{"id":16948,"date":"2019-01-25T21:53:28","date_gmt":"2019-01-25T21:53:28","guid":{"rendered":"http:\/\/www.gruenrekorder.de\/?page_id=16948"},"modified":"2020-02-26T16:05:18","modified_gmt":"2020-02-26T16:05:18","slug":"slotmachine-kuhzunft-achim-zepezauer","status":"publish","type":"page","link":"https:\/\/www.gruenrekorder.de\/?page_id=16948","title":{"rendered":"Slotmachine | Kuhzunft (Achim Zepezauer)"},"content":{"rendered":"

\"Slotmachine<\/p>\n

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Slotmachine | Kuhzunft (Achim Zepezauer)<\/a><\/strong>
\nGruen 186 | 10\u201c Vinyl + Digital > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n

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The \u201eKuhzunft-slotmachine\u201c is a website-project, based on a picture of a crayon-painted slot machine. Clicking the start button activates the machine to randomly combine pre-produced recordings (of 45 seconds length) within three slots. Instead of typical fruits in the display, you would see photos attached to the specific sounds by the artists responsible for the content. Even the names of the \u201esongs\u201c are put together by the single names each artist had chosen for their recordings. The vinyl release on Gruenrekorder documents the project with a selection from 13 artists and 158 recordings, that offered a possibility of 3.944.312 tracks. The online-slotmachine has the ability to continuously grow and contains at the date of the vinyl release (February 1st, 2019) four more artists and a total of 225 recordings, providing some 11.390.625 possible titles. Visit slotmachine.kuhzunft.com<\/a> to discover the project yourself. You can either simply press START and get surprised or deactivate AUTO PLAY to make a selection.<\/p>\n

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The vinyl features:<\/p>\n

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Jaap Blonk<\/a> (NL) – Voice
\nJohn Chantler<\/a> (AU) – Modular Synth
\nSerge Corteyn<\/a> (DE) – Guitar
\nRhodri Davies<\/a> (GB) – Harp
\nGail\u0117 Grici\u016bt\u0117<\/a> (LT) – Prepared Piano
\nRichard Lerman<\/a> (US) – Piezzo, Hydrophone
\nSe\u00e1n Mac Erlaine<\/a> (IE) – Woodwinds
\nJ\u00e9r\u00f4me Noetinger<\/a> (FR) – Tape Machine
\nPablo Paredes<\/a> (CL) – Keyboards
\nMichael Vatcher<\/a> (US) – Drums
\nSimon Whetham<\/a> (GB) – Field Recordings
\nMarta Zapparoli<\/a> (IT) – Radio Waves
\nAchim Zepezauer<\/a> (DE) – Drumcomputer, Electronics, Acoustics<\/p>\n

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The online slotmachine also features:<\/p>\n

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\u00c9milie Girard-Charest<\/a> (CN) – Cello
\nFlorian Hartlieb<\/a> (DE) – Computer
\nBart Maris<\/a> (BE) – Trumpet
\nCarolin Pook<\/a> (DE\/US) – Violin
\nAchim Zepezauer<\/a> (DE) – Words<\/p>\n

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Pablo Paredes<\/a> (CL) – Mastering
\nGuida Ribeiro<\/a> (PT) – Website Developing<\/p>\n

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\n

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Excerpts:<\/p>\n

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Simon Whetham \/\/ Achim Zepezauer \/\/ J\u00e9r\u00f4me Noetinger
\nCowshed Neck Rupture 00:48
\nMP3<\/a>
\nJohn Chantler \/\/ Richard Lerman \/\/ Achim Zepezauer
\nHigh Tokyo-Bridge Road 00:47
\nMP3<\/a>
\nJaap Blonk \/\/ Se\u00e1n Mac Erlaine \/\/ Gail\u0117 Grici\u016bt\u0117
\nOh Melodica Come 00:47
\nMP3<\/a>
\nSimon Whetham \/\/ Marta Zapparoli \/\/ Pablo Paredes
\nRain Pipe Love-Story 00:45
\nMP3<\/a>
\nMichael Vatcher \/\/ Rhodri Davies \/\/ Gail\u0117 Grici\u016bt\u0117
\nRaw Women Emerge 00:49
\nMP3<\/a>
\nAchim Zepezauer \/\/ Serge Corteyn \/\/ Simon Whetham
\nHimmel Cushion Room 00:46
\nMP3<\/a><\/p>\n

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30 Tracks (24\u203200\u2033)
\n10\u201c Vinyl (500 copies)<\/p>\n

