density, and revealing the material and spiritual limits of the fragile musical moments around which the album circles. The track titles, made of German expressions and short sentences, refer to the restless transience of creative life, much like that of a journeyman craftsperson centuries ago. The result is a highly expressive, dark, and deeply felt, honest album, reflective of shifting emotional states and uneasy sagas from the north.<\/p>\n<p>&nbsp;<\/p>\n<p>Side A<br \/>\n06:02 kremmenerstra\u00dfe [baritonsaxofon ]<br \/>\n<a href=\"https:\/\/www.gruenrekorder.de\/mp3\/02_seelisher_konflikt_sample1.mp3\" target=\"_blank\" rel=\"noopener\">MP3<\/a><br \/>\n03:07 seelischer konflikt [baritonsaxofon ]<br \/>\n06:24 flucht [baritonsaxofon ]<br \/>\n04:03 hof [tenorsaxofon ]<\/p>\n<p>&nbsp;<\/p>\n<p>Side B<br \/>\n<a href=\"https:\/\/www.gruenrekorder.de\/mp3\/05_wenn_es_gehen_will_lass_es gehen_sample2.mp3\" target=\"_blank\" rel=\"noopener\">MP3<\/a><br \/>\n04:44 wenn es gehen will la\u00df es gehen [klarinette ]<br \/>\n02:09 aber langsam gehe ich meinen weg &#8211; langsam [klarinette,diktaphon ]<br \/>\n05:34 wohin des weges, wandersmann? [klarinette ]<br \/>\n04:24 zeit heilt alle wunden [tenorsaxofon ]<\/p>\n<p>&nbsp;<\/p>\n<p>8 Tracks (36\u203229\u2033)<br \/>\nVinyl (300 copies)<\/p>\n<p>&nbsp;<\/p>\n<hr size=\"2\" width=\"100%\" \/>\n<p>&nbsp;<\/p>\n<p>Icelandic fimartist Kristj\u00e1n Lo\u00f0mfj\u00f6r\u00f0 created a video work for the album track Flucht. A signature meditation on the grain of the far northern landscape as counterpart to the grain of D\u00f6ring&#8217;s horn.<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/97848921\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<hr size=\"2\" width=\"100%\" \/>\n<p>&nbsp;<\/p>\n<p>Artists: Roger D\u00f6ring | Konrad Korabiewski<br \/>\nTitle: Komplex<br \/>\nFormat: 33 1\/3 rpm \/ 180g vinyl LP<br \/>\nLimited edition 300 copies<\/p>\n<p>&nbsp;<\/p>\n<p>Label: Gruenrekorder [Frankfurt am Main] with<br \/>\n<a href=\"http:\/\/skalar.is\/\" target=\"_blank\" rel=\"noopener\">Sk\u00e1lar | Sound Art | Experimental Music<\/a>, Sey\u00f0isfj\u00f6r\u00f0ur, East Iceland<\/p>\n<p>&nbsp;<\/p>\n<p>Recorded and composed by Konrad Korabiewski with Roger D\u00f6ring in<br \/>\nBerlin and Sey\u00f0isfj\u00f6r\u00f0ur, November 2011 &#8211; December 2013<br \/>\nMixed by Dirk Dresselhaus (Schneider TM) at ZONE, Berlin, 2014<br \/>\nMastered by Christoph Grote-Beverborg at Dubplates<\/p>\n<p>&nbsp;<\/p>\n<p>Cover photo by Laurent Ambroggiani taken in East Iceland<br \/>\nArtwork by Martina Knittel<\/p>\n<p>&nbsp;<\/p>\n<p>Supported by Danish Arts Foundation, Danish Composers Society&#8217;s Production Pool, KODA&#8217;s Fund for. Social and Cultural Purposes.<\/p>\n<p>&nbsp;<\/p>\n<p>Sound Art Series by Gruenrekorder<br \/>\nGermany \/ Gruen 126 \/ Iceland \/ Sk\u00e1lar 001 \/ 2015 \/ LC 09488 \/ EAN 4050486903940<\/p>\n<p>&nbsp;<\/p>\n<hr size=\"2\" width=\"100%\" \/>\n<p>&nbsp;<\/p>\n<p><a name=\"reviews\"><\/a><strong>Reviews<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Duncan Simpson | <a href=\"https:\/\/www.musiquemachine.com\" target=\"_blank\">Musique Machine<\/a><\/strong><br \/>\nAnother release from the sound-art side of Germany&#8217;s Gruenrekorder, Komplex is a collaboration between saxophonist Roger D\u00f6ring and electronic improviser Konrad Korabiewski. Recorded over two years in a variety of locations and different acoustic spaces, D\u00f6ring, who also improvises on c clarinet, provides the material which Korabiewski manipulates into unfamiliar shapes or adds to with mostly subtle electronics and field recordings.<\/p>\n<p>&nbsp;<\/p>\n<p>The first piece Kremmenerstra\u00dfe opens with quiet street noise (perhaps recorded from the Berlin street which gives the piece its title) before D\u00f6ring&#8217;s baritone sax appears playing extended low notes which are overdubbed and lightly processed by Korabiewski. The combination of distant street noise and closely mic&#8217;d acoustic instrumentation is initially a little uncomfortable but as each layer of acoustic sound is added the tonal colour of the whole resolves into something quite darkly harmonious. The melodic element is amplified on the second piece Seelischer konflikt (Psychological conflict) which sees D\u00f6ring interspersing searching melancholic passages with interestingly constructed, near percussive effects and drawn out droning tones. This is further refined on Flucht(Flight) with a doom jazz pace and atmosphere that would no doubt appeal to those inclined towards Bohren &#038; der Club of Gore. Korabiewski ramps up the distortion as the piece progresses never allowing the listener to fall into complacency and on the last piece on side A, Hof (Court) processes D\u00f6ring&#8217;s tenor sax into a wild m\u00e9lange of lugubrious tones and half formed melodies.