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\n

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The project \u201eslotmachine\u201c was kindly funded by:<\/p>\n\n\n\n
\"\"<\/td>\n\"\"<\/td>\n\"\"<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Sound Art Series by Gruenrekorder
\nGermany \/ 2019 \/ Gruen 186 \/ LC 09488 \/ GEMA \/ EAN 193483182216<\/p>\n

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\n

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<\/a>Reviews<\/strong><\/p>\n

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Jaap Blonk: „I just listened to it and I really like it. Good job!“
\nRichard Lerman: „Looks and Sounds Great….And I won 10,000\u20ac !“
\nSe\u00e1n Mac Erlaine: „I kept trying but couldn’t find one combination that didn’t work amazingly well!!!“
\nNM in ElectronicSound: \u201eVisit slotmachine.kuhzunft.com<\/a> for hours of fun.\u201c<\/p>\n

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— And now to something competely conceptual, a new way of interactive composition technique introduced by Achim Zepezauer and his Kuhzunft project which results in this 10″ to be released on the Gruenrekorder-imprint on February 1st, 2k19. All 30 – sic !!! – under one minute tracks on this one have been composed as a collage using a virtual slotmachine of sorts filled with 158 45 second recordings provided by a set of 13 different artists including the likes of Jaap Blonk, J\u00e9r\u00f4me Noetinger, John Chantler, Zepezauer himself and many more which are then randomly layered with the program to create a full blown collage of three simultaneously played tunes. The results are, despite way too short to be characterized as tracks, a kind of slightly chaotic set of miniatures, in parts fully experimental and hardly comprehensible, of seemingly electroacoustic nature, resembling bits that could’ve emerged from early experimental music labs like the BBC Radiophonic Workshop, getting into PostRock, Future DarkJazz or pure feedback driven areas or even touch Ambient and Lo(west)-Fi Electronics realms at times, providing a demanding, yet defo fascinating listening experience for die-hard fans of full-on experimentalism and conceptual novelty music. — Baze.DJunkiii for Nitestylez.de<\/a><\/p>\n

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— Achim Zepezauer collects 158 45-second recordings from artists as diverse as Rhodri Davies and Simon Whetham, and runs them through a Slotmachine. This is about as weird as it gets, a further expansion of Gruenrekorder, designed for the disorientation of Las Vegas‘ neon lights. — Richard Allen for A Closer Listen<\/a><\/p>\n

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CD TIPP: KUHZUNFT \u2013 Slotmachine | radio.friendsofalan.de<\/a><\/strong>
\n30 kurze St\u00fccke und keines l\u00e4nger als 1 Minute. Miniaturen wenn man so will. Da dauert das lesen der Playlist mit den dazugeh\u00f6rigen wechselnden Besetzungen fast l\u00e4nger \u2026 Ein sehr kurzweiliges Vergn\u00fcgen bei dem mir die 30 Minuten immer viel zu schnell vorbei sind. H\u00f6chst spannend wird hier in den unterschiedlichsten Besetzungen und Stilen musiziert und das ist ein Grund mehr um auf die Webseite zu gehen und diese Maschine in Gang zu setzen. Viel Vergn\u00fcgen !
\nlink<\/a><\/p>\n

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Duncan Simpson | Musique Machine<\/a><\/strong>
\nThis is a really fun little thing Gruenrekorder have put out. It’s ostensibly a project branching out from a website created by Achim Zepezauer which replicates an old One Arm Bandit slot machine, but instead of displaying fruit it plays an overlaid combination of three 45 second audio fragments from artists ranging from Jaap Blonk to John Chantler and Zepezauer himself. This 10″ vinyl release – neatly presented with cute crayon artwork collects 30 of the possible combinations spat out by the slot machine, each with a title constructed in a similarly random way.<\/p>\n

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The opening spin Cowshed Neck Rupture throws out Jerome Noetinger, Simon Whetham and Zepezauer himself, combining with glitchy electonics, field recordings and tape effects. And on the second, Noetinger’s classic concrete tape distortions continue alongside Serge Corteyn free improvising on the guitar and Pablo Paredes‘ piano. And so it goes on, each pull of the machine throwing up unique and often quite natural sounding combinations. Improvising harpist Rhodri Davies pops up on several tracks including five in succession on side B and another titled Raw Women Emerge which has his freewheeling harp improvisations duelling with Michael Vatcher’s drums and the prepared piano of Gaile Griciute.<\/p>\n