<\/p>\n<p>&nbsp;<\/p>\n<p>The second side continues in this vein on Wenn es gehen will la\u00df es gehen (If it wants to go let it go) building up from short clarinet phrases which hover tentatively before giving way to others. The production here utilises the natural acoustics of the space and with light use of reverb creates the impression of a complex interplay between distance and nearness, as if a quartet of players were secreted around what might be an ancient sacred space. This delicately balanced acoustic environment is rudely shattered on what is for me the least successful piece here Aber langsam gehe ich meinen weg \u2013 langsam (But slowly I go my way &#8211; slowly). D\u00f6ring&#8217;s clarinet is filtered through a dictaphone, generating that characteristic distortion and overdrive which while just about holding on to the melodic content is painful to the ear after the previous tracks, which had lulled us into the manner of close listening. It&#8217;s thankfully the shortest piece here.<\/p>\n<p>&nbsp;<\/p>\n<p>The final two pieces return to the layering and acoustic manipulations of before. Wohin des weges, wandersmann? (Where is the path, wanderer?) reflects the searching quality of its title with D\u00f6ring&#8217;s clarinet leading us on a meandering series of short minor melodies which dip in and out of the acoustic space. The recording also making interesting use of amplified fingering on the instrument, heard through little clicks and rubs. Appropriately this is the only track that ends in a fade-out with the players still searching for the path. Zeit heilt alle wunden (Time heals all wounds) completes the set on the most melancholy note yet. Returning to the tenor saxophone D\u00f6ring&#8217;s playing exudes a reflective, almost plaintive melody over layered drones emanating out of the space. It&#8217;s a dark note to complete what is an almost overwhelmingly shady record capturing in a vaguely classical\/Jazz idiom something of the darkness of the northern lands.<br \/>\n<a href=\"https:\/\/www.musiquemachine.com\/reviews\/reviews_template.php?id=6323\" target=\"_blank\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/illustratedamateur.com\" target=\"_blank\" rel=\"noopener\">illustrated amateur<\/a><\/strong><br \/>\nFor as much as my aesthetics may define me, there are some bits that are still pretty mysterious. I can&#8217;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 D\u00f6ring and Konrad Karabiewski&#8217;s Komplex, after listening to only to a scant few samples.<\/p>\n<p>&nbsp;<\/p>\n<p>Korabiewski is credited in the duo with &#8222;live processing&#8220;\u2014essentially adding effects and treatments to D\u00f6ring&#8217;s reeds as they are played. This sort of configuration usually leads to a heavy hand on the effects, since only the saxophonist is contributing original sonic content. Quite surprisingly, Korabiewski has a soft touch, letting the saxophone breath\u2014using his role more to provide an atmospheric contextualization. I haven&#8217;t heard such subtle manipulation since Brian Eno and Harold Budd&#8217;s collaborations.<br \/>\n<a href=\"http:\/\/illustratedamateur.com\/home\/2017\/1\/7\/komplex\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"https:\/\/www.thewire.co.uk\" target=\"_blank\" rel=\"noopener\">The Wire Magazine<\/a> | Issue 389<\/strong><br \/>\nIt would be a cliche to recourse to the idea that Iceland\u2019s treeless environment impacts on any music made by artists living there. But the plaintive baritone saxophone on \u201cKremmerstrasse\u201d vividly suggests it does, as it plays out over voices that alternate between agitated talk and half-singing. There\u2019s also the sound of traffic and a whining dog, albeit buried in the deep drone of the saxophone. These tracks coulbe be brief extracts from films, their mood and tempo changing as the flicker from one to the next. The clarinet melody closing \u201cZeit Heilt Alle Wunden\u201d is an almost direct reference to the vocal melody ending \u201cWarszawa\u201d on Bowie\u2019s Low. But the resemblance stops there.<br \/>\n<a href=\"https:\/\/www.thewire.co.uk\/issues\/389\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Ed Pinsent | <a href=\"http:\/\/www.thesoundprojector.com\" target=\"_blank\" rel=\"noopener\">The Sound Projector<\/a><\/strong><br \/>\nKonrad Korabiewski and Roger D\u00f6ring took about two years to complete Komplex (GRUENREKORDER Gruen 126 \/ SK\u00c1LAR 001), a sound-art work that involved travels in Berlin and Iceland, much recording and playing, and contemplation\u2026it might be more helpful to think of the work as a dialogue between the two men that gradually picks up steam, although \u201csteam\u201d is the last word on one\u2019s mind as one endures these freezing-cold and deathly slow explorations in sound. D\u00f6ring plays his clarinets and saxophones at a lugubrious speed, while Korabiewski processes the results in some way using \u201celectronic live treatments\u201d. Location recordings play a part in the finished product too, and quite often the performed sounds are embedded directly in very specific \u2013 and very audible \u2013 places in Germany and Iceland.<\/p>\n<p>&nbsp;<\/p>\n<p>In this regard at least, I\u2019m reminded of the English players Noteherder and McCloud who have often taken their instruments out en plein air, except they seem to do it much more prolifically, producing juicy and resonant sax-electronic yawps in echoing halls and on busy Brighton roadways, and without encumbering the listener with much in the way of conceptual baggage. Komplex, on the other hand, is intent on providing us with a solemn statement about \u201cshifting emotional states and uneasy sagas from the North\u201d. It\u2019s hard to feel much of a connection to the actual places where the recordings took place, and mostly what comes across instead is the duo projecting their own inner desolation onto the world, using the four walls of a house or a factory as screens.<\/p>\n<p>&nbsp;<\/p>\n<p>I\u2019m prepared to believe the sites had \u201cpersonal\u201d meaning for them, but perhaps they could have tried harder to communicate this, instead of falling back on a sense of all-purpose melancholy. The general air of grimness is reflected in the grey-monochrome sleeve art and photographs by Martina Knittel, and for those seeking further visual analogues, one track \u2018Flucht\u2019 has a promo video created by Kristj\u00e1n Lo\u00f0mfj\u00f6r\u00f0. In its favour, I\u2019ll say that the recordings here are exceptionally clear and vivid, and I\u2019ll admit the overall sound of the record does have a certain weight and authority, which may be partially due to the mixing skills of Schneider TM.<br \/>\n<a href=\"http:\/\/www.thesoundprojector.com\/2016\/03\/20\/emotional-conflict\/\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>DM | <a href=\"http:\/\/www.vitalweekly.net\" target=\"_blank\" rel=\"noopener\">VITAL WEEKLY<\/a><\/strong><br \/>\nThis collaboration by multimedia artist Korabiewski and saxophonist D\u00f6ring was realized over a period of two years in Iceland and Berlin. Korabiewski is a sound-artist, composer and media artist, plus director of a centre for experimental music in Iceland. Berlin-born D\u00f6ring is a musician but also working as an actor in film and theatre. Since 1999 he is one half of the German duo Dictaphone. On this album D\u00f6ring plays baritone sax, tenorsax, clarinet and dictaphone. In each track only one of these instruments is played. Korabiewski adds a live electronic treatment, with a special attention for the acoustics of the recording sites. But also dubbing D\u00f6rings playing. His treatments are of a minimal and sober kind, but also unmistakably present, giving the sound its definite shape. D\u00f6ring plays long notes, musical lines that meander slowly forward. So their musical dialogues are overall of a meditative and reflective nature. It like their improvisations most all because of the physicality and concreteness of the sounds produced. Very pure and with an emotional content. Very impressive is also the picture on the cover of this album. Two people in the front seats of an automobile, photographed from the back. Just seeing the silhouettes of both persons. Intriguing.<br \/>\n<a href=\"http:\/\/www.vitalweekly.net\/993.html\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Guillermo Escudero | <a href=\"http:\/\/www.loop.cl\" target=\"_blank\" rel=\"noopener\">Loop<\/a><\/strong><br \/>\nFrom the Gruenrekorder\u2019s Sound Art series of the German Gruenrekorder label is released \u2018Komplex\u2019 of German Multi Instrumentalist, actor in theatre and film and one half of Dictaphone, who meet Polish\/Danish\/Islandic multimedia artist, composer, sound artist, Konrad Korabiewski.<br \/>\n&#8218;Komplex&#8216; was a project created over two years in Sey\u00f0isfj\u00f6r\u00f0ur, Iceland and Berlin, Germany. This work includes improvisations with tenor and baritone saxophones and clarinet performed by D\u00f6ring and electronic manipulations by Korabiewski, plus field recordings recorded in Berlin and the east of Iceland.<br \/>\n&#8218;Komplex&#8216; was released on vinyl in a limited run of 300 copies which lasts in 36 minutes.<br \/>\nThe melodic baritone sax tones appear in a desolate and lonely cold place denoting certain melancholy that sometimes is interrupted by noises. However, the characteristic is that the saxophone is spread on a placid ambient where faint electronic treatments come to the surface just as the drone on \u2018Zeit heilt alle wunden\u2019.<br \/>\nIn this minimalist work some voices are perceived on &#8218;Kremmenerstra\u00dfe&#8216; while continues his languorous baritone sax trip.<br \/>\n&#8218;Flucht&#8216; is a track and a video that displays images made in black and white of the sea in the east of Iceland, sometimes a little blurred and at times turn into black. This aesthetic reflects very well the cold environment of floating ice.