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In truth there is virtually nothing here that you would say stands out as obviously put together through random processes, or that sounds out of place. It wouldn’t be a surprise to find out the record had been the intentional product of an improvising ensemble – which this group of artists could conceivably be – rather than the combination of numerous disparate fragments. That is undoubtedly due in part to the choice of contributors, all of who have history within the improvising and avant-garde scenes. In which case Zepezauer should be congratulated for in effect piecing together (with a little bit of help from lady indeterminacy) a pretty coherent twenty four minute avant-jazz album.<\/p>\n

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Perhaps a minor criticism would be that it’s not immediately clear who’s contributing to each 45 second combination. The credits are listed by artist and you have to go through them to find the relevant track numbers and piece it together that way. But may be having the sources easily accessible ruins the effect of just listening to each combination as it appears. While Jaap Blonk’s weird vocalisations might be recognisable to those in the know, many of the other contributions are not so apparent.<\/p>\n

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With the number of possible combinations now at over eleven million the website provides enough original composition material for a lifetime. It can be found at http:\/\/slotmachine.kuhzunft.com<\/a> and is well worth a spin.
\nlink<\/a><\/p>\n

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Aurelio Cianciotta | Neural<\/a><\/strong>
\nKuhzunft-slotmachine is the brainchild of Achim Zepezauer, a musician, composer and organiser of events. It originated as a website project, focused on an image of a child-like slot machine, painted with pastel colours. Clicking on the start button elicits combinations of pre-recordings, each one lasting exactly 45 seconds and placed into three distinct slots. Instead of we the usual images of fruits, stars and bells, we have photos of the artists and the titles of tracks. This vinyl document, released by Gruenrekorder, includes only a selection of the possible recordings related to the different artists. In the online project, new contributions are added with some regularity, making a total of 225 recording and 11.390.625 possible configurations (in February 2019). Despite every single proposal being unique, the result is interesting because it brings us to a common free improvisatory approach. A careful listening approach makes it possible to perceive the connection of different elements and free structures within every specific sound particle, deriving from an inspiration oriented by additional crossings and relations. It\u2019s not the first time Achim Zepezauer makes experiments with unconventional formats; for example, in the past he has worked with radio shows using aleatory characteristics and multidisciplinary contents. Thanks also to an artistic study background, this work can be considered versatile, because it shows his many-sided talents, his passion for drawing, his free form music work, his teenage compulsion as a sound collector and his stochastic conceptualism. Due to the large amount of contributions, the range of stylistic influences are very broad, from free jazz to ambient, from spacey electronics to krautrock, to mention only the more recurrent and recognizable approaches. When we look up the list of the artists engaged with the project, we find some well known names: Jaap Blonk, with his inimitable voice; then Simon Whetham, a field recordings specialist; J\u00e9r\u00f4me Noetinger from Metamkine; the radio waves experimenter Marta Zapparoli; and John Chantler, here with his synths and refined contemporary lyricism. The substance is great and the listening combinations are extremely varied.
\nlink<\/a><\/p>\n

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Ed Pinsent | The Sound Projector<\/a><\/strong>
\nThree Bells in a Row
\nAn enjoyable spin is Slotmachine (GRUENREKORDER Gruen 186), a ten-inch vinyl record credited to Kuhzunft<\/a> who is in fact the multi-media artist Achim Zepezauer. He appears here with a large number of guest musicians, supplying all manner of sound art, noise, electronic interventions and conventional musical accompaniment, in duo or trio combinations; in some cases, Zepezauer doesn\u2019t even appear on the track, but when he does he\u2019s playing electronics and drum computer.<\/p>\n

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The next thing to note is that each track is timed at less than a minute, generally aiming I think for the 45-second mark; there are 30 tracks on this 10-inch LP, and in terms of durational minimalism this one ups the ante on The Residents Commercial Album, still for me the benchmark of this sort of exercise with its precisely-configured 60-second tracks. The guest musicians include a lot of our friends and favourites, such as Simon Whetham, John Chantler, Jerome Noetinger, and even Rhodri Davies, the Welsh emperor of post-modern harp improvisation. There are also numerous turns by Jaap Blonk, that zany Dutch vocalist, lending his penchant for absurdity to the high-jinks captured on vinyl. I should say there is evidently a large \u201cfun\u201d aspect to Slotmachine, as evidenced by the Dadaist titles such as \u2018Weird PTK Machines\u2019, \u2018Ghostly Fireworks Scratch\u2019, or \u2018Long Hoghorn Commercials\u2019 \u2013 these titles are typically three-word salads, and they echo the wacky aliases chosen by the guest musicians for these let-your-hair-down styled contributions.<\/p>\n

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Even this isn\u2019t the whole picture, though. If you want to get the full-on random experience of Slotmachine, you need to spend some time on Kuhzunft\u2019s interactive website<\/a>, where you can create your own three-track combinations from the base resource of 158 separate recordings, and generate your own bag of pick-and-mix sweeties for 45 seconds of playful fun. To put it another way, this LP release sets in stone just 30 possible combinations out of a possible one billion. Zepezauer has a fascinating CV in fine art activities which includes film-making, paintings, a radio show, as well as his own electronic music performances; and he seems to have been preoccupied with vinyl records from an early age, hence this \u201cvirtual jukebox\u201d high-concept idea. Even more intriguing is his \u201cCardtalk\u201d project, a record player made of cardboard (???) which can play CDs with sounds carved into them. From 18th December 2018.
\nlink<\/a><\/p>\n

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MOS2000 | hifi-forum.de<\/a><\/strong>
\nJetzt wird es etwas komplizierter – das hier ist keine einfache 10″-Vinyl – es ist Teil eines Kunstprojektes, bei dem man durch die Kombination von jeweils 3 „Musik-\/Ger\u00e4uschfetzen“ jeweils einen Track erzeugt. Auf der 10″ finden sich 30 Tracks aus dieser „Slotmachine“, welche seitdem noch gewachsen ist und inzwischen 225 Tracks enth\u00e4lt und damit eine theoretische Kombination von > 11 Millionen Varianten zul\u00e4\u00dft. Die Scheibe selbst ist eine kleine „Dokumentation“ aus der Gesamtmenge. Der Typ selbst macht jede Menge kranken Sch**\u00df mit Audio-Artefakten und Installationen die irgendwie was zum klingen bringen – sowas muss man unterst\u00fctzen – mal bei den Links unten reinklicken, diese „cardtalk“ Sache ist echt crazy. Kreativ…
\nwww.slotmachine.kuhzunft.com<\/a>
\nwww.kuhzunft.com<\/a>
\nwww.kuhzunft.com\/cardtalk.html<\/a>
\nwww.discogs.com\/Achim-Zepezauer-Slotmachine<\/a><\/p>\n

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baze.djunkiii | nitestylez.de<\/a><\/strong>
\nAnd now to something completely conceptual, a new way of interactive composition technique introduced by Achim Zepezauer and his Kuhzunft project which results in this 10″ to be released on the Gruenrekorder-imprint on February 1st, 2k19. All 30 – sic !!! – under one minute tracks on this one have been composed as a collage using a virtual slotmachine of sorts filled with 158 45 second recordings provided by a set of 13 different artists including the likes of Jaap Blonk, Jerome Noetinger, John Chantler, Zepezauer himself and many more which are then randomly layered with the program to create a full blown collage of three simultaneously played tunes. The results are, despite way too short to be characterized as tracks, a kind of slightly chaotic set of miniatures, in parts fully experimental and hardly comprehensible, of seemingly electroacoustic nature, resembling bits that could’ve emerged from early experimental music labs like the BBC Radiophonic Workshop, getting into PostRock, Future DarkJazz or pure feedback driven areas or even touch Ambient and Lo(west)-Fi Electronica realms at times, providing a demanding, yet defo fascinating listening experience for die-hard fans of full-on experimentalism and conceptual novelty music.
\nlink<\/a><\/p>\n

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Stuart Bruce | Chain D.L.K.<\/a><\/strong>
\nThirty tracks on a 24-minute, 10\u201d release is not a misprint- although in principle it\u2019s 90 tracks, in a way. Thirteen different artists have collectively offered up 90 sonic ideas, all given single-word names and all but one of them between 45 and 50 seconds long, and Achim Zepezauer as Kuhzunft has grouped them together into packages of three layers that are run concurrently, each package forming one of the 30 named tracks. It\u2019s claimed that this is completely random- hence the slot machine theme- but at times you do suspect that a bit of curation or pre-planning has taken place, on the grounds that some of the tracks work very well together.<\/p>\n

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The sonic packages include some more traditional instrumentation- piano, harp, guitar, keyboard, and so on- and some truly leftfield elements involving warped found sounds, electronics and post-processing.<\/p>\n

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Notable results include the nicely mellow and buddly \u201cPearleaf Ploff Colorida\u201d, the slightly Planet Mu-ish \u201cLoving Coffee-Chirps Invasion\u201d and the dark prog-rock-ish \u201cCry Come-out Flying\u201d. \u201cLucky Godly Mantra\u201d certainly sounds like an avantgarde trio that were performing in the same room, though I can believe (just about) that it wasn\u2019t.<\/p>\n