<br \/>\nThis is a work in which is appreciated a subtle blend of melody and melancholy.<br \/>\n<a href=\"http:\/\/www.loop.cl\/index.php?option=com_content&amp;task=view&amp;id=1178&amp;Itemid=27\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Denis Boyer | <a href=\"http:\/\/www.feardrop.net\" target=\"_blank\" rel=\"noopener\">FEARDROP<\/a><\/strong><br \/>\nIl est rare que, m\u00eame dans sa s\u00e9rie Sound Art, la plus \u00ab musicale \u00bb, le label allemand Gruenrekorder n\u2019invite pas d\u2019artistes mettant en \u0153uvre divers field recordings, m\u00eal\u00e9s \u00e0 d\u2019autres sons venant d\u2019instruments. Le LP vinyle Komplex, par le duo Konrad Korabiewski &amp; Roger D\u00f6ring, d\u00e9roge presque \u00e0 cette r\u00e8gle, en utilisant principalement le saxophone baryton et la clarinette. On ne peut toutefois imaginer que sur ce label d\u00e9di\u00e9 aux sons capt\u00e9s, il ne figure rien d\u2019environnemental. C\u2019est la derni\u00e8re composante, qui prend naissance avec un dictaphone. D\u00f6ring joue, improvise, Korabiewski traite en live, et le tout est recouvert, cuisin\u00e9, lev\u00e9 gr\u00e2ce au ferment environnemental capt\u00e9 dans diff\u00e9rents lieux, lesquels peuvent relever de l\u2019intime (appartements) ou avoir \u00e9t\u00e9 choisis pour leur qualit\u00e9 de r\u00e9sonance (une usine abandonn\u00e9e).<br \/>\nLes phrases des instruments \u00e0 vent d\u00e9fient le temps et son d\u00e9roulement, elles s\u2019annoncent parfois en notes isol\u00e9es, ou le plus souvent en s\u00e9quence m\u00e9lancolique et sombre, toujours rehauss\u00e9es dans leur myst\u00e8re par le traitement que nous avons \u00e9voqu\u00e9, puis oxyd\u00e9es par les t\u00e9moignages du dictaphone. Les cr\u00e9pitements ponctuent ainsi, ou veinent sobrement, un fredonnement plongeant dans la gravit\u00e9. Une musique ambiante, v\u00e9ritablement ambiante et habit\u00e9e s\u2019illustre alors en r\u00e9miniscence d\u2019un expressionnisme primitif, dans quoi les formes les plus simples exacerbent le rythme intime pour refa\u00e7onner la respiration et la cadence cardiaque sur le mod\u00e8le du chantonnement cr\u00e9pusculaire. Alors, hant\u00e9s par le miroitement du cuivre et le vrombissement infra, les souffles ma\u00eetris\u00e9s de l\u2019instrument, dans leur circulaire obscurit\u00e9 romantique finissent par rappeler la gr\u00e2ce d\u2019une \u0153uvre aussi essentielle que The Radio de Steve Roden.<br \/>\n<a href=\"http:\/\/www.feardrop.net\/chroniques.html\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>felix | <a href=\"http:\/\/freistil.klingt.org\/\" target=\"_blank\" rel=\"noopener\">freiStil \u2013 Magazin f\u00fcr Musik und Umgebung \/ #61<\/a><\/strong><br \/>\nRoger D\u00f6ring (ts, bars, cl, diktafon), Konrad Korabiewski (e)<br \/>\nDer deutsche Multiholzbl\u00e4ser Roger D\u00f6ring ist auf dieser brillanten Platte \u2013 eine weitere Gro\u00dftat des Gruenrekorder-Labels \u2013 f\u00fcr die akustischen Improvisationen zust\u00e4ndig, Konrad Korabiewski, ein Mann mit vielen Herk\u00fcnften (Polen, D\u00e4nemark, Island, Deutschland) behandelt D\u00f6rings Gebl\u00e4se live-elektronisch, spitzt sie zu, flacht sie ab, bringt sie auf den Punkt, je nach Bedarf und Bed\u00fcrfnis. Nicht unwesentlich bei der Entstehung der vorliegenden Soundscapes ist die Ber\u00fccksichtigung verschiedener Aufnahmesituationen. Die reichen von einer Wohnung in Berlin bis hinaus zu einer aufgelassenen Fabrikshalle auf Island. Entsprechend unterschiedlich ausdifferenziert findet dieser Komplex klanglich statt. Von smart bis hart reicht die Ausdruckspalette. Manchmal herrscht mildes Klima vor, dann wieder wilde Verzerrung. So kommt diese ambitionierte Ambientmusik daher: roh und ausgekocht zugleich. Ta-del-los.<br \/>\n<a href=\"http:\/\/freistil.klingt.org\/\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"http:\/\/www.textura.org\" target=\"_blank\" rel=\"noopener\">textura<\/a><\/strong><br \/>\nBest known as one-half of German outfit Dictaphone, Roger D\u00f6ring joins forces with sound artist and current director of Sk\u00e1lar\u2014Centre for Sound Art and Experimental Music Konrad Korabiewski for a twelve-inch vinyl set (300 copies available) of moody, woodwinds-based ruminations. The eight settings on Komplex document improvised interactions between D\u00f6ring&#8217;s clarinet and saxophones (tenor, baritone) and Korabiewski&#8217;s electronic treatments and sound manipulations. Also figuring into the album&#8217;s character are the locales themselves where the material came into being, as the duo recorded Komplex at sites possessing personal meaning, such as D\u00f6ring&#8217;s Berlin apartment and an abandoned herring factory in east Iceland.