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Others, like \u201cRain Pipe Love-Story\u201d with its harsh piano and glitch-meets-rain sounds or \u201cDeadline Planing Port\u201d, are more abrasive clashes of ideas where the less-than-a-minute running time is probably a form of mercy.<\/p>\n

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It\u2019s a quirky concept that seems to put both some of the fun and some of the genuine experimenting back into experimental music, and yields an interesting and frequently but not wholly successful set of results.<\/p>\n

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The idea of mashing together three words also brings to mind the what3words navigation concept, leaving me wondering whether any of these three sets of titles might accidentally (or perhaps deliberately!) point to a specific area on the surface of our planet. Later, if I get time, I\u2019ll check…<\/p>\n

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UPDATE: After posting this review I was contacted by the artist, who pointed out that while the 10″ release is not random, there is a website where several hundred of these short sonic layers have been collected, and you get the chance to listen to genuinely random overlapping elements over there, with many thousands of possible combinations. The 10″ documents the website, I’m told, and not the other way around.
\nlink<\/a><\/p>\n

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Brian Morton | The Wire Magazine<\/a> (The Wire 421)<\/strong>
\nAchim Zepezauer is a relatively recent member of German ensemble The Dorf, the most interesting big band in Europe. His electronics are always vividly detailed and atmospheric, but their most striking characteristic is how neatly and they fit into the band\u2019s sprawlingly exuberant aesthetic.
\nThe is something different, a programme of 30 collaborative pieces, all of them approximately three quarters of a minute in length, programmed into an online ’slot machine\u2018 that allows the user to play simultaneous combinations of three. It\u2019s compelling stuff and could become a dangerous habit. Zepezauer has assembled a network of collaborators, including sound poet Jaap Blonk, woodwind master Se\u00e1n Mac Erlaine, harpist Rhodri Davies and drummer Michael Vatcher (just the best known of the dozen participants) to create the basic sounds and textures. Track titles are derived from the musicians\u2019 own labelling: hence \u201eChicago Glysophat Cheeks\u201c which sounds like the reviving of a dysfunctional garage band, \u201eRaw Women Emerge\u201c which is plinky strings and drum rolls, and \u201eWheezychords Instead Trioledad\u201c, a minxy backbeat over what sounds like cracklebox and organ.
\nThe sound library effect is sometimes mitigated by something that sounds like it might be fighting its way towards a song, like \u201eHoppla Drum Schlepp\u201c, but it doesn\u2019t make more than fleeting sense to think of these tracks in isolation. It\u2019s when the barrels start to spin and they come together in ever more exotic combinations that the project begins to fly. Zepezauer has a great sense of humour. His various Knu! projects, including 2015\u2019s brilliant My Horse Doesn\u2019t Give A Shit (which is like a punk Br\u00f6tzmann trio or Mats Gustafsson at his most unhinged) always leave a smile on the face, and not just because of the funny titles and covers. Zepezauer takes a palpable exuberance to his manipulations. They may not make a damned bit of musical sense, but they\u2019re endlessly – in this case literally endlessly – entertaining.
\nlink<\/a><\/p>\n

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textura<\/a><\/strong>
\nTwo wildly contrasting releases accentuate the huge range of Gruenrekorder’s discography. On the one hand we have a single-track, thirty-eight-minute sound composition by Merzouga that merges philosophical musings by the Roman poet Titus Lucretius Caro (c. 99-55 BCE) with field recordings and instrumental sound treatments, on the other a wacky ten-inch by Kuhzunft (Dortmund-based dadaist Achim Zepezauer) featuring thirty forty-five-second tracks and based on the concept of an interactive slot machine. […]<\/p>\n

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Though Kuhzunft’s Slotmachine release has been issued in digital and ten-inch vinyl formats (500 copies), the project’s interactive concept is best served by its web-based presentation. In that format, the user’s able to combine pre-produced recordings displayed in three slots, just as fruits and other elements are on a standard casino machine. Whereas the vinyl release features thirty miniatures involving contributions from thirteen artists, the online version obviously has the potential to offer many more variations. On the ten-inch, Zepezauer, credited with electronics, acoustics, and drumcomputer, is joined by a long list of provocateurs, among them Jaap Blonk (voice), John Chantler (modular synth), Rhodri Davies (harp), Gaile Griciute (prepared piano), J\u00e9r\u00f4me Noetinger (tape machine), Michael Vatcher (drums), and Simon Whetham (field recordings).<\/p>\n

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Randomly combining three separately recorded tracks naturally produces wild and sometimes chaotic results, and the album’s twenty-four minutes go by fast. Imagine experimental vignettes whirring, snuffling, and convulsing with electronics, drums, mangled vocal effects, and acoustic string instruments and sporting titles such as \u201cCowshed Neck Rupture,\u201d \u201cGhostly Fireworks Scratch,\u201d \u201cRain Pipe Love-Story,\u201d and \u201cPearleaf Ploff Colorida\u201d and you’ll have a fairly good idea of what you’re in for. Predictably, the results are more defensible on conceptual than musical grounds, but Zepezauer’s irreverent project does possess some weird kind of charm and is, at the very least, an amusing diversion. For the maximum slotmachine experience, go with the online option, as it puts the user fully in the driver’s seat in allowing the different recorded snippets to be scrolled through and a seemingly unending series of trio combinations generated.
\nlink<\/a><\/p>\n

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Robert Barry | The Wire Magazine<\/a> (The Wire 420)<\/strong>
\nArticle – Kuhzunft (Achim Zepezauer)<\/a><\/p>\n

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SLOTMACHINE special track bei the WIRE<\/strong>
\nHear an exclusive mix from Achim Zepezauer’s Slotmachine<\/a><\/p>\n

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\u0141ukasz Kom\u0142a | Nowamuzyka.pl<\/a><\/strong>
\nAchim Zepezauer to niestrudzony eksperymentator oraz wyznawca DIY. Od wielu lat rozsadza swoj\u0105 tw\u00f3rczo\u015bci\u0105 wszelakie ramy gatunkowe, dodatkowo opakowuj\u0105c j\u0105 w przygotowan\u0105 przez siebie opraw\u0119 graficzn\u0105 itd. Wystarczy przywo\u0142a\u0107 jego wydawnictwo \u201eCardtalk\u201d (2017) z okolic spoken word, kt\u00f3rego mo\u017cna s\u0142ucha\u0107 bez u\u017cycia odtwarzacza. Podobnego zabiegu dokona\u0142 Pawe\u0142 Roma\u0144czuk jako Ma\u0142e Instrumenty, ale w oparciu o p\u0142yt\u0119 winylow\u0105. Zepezauer jest znany tak\u017ce z improwizowanych wyst\u0119p\u00f3w (splata ze sob\u0105 np. sample, ta\u015bmy) oraz z tego, \u017ce miksuje na \u017cywo koncerty innych artyst\u00f3w. Jego sztuka charakteryzuje si\u0119 poszukiwaniem d\u017awi\u0119ku mi\u0119dzy tonalnymi i atonalnymi krajobrazami d\u017awi\u0119kowymi.<\/p>\n

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\u201eSlotmachine\u201d od pocz\u0105tku jest projektem bazuj\u0105cym na \u015bwietnie pomy\u015blanej stronie internetowej: www.slotmachine.kuhzunft.com, kt\u00f3ra przypomina automat do gry, gdzie zamiast uk\u0142adania owoc\u00f3w w jednej linii, uk\u0142adamy fragmenty r\u00f3\u017cnych utwor\u00f3w przygotowanych przez rozmaitych muzyk\u00f3w. Koniecznie odwied\u017acie t\u0119 stron\u0119.<\/p>\n

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W tym toku przedsi\u0119wzi\u0119cie Zepezauera nabra\u0142o fizycznej mocy i wysz\u0142o na 10-calowym winylu. Na p\u0142ycie mamy nagrania trzynastu artyst\u00f3w takich jak Jaap Blonk, John Chantler, Serge Corteyn, Rhodri Davies, Gail\u0117 Grici\u016bt\u0117, Richard Lerman, Se\u00e1n Mac Erlaine, J\u00e9r\u00f4me Noetinger, Pablo Paredes, Michael Vatcher, Simon Whetham, Marta Zapparoli, Achim Zepezauer, \u00c9milie Girard-Charest, Florian Hartlieb, Bart Maris i Carolin Pook. W wersji online \u201eSlotmachine\u201d ca\u0142y czas si\u0119 rozwija, z\u0142\u0105cza tej maszyny nie rdzewiej\u0105, wr\u0119cz przeciwnie \u2013 powi\u0119ksza si\u0119 zakres wygenerowanych kombinacji. Na dzie\u0144 premiery albumu, czyli 1 lutego 2019 r., dost\u0119pna ilo\u015b\u0107 tytu\u0142\u00f3w do uzyskania na stronie internetowej projektu, wynosi\u0142a: 11.390.625.<\/p>\n