<\/p>\n<p>&nbsp;<\/p>\n<p>The thirty-six-minute recording is elevated considerably by D\u00f6ring&#8217;s fine-tuned melodic sensibility, which is complemented effectively by Korabiewski&#8217;s ethereal atmospheric treatments. Stated otherwise, the woodwind playing alone, especially when presented in multi-layered form, commands the listener&#8217;s attention; with field recordings and other textural details added in, Komplex becomes all the more satisfying a proposition. Pieces range from sombre funereal meditations (\u201ckremmenerstra\u00dfe\u201d) to brooding nightscapes redolent of mysterious European cityscapes (\u201cflucht\u201d), with many of the duo&#8217;s plaintive reveries unfolding at a slow and measured pace. There&#8217;s a graininess to some of it (see \u201caber langsam gehe ich meinen weg \u2013 langsam\u201d) that makes it resemble a corroded tape of soundtrack material created for a \u201860s black-and-white film from Germany or Poland. D\u00f6ring&#8217;s clarinet playing is particularly haunting in \u201cwenn es gehen will la\u00df es gehen,\u201d but much the same could be said about the recording as a whole. Though Komplex would be short by CD standards, its eight evocative settings fit the vinyl format perfectly. There&#8217;s enough included to provide a full meal, yet not so much that the album overstays its welcome.<br \/>\n<a href=\"http:\/\/www.textura.org\/reviews\/doring_rothenberg.htm\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Brian Olewnick | <a href=\"http:\/\/olewnick.blogspot.de\" target=\"_blank\" rel=\"noopener\">Just outside<\/a><\/strong><br \/>\nD\u00f6ring plays clarinets, tenor and baritone saxophones and Korabiewski supplies electronics, the pieces also ceding space to the environments in which they were recorded. The reed playing is generally somber and smooth, stating simple melodies with a dirge or folk character (reminded me of the slower portions of that old Skidmore\/Osbourne\/Surman recording on Ogun), only once delving into distortion when he runs the sound through a dictaphone. The electronics are very subtle, sometimes hardly there, although there&#8217;s also either overdubbing of the reeds or real-time sampling. The music is moodily bleak, melancholic with a tendency toward sentiment. But at times, a certain balance is reached and the music floats wonderfully. &#8222;flucht&#8220;, where D\u00f6ring is on baritone, is my favorite track, one that recalls Roscoe Mitchell\/AEC with deep, mournful flutters mixed with gradually strengthening scratchy interference-excellent. Most of the rest, while entirely pleasant, dwells in one area a bit overmuch; I&#8217;d like to have heard more chances taken.<br \/>\n<a href=\"http:\/\/olewnick.blogspot.de\/2015\/05\/the-vinyl-keeps-on-comin-robert.html\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u0141ukasz Kom\u0142a | <a href=\"http:\/\/www.nowamuzyka.pl\" target=\"_blank\" rel=\"noopener\">Nowamuzyka.pl<\/a><\/strong><br \/>\nDobrze sprawdzone patenty, czyli po\u0142\u0105czenie instrument\u00f3w akustycznych i elektroniki, ale efekt niecodzienny.<\/p>\n<p>&nbsp;<\/p>\n<p>Roger D\u00f6ring (ur. w 1961 r.) to muzyk i aktor, kt\u00f3ry intensywnie tworzy od pocz\u0105tku lat 80. Cz\u0142onek niemieckiego duetu Dictaphone. Wraz z Rudu Moserem (Einst\u00fcrzende Neubauten) utworzyli projekt Orchestra Obscure. Wsp\u00f3\u0142pracowa\u0142 te\u017c z japo\u0144skim gitarzyst\u0105 i kompozytorem Takeshi Nishimoto. Obecnie swoj\u0105 uwag\u0119 D\u00f6ring skierowa\u0142 w stron\u0119 wsp\u00f3lnych dzia\u0142a\u0144 z polsko-du\u0144sko-islandzkim artyst\u0105 multimedialnym Konradem Korabiewskim (ur. w 1978 r.) szukaj\u0105cym w swoich pracach nowych mo\u017cliwo\u015bci wykrywania, wyra\u017cania i przenoszenia pogl\u0105d\u00f3w filozoficznych do \u015bwiata sztuki. Korabiewski jest za\u0142o\u017cycielem, a obecnie dyrektorem Sk\u00e1lar \u2013 Centrum Sztuki D\u017awi\u0119ku i Muzyki Eksperymentalnej w Islandii.<\/p>\n<p>&nbsp;<\/p>\n<p>Album \u201eKomplex\u201d powstawa\u0142 na przestrzeni ostatnich dw\u00f3ch lat w Sey\u00f0isfj\u00f6r\u00f0ur (Islandia) i Berlinie. D\u00f6ring (saksofon barytonowy, tenorowy i klarnet) i Korabiewski (elektronika) wyszukiwali odpowiednich miejsc pod wzgl\u0119dem akustyki, w kt\u00f3rych mogliby zarejestrowa\u0107 sw\u00f3j materia\u0142. Jak si\u0119 okaza\u0142o, mieszkanie D\u00f6ringa w Berlinie i opuszczona fabryka przetw\u00f3rstwa rybnego we wschodniej Islandii rezonuj\u0105 w wyj\u0105tkowy spos\u00f3b, gdzie te\u017c dokonano nagra\u0144.