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\u201eSlotmachine\u201d od strony muzycznej to niczym nieskr\u0119powany kola\u017c funduj\u0105cy naszej wyobra\u017ani podr\u00f3\u017c po chromatycznej krainie zgie\u0142ku, ciszy i abstrakcji.
\nlink<\/a><\/p>\n

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Frans de Waard | VITAL WEEKLY<\/a><\/strong>
\nThe word Kuhzunft doesn’t exist in German; it is the word Zukunft (‚future‘) pronounced in a silly way. This is the project of Achim Zepezauer, who gets credit for electronics, acoustics, drum computer, realization, drawing an idea. I’d say the idea is the most important thing here. „This 10″ vinyl record documents the website project of musician\/artist Achim Zepezauer. It mixes up recordings of 45 seconds long in a slot machine. Online the user can combine three tracks by 13 different artists with different instrumentations, either hand sorted or completely randomized from the 158 recordings. Every artist provides at least ten tracks to generate from, which leads to the theoretical possibility of 1 billion different combinations. Even the names of the songs are put together by the single names the artists had chosen for their recordings.“ Yes, that idea is a great one; I mean such a website. I checked it out in Chrome but got no sound and in Safari it didn’t load very well. I was going to write something along the lines whether it was really necessary to document such a thing (other than the hipness of doing it on vinyl), but it seems it is necessary. The record has quite some random approaches but it works out quite well. Seeing many familiar names from the world of improvisation this is of course nothing weird (Jaap Blonk, John Chantler, Jerome Noetinger, Michael Vatcher, Simon Whetham) and there is a nice anything goes (times a billion apparently) attitude in these pieces, but I remain a bit sceptical about the whole necessity of documenting website onto vinyl. If you like to be lazy and like a bit of free improvisation, noise, spoken word in short fragments of thirty\/forty-five minutes than this surely is the thing you want.
\nlink<\/a><\/p>\n

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Kuhzunft (Achim Zepezauer)<\/a> | Slotmachine<\/a> @ Radio Panik – Indiedrome<\/a><\/strong>
\n& Daniel Blumin: www.wfmu.org\/playlists\/shows\/83968<\/a>
\n& Andrew Backhouse: The Parish News – One-Hundred and Twenty-Eighth Edition<\/a><\/p>\n