<\/p>\n<p>&nbsp;<\/p>\n<p>Czarn\u0105 p\u0142yt\u0119 wype\u0142ni\u0142o osiem kompozycji, kt\u00f3rych niespieszne tempo pozwala odkry\u0107 istot\u0119 przekazu obu artyst\u00f3w (tytu\u0142y utwor\u00f3w r\u00f3wnie\u017c to podkre\u015blaj\u0105), czyli aspekt przemijalno\u015bci tw\u00f3rczego \u017cycia. Muzycy zderzaj\u0105 ze sob\u0105 warstw\u0119 akustyczn\u0105 i elektroniczn\u0105. Niby nic nowego, a jednak magnetyzm i hipnotyczny trans, jaki mamy na \u201eKomplex\u201d, nie pozwala przej\u015b\u0107 oboj\u0119tnie obok tego wydawnictwa. \u201eKremmenerstra\u00dfe\u201d i \u201eSeelischer konflikt\u201d to znakomity wst\u0119p zbudowany na partiach barytonowego saksofonu, a fantastyczny \u201eFlucht\u201d (niemal ambientowy) zachwyci fan\u00f3w Colina Stetsona, cho\u0107 chcia\u0142oby si\u0119, aby Kanadyjczyk nagra\u0142 co\u015b tak minimalistycznego, jak to nagranie duetu. W \u201eHof\u201d nak\u0142adane na siebie d\u017awi\u0119ki saksofonu tenorowego oraz sonorystyczna, delikatna elektronika Korabiewskiego prowadz\u0105 nas do pi\u0119knego klarnetowego fragmentu \u201eWenn es gehen will la\u00df es gehenn\u201d. Z kolei \u201eAber langsam gehe ich meinen weg \u2013 langsam\u201d zaskakuje swoj\u0105 zadziorno\u015bci\u0105 uzyskan\u0105 przez brzmienie dyktafonu. Medytacyjna ko\u0144c\u00f3wka w postaci \u201eWohin des weges, wandersmann?\u201d i \u201eZeit heilt alle wunden\u201d utwierdza mnie w przekonaniu, \u017ce obcuj\u0119 z niezwykle ciekawym albumem i licz\u0119 na wi\u0119cej w przysz\u0142o\u015bci.<\/p>\n<p>&nbsp;<\/p>\n<p>P\u0142yta \u201eKomplex\u201d mog\u0142aby by\u0107 \u015bcie\u017ck\u0105 d\u017awi\u0119kow\u0105 do jakiego\u015b dokumentu Wernera Herzoga, lecz p\u00f3ki co istnieje jako autonomiczne dzie\u0142o pe\u0142ne osobistego uroku. Ci\u0119\u017cko jest si\u0119 oderwa\u0107 od tego winyla, mam nadziej\u0119, \u017ce i was on zachwyci.<br \/>\n<a href=\"http:\/\/www.nowamuzyka.pl\/2015\/05\/21\/roger-doring-konrad-korabiewski-komplex\/\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Pierre C\u00e9cile | <a href=\"http:\/\/grisli.canalblog.com\" target=\"_blank\" rel=\"noopener\">Le son du grisli<\/a><\/strong><br \/>\nDiantre, une nouvelle affaire &amp; d\u00e9j\u00e0 le premier indice (couverture du LP). Me voil\u00e0 embarqu\u00e9 en v\u00e9hicule motoris\u00e9 derri\u00e8re Sir (Roger) D\u00f6ring et Lord (Konrad) Korabiewski. J&#8217;imagine qu&#8217;ils ne m\u2019imaginaient certainement pas si fin limier\u2026 Et ce que de ma place \u00e0 l\u2019arri\u00e8re j\u2019aper\u00e7ois de la route (ce type de bande rugueuse et cette forme de gros nuage) me fait dire qu\u2019on est en Islande. Et en Islande de l\u2019est, qui plus est.<\/p>\n<p>&nbsp;<\/p>\n<p>Bingo, mecs ! L\u2019Islande de l\u2019est, rien que \u00e7a\u2026 Je m\u2019attends maintenant \u00e0 ce que vous me fassiez \u00e9couter vos plus belles prises de roucoulements de gobemouches et de respiration de fl\u00e9tans des glaces chop\u00e9s lors de la saison propice \u00e0 l\u2019agrandissement de la famille. Alors ? Non ? Mais alors, quoi ? Est-ce que l\u2019\u00e9tiquette fieldrecs naturalistes de la firme Gruenrekorder m\u2019aurait mystifi\u00e9 ?<\/p>\n<p>&nbsp;<\/p>\n<p>J\u2019ai failli vous avoir avec mon histoire de gobemouches\u2026 Bien s\u00fbr que je m\u2019attendais un peu \u00e0 ces solos ou solos \u00e0 deux (je pr\u00e9f\u00e8re cette fa\u00e7on de dire) de saxophones t\u00e9nor et baryton et de clarinettes. Et de dictaphone, toc \/ un fl\u00e9tan derri\u00e8re la clarinette ? comme si de rien n\u2019\u00e9tait. Non ? Bref. Les instruments de D\u00f6ring &amp; Korabiewski sont d\u2019un naturel \u00e9poustouflant et leur jeu est p\u00e9tri de m\u00e9lancolie (pas de cette m\u00e9lancolie fastoche post-ECM (parfois, quand m\u00eame un peu), mais d\u2019un vrai truc qui vous prend l\u00e0). Et les huit petites pi\u00e8ces qu\u2019ils l\u00e2chent sur ce vinyle sont autant de bouteilles \u00e0 la mer lanc\u00e9es contre un glacier.<\/p>\n<p>&nbsp;<\/p>\n<p>C\u2019est loin, l\u2019Islande, et tu m\u2019\u00e9tonnes que tu pleures. Mais ne pleure plus, Konrad, et toi non plus, Roger, ne pleure plus : j\u2019arrive\u2026 Je suis derri\u00e8re vous, face \u00e0 l\u2019Islande du Sud. Le retour c\u2019est pour maintenant !<br \/>\n<a href=\"http:\/\/grisli.canalblog.com\/archives\/2015\/05\/04\/31996563.html\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Anna Ullman | <a href=\"http:\/\/www.information.dk\" target=\"_blank\" rel=\"noopener\">Dagbladet Information<\/a><\/strong><br \/>\n&#8222;Den polsk-danske multimediekunstner Konrad Korabiewski og den tyske musiker Roger D\u00f6ring arbejder p\u00e5 pladen Komplex med skr\u00f8belige stemningsnedf\u00e6ldninger. \u00bbKremmenerstrasse\u00ab er en dronende lydkulisse, hvor rumst\u00f8j og stemmefragmenter kommunikerer med D\u00f6rings elektronisk modificerede klarinet og saxofon. Der er en vemodig berlinermodernisme over de melankolske og bl\u00f8dt beboelige klangrum, som duoen fremmaner. D\u00f6ring bruger bl\u00e6serne uselvisk og eftert\u00e6nksomt \u2013 som om det hele tiden veksler mellem at sige noget og vente p\u00e5 at modparten skal komme med et udsagn. P\u00e5 stykket \u00bbAber langsom gehe ich meinen Weg \u2013 langsam\u00ab h\u00f8rer vi de susende ulyde fra b\u00e5ndoptageren. Korabiewskis lydmanipulationer kr\u00f8ller instrumentet sammen til en kassabel metalterning af skrot, for s\u00e5 at pakke det ud igen til dets oprindelige form og n\u00e6nsomt udglatte alle folderne og ridserne. Her foreg\u00e5r m\u00f8det mellem mennesket og maskinen for en gangs skyld glat og uproblematisk, ja n\u00e6rmest smukt&#8220;<br \/>\n<a href=\"http:\/\/www.information.dk\/503588\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Rasmus Cleve Christensen\u00a0|\u00a0<a href=\"http:\/\/seismograf.org\" target=\"_blank\" rel=\"noopener\">Seismograf \/ DMT<\/a><\/strong><br \/>\nEt digitalorganisk klangstudium<br \/>\nAnmeldelse af Roger D\u00f6ring &amp; Konrad Korabiewski: Komplex<br \/>\nVinyludgivelsen Komplex er et behersket, urov\u00e6kkende og dragende bekendtskab, der fremst\u00e5r simpelt i sit udtryk men gemmer p\u00e5 et umage samspil mellem forskellige klanguniverser.<\/p>\n<p>&nbsp;<\/p>\n<p>Den polsk-danske multimediekunster Konrad Korabiewski har sammen med den tyske multiinstrumentalist Roger D\u00f6ring skabt albummet Komplex, der udkommer p\u00e5 vinyl i 300 eksemplarer i dag. Det sker gennem det tyske pladeselskab Gruenrekorder, der specialiserer sig i field recordings og diverse lydeksperimenter og bl.a. har udgivelser med Chris Watson, Jez riley French, Derek Holzer og Ben Owen bag sig. Den aktuelle udgivelse sker desuden i samarbejde med Sk\u00e1lar \u2013 Centre For Sound Art &amp; Experimental Music, der har til huse i det \u00f8stlige Island og drives af bl.a. Korabiewski, der til dagligt er bosat her.<\/p>\n<p>&nbsp;<\/p>\n<p>Korabiewskis praksis kredser normalt om forskellige eksperimenter p\u00e5 tv\u00e6rs af medier og kulminerer i enten lyd- og videobaserede performances, koncerter eller \u2013 som det var tilf\u00e6ldet med v\u00e6rket P\u00e5virket som kun et menneske kan v\u00e6re (2010) \u2013 i et interaktivt kunstobjekt i udvidet bogform. Sidstn\u00e6vnte indeholdt en lydside, der bl.a. bestod af bidrag fra D\u00f6ring. Indspilningerne til Komplex er foreg\u00e5et over en to\u00e5rig periode i tiden efter bogsamarbejdet p\u00e5 forskellige lokationer i Island og Berlin; de to parters respektive hjemmebaner. D\u00f6ring g\u00f8r sig desuden i forskellige andre musikalske konstellationer og samarbejder bl.a. med Rudolf Moser fra Einst\u00fcrzende Neubauten, ligesom han laver musik til film, teater og dans.<\/p>\n<p>&nbsp;<\/p>\n<p>En umage symbiose<br \/>\nDet er langt hen ad vejen D\u00f6rings input, der b\u00e6rer pladen. Helt konkret best\u00e5r hans bidrag af en r\u00e6kke improvisationer p\u00e5 forskellige tr\u00e6bl\u00e6sere. Disse bearbejdes real time af Korabiewski, der med sin computer sv\u00f8ber de velkendte lyde af klarinet og saxofon i digitale klangflader og resonansfiltre, der f\u00e5r tonen til at selvoscillere og forekomme n\u00e6rmest helt elektronisk, inden den igen indtager sin oprindelige form. Herved kontrasteres den varme og organiske kerne med en k\u00f8lig og sp\u00f8gelsesagtig overflade, der skiftevis sl\u00f8rer og afsl\u00f8rer tonens oprindelse. Og det er denne flydende vekselvirkning mellem de to klanguniverser, der g\u00f8r udgivelsen til b\u00e5de uhyggelig og interessant lytning.<\/p>\n<p>&nbsp;<\/p>\n<p>Selvom D\u00f6ring leverer st\u00f8rstedelen af det musikalske indhold, er det ikke desto mindre Korabiewskis behandling, der omslutter melodifragmenterne i det ustabile lydbillede, der er med til at give udgivelsen sit s\u00e6rlige feel. I m\u00f8det skabes der en verden, et rum, hvor skellet mellem den naturlige tone og en syntetisk spejling af denne opl\u00f8ses, hvorp\u00e5 de konstant bytter plads i en organisk\/maskinel-dikotomi og v\u00e6ves sammen i en underspillet bastard\u00e6stetik.<\/p>\n<p>&nbsp;<\/p>\n<p>Den rumlige dimension<br \/>\nSamtidig bidrager de skiftende indspilningssteder med endnu en lydlig ingrediens til smeltedigelen. Fx ligger barytonsaxens klagesang p\u00e5 pladens \u00e5bner, \u201dKremmenerstra\u00dfe\u201d, oveni en udend\u00f8rs lydkulisse af billyde, stemmer, puslen og klirren, som h\u00f8jst sandsynligt stammer fra den gade i Berlin, som nummeret l\u00e5ner sin titel fra og som alts\u00e5 muligvis direkte har fungeret som indspilningsramme. P\u00e5 andre numre fornemmer man den h\u00e5rde betonakustik fra den nedlagte, islandske fiskefabrik, der ogs\u00e5 har lagt ramme til nogle af indspilningerne. Men p\u00e5 pladens mest dragende nummer, der b\u00e6rer titlen \u201dFlucht\u201d, dyrkes et lydd\u00f8dt og klaustrofobisk rum. Saxofonen er optaget uhyggeligt n\u00e6rt og gentager den samme lille melodistump igen og igen; og det s\u00e5 sagte, at sm\u00e5 skrat fra mikrofontilslutningen h\u00f8res tydeligt i lydbilledet. Disse sm\u00e5 fejllyde indoptages langsomt i den mere og mere forvr\u00e6ngede gengivelse, der sitrer frem og overtager lydbilledet, inden nummeret genfinder sin startposition og ebber ud lige omkring seks minutter henne.<\/p>\n<p>&nbsp;<\/p>\n<p>Herefter skiftes melodierne i det dybe barytonregister ud med mere dissonante og uf\u00e6rdige fragmenter p\u00e5 tenorsax og klarinet, hvilket bidrager med mere skingre overtoner, n\u00e5r de overtages af det digitale klangbillede, der til stadighed fryser lydbilledet, t\u00f8r det op igen og forts\u00e6tter dette m\u00f8nster.<\/p>\n<p>&nbsp;<\/p>\n<p>Pointen sl\u00e5s fast<br \/>\nP\u00e5 den sjette sk\u00e6ring, \u201dAber langsam gehe ich meinen Weg \u2013 langsam\u201d, bygges der ovenp\u00e5 den hidtil anvendte opskrift: Den omformede klarinettone h\u00f8res nu ydermere gennem en diktafonoptagelse, der forvr\u00e6nger tonen til det ub\u00e6rlige. Samtidig startes og stoppes optagelsen, og man h\u00f8rer den umiskendelige skratten, der lyder, n\u00e5r en gammeldags diktafon bliver fumlet lidt for meget med. Man bliver herefter opm\u00e6rksom p\u00e5 den karakteristiske susen og uldenhed, som selve kassetteb\u00e5ndet har tilf\u00f8rt gengivelsen.<\/p>\n<p>&nbsp;<\/p>\n<p>Med dette greb udpensles pladens m\u00e5l, den klanglige nysgerrighed, den lydlige unders\u00f8gelse. Diktafonen peger direkte p\u00e5 lydens mediering og p\u00e5 det uundg\u00e5elige tab og omdannelsen af tonens karakteristika fra optagelse til gengivelse: Vi h\u00f8rer en d\u00e5rlig kopi af en allerede syntetisk kopi af noget, der oprindeligt blev spillet af et menneske. Vi kan s\u00e5 v\u00e6lge at v\u00e6mmes ved den, dyrke den, opleve en nostalgi ved den eller m\u00e5ske en fork\u00e6rlighed for den \u2013 eller alle p\u00e5 \u00e9n gang.<\/p>\n<p>&nbsp;<\/p>\n<p>Efter kulminationen skruer Korabiewski ned for sin bearbejdning, og D\u00f6rings spil fremst\u00e5r p\u00e5 de to sidste numre mere umiddelbart og umanipuleret. Vi h\u00f8rer f\u00f8rst en variation over samme tema, som blev spillet gennem diktafonen, hvor optagelsen er foretaget s\u00e5ledes, at lyden fra instrumentets forskellige klapper, der \u00e5bner og lukker er tydelige i lydbilledet. Det er som om vi igen bliver mindet om tonens ophav i et akustisk instrument. Og p\u00e5 pladens afsluttende nummer, pr\u00e6senteres vi for et tema p\u00e5 tenorsax, der dels fremst\u00e5r mindre fragmenteret end de tidligere melodistumper, men som ogs\u00e5 er spillet en anelse mere f\u00f8lt og med mere vibrato. Og i stedet for at tr\u00e6kke sit materiale fra D\u00f6rings tone, stemmer Korabiewski nu i med en underliggende, dyb, supplerende flade, og de to klanguniverser eksisterer slutteligt side om side.<\/p>\n<p>&nbsp;<\/p>\n<p>Beherskelsens kunst<br \/>\nSk\u00f8nt der er masser af finesse hos begge musikere, er det det subtile sammenspil, der imponerer mest. Og man gl\u00e6des is\u00e6r over den minimalistiske tilgang til den digitale manipulation af akustiske instrumenter, som ellers s\u00e5 nemt kan tage overh\u00e5nd. I stedet dyrkes der nogle f\u00e5, simple, \u00e6stetiske formgreb og en befriende less-is-more-tilgang. Numrene t\u00f8r v\u00e6re korte (2-6 minutters varighed) og alle sammen indeholder de tilstr\u00e6kkelige musikalske id\u00e9er til at holde pusten oppe. Trods kortheden af de enkelte motiver bidrager D\u00f6rings fyldige tone og impressionistiske spillestil til en lige dele i\u00f8refaldende og hypnotisk musik, der lader vente p\u00e5 sig, men som man ogs\u00e5 gerne venter p\u00e5. Det er en uhyre stemningsfuld plade, som konstant leger med opfattelsen af akustiske rum, og hvilke f\u00f8lelser det ene fremkalder frem for det andet. Det er interessant lytning s\u00e5vel som et sp\u00e6ndende studium i gr\u00e6nselandet mellem akustisk og syntetisk tonedannelse, der nemt kan bes\u00f8ges igen og igen.<\/p>\n<p>&nbsp;<\/p>\n<p>Optaget og komponeret af Konrad Korabiewski med Roger D\u00f6ring i Berlin og Sey\u00f0isfj\u00f6r\u00f0ur, november 2011 \u2013 december 2013,<br \/>\nMix: Dirk Dresselhaus i ZONE, Berlin, 2014.<br \/>\nUdgivet af Gruenrekorder i samarbejde med Sk\u00e1lar \u2013 Centre For Sound Art &amp; Experimental Music<br \/>\nUdgivelsen er en del af Gruenrekorders Sound Art Series<br \/>\nKatalog nr.: Gruen 126 \/ Sk\u00e1lar001\/ LC 09488<br \/>\n<a href=\"http:\/\/seismograf.org\/anmeldelse\/et-digitalorganisk-klangstudium\" target=\"_blank\" rel=\"noopener\">link<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Komplex | Roger D\u00f6ring &amp; Konrad Korabiewski Gruen 126 | Vinyl &gt; [order] Reviews &nbsp; The project was created over two years in Sey\u00f0isfj\u00f6r\u00f0ur, Iceland and in Berlin, Germany, and is an evolving conversation between D\u00f6ring\u2019s improvisation on acoustic instruments such as clarinet and saxophones, and Korabiewski\u2019s electronic live treatment and composition with D\u00f6ring\u2019s [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-11903","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/11903","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11903"}],"version-history":[{"count":73,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/11903\/revisions"}],"predecessor-version":[{"id":16202,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/11903\/revisions\/16202"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11903"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}