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Holger Adam | testcard<\/a><\/strong>
\nDrau\u00dfen vor der T\u00fcr: Field-Recordings und Sound-Art von Gruenrekorder
\nGruen, gruen, gruen sind alle meine Farben \u2013 bereits zum dritten Mal in Folge eine Gruenrekorder-Kolumne in testcard. Wie immer kommt man aus dem Staunen nicht heraus, wenn man sich die Ver\u00f6ffentlichungen des Frankfurter Labels anh\u00f6rt. Unerschrocken und ohne mit der Wimper zu zucken haben sie die Ger\u00e4usche von laufenden Filmprojektoren auf Vinyl gepresst: Sounds Of The Projection Box<\/a> hei\u00dft das Album von MICHAEL LIGHTBORNE<\/a> und es dokumentiert das Rattern der Maschinen, deren Ger\u00e4usche \u00fcblicherweise nicht aus der Kabine von Filmvorf\u00fchrern hinaus dringen. Ger\u00e4usche, die vom Aussterben bedroht sind, weil Filme ja mehr und mehr digital an Lichtspielh\u00e4user \u00fcbermittelt und dort abgespielt werden. Insofern wird hier akustisches Kulturerbe archiviert, und wer die Platte auflegt, kann sich bei geschlossenen Augen in die Rolle des Filmvorf\u00fchrers imaginieren und zus\u00e4tzlich versuchen, den Tonspuren bzw. -fetzen der ablaufenden Filme ein zus\u00e4tzliches Narrativ abzuringen. \u00c4hnlich abenteuerlich auch die Aufnahmen von GREGORY B\u00dcTTNER<\/a>, der f\u00fcr Voll.Halb.Langsam.Halt<\/a> die Fahrt eines alten Dampfschiffes, eines Eisbrechers dokumentierte, bearbeitete und sein Vorgehen sowie das Ergebnis wie folgt kommentiert: \u201eI had the chance to take a trip on the ship from Rostock to Ru\u0308gen over the Baltic Sea in 2010. The body of the ship is completely built from metal, so it is a big resonant room which sounds very different on each spot which I put my contact mics on (I used two contact mics, so I could record in stereo). I walked around the ship, placing my mics on different areas of the ship and also directly on parts of the steam engine, which is still fired by coal. For the composition I only used the pure recordings without additional sound manipulations, only juxtapositions, transitions and cuts.\u201d Alles klar? Der Kahn bzw. das, was B\u00fcttner aus seinen Ger\u00e4uschen macht, kann locker mit Merzbow mithalten. Harter Stoff. Metallisch k\u00fchl, aber weniger krachend klingt auch Gasworks<\/a> von GERALD FIEBIG feat. EMERGE & CHRISTIAN Z. M\u00dcLLER<\/a>. Der Ort als Resonanzk\u00f6rper f\u00fcr Ger\u00e4usche bildet das Ausgangsmaterial f\u00fcr diese CD. Entsprechend r\u00e4umlich ist in der Tat viel von dem, was es zu h\u00f6ren gibt, organisiert: Echo und Hall spielen eine gro\u00dfe Rolle im Klangbild \u2013 aber auch eine dialekt-gef\u00e4rbte Stimme, die von der industriellen Nutzung des Geb\u00e4udes erz\u00e4hlt, kommt, erg\u00e4nzt um Ger\u00e4usche, zu Wort. So entsteht f\u00fcr das Gaswerk von Augsburg-Oberhausen ein Denkmal. Der gleicherma\u00dfen verspielte und dokumentarische Charakter der musikalischen Arbeiten verwandelt den fr\u00fchindustriellen Arbeitsalltag in eine geisterhafte Klangreise: \u201eDes gibt\u2019s heut\u2018 nimmer.\u201c Bemerkenswert. Maschinenmusik ist auch auf der Slotmachine<\/a>-10\u201c versammelt, einem Projekt von ACHIM ZEPEZAUER<\/a>, der von unterschiedlichen Musiker*innen jeweils 45 Sekunden lange Klangskizzen anfertigen lie\u00df, die in der Logik eines Spielautomaten und nach Zufallsprinzip geleichzeitig aufgerufen werden k\u00f6nnen. Realisiert ist das im Rahmen einer Online-Anwendung, die das Bedienen eines virtuellen Spielautomaten zur Erzeugung der Zufalls-Kompositionen zug\u00e4nglich macht, hier: http:\/\/slotmachine.kuhzunft.com<\/a>. Viel Spa\u00df! (Die 10\u201c dokumentiert nur einen kleinen Teil der gewisserma\u00dfen unendlichen Kombinationsm\u00f6glichkeiten.) Auch KATHARINA KLEMENT<\/a> liefert mit Peripheries<\/a>, einem akustischen Portrait der Stadt Belgrad, eine quirlig-nerv\u00f6se und herausfordernde Arbeit ab. Unter Zuhilfenahme des Stadtplans erstellte Klement eine kartographisch inspirierte Partitur. Verschiedene Lokalit\u00e4ten in der Stadt wurden aufgezeichnet und ineinander gemischt. So entsteht ein wahres Klang-Gewimmel, das beizeiten wirklich anstrengend sein kann. Ich empfehle nach Selbstversuch folgendes: Die Aufnahmen auf dem Balkon abspielen und die Balkont\u00fcre offenlassen, w\u00e4hrend man im Zimmer bleibt. So entsteht der Eindruck, drau\u00dfen sei Belgrad! Bei der Gelegenheit gebe ich gerne zu, dass mir im Zweifel die eher ruhigen Aufnahmen aus tropischen Gefilden lieber sind. F. Guyana<\/a> von MARC NAMBLARD<\/a> hilft sich vom Stress in Belgrad zu erholen. Allerlei hypnotisches Summen, Surren und Dr\u00f6hnen der Flora und Fauna von der Nordk\u00fcste S\u00fcdamerikas! Auch DAVID ROTHENBERG<\/a> hat wieder mit allerlei V\u00f6geln Musik gemacht und sich f\u00fcr Nightingale Cities<\/a> auch zus\u00e4tzliche menschliche Instrumentalist*innen dazu geholt. Die in Berlin und Helsinki angefertigten Aufnahmen geh\u00f6ren sicherlich zum zug\u00e4nglichsten Material in dieser Kolumne, die V\u00f6gel sind freundliche Wesen, die Musik ist es auch. Wer noch nie eine Gruenrekorder-Produktion geh\u00f6rt hat, kann vielleicht auf diesem Weg einen sanften Einstieg in den Katalog des Labels finden. Fr\u00fchlingsmusik. Ganz anders und noch besser: die Windharfen-Aufnahmen auf Path Of The Wind<\/a> von EISUKE YANAGISAWA<\/a>. Windharfen, gro\u00dfe Saiteninstrumente in die Brise gestellt, werden buchst\u00e4blich von der Natur gespielt und je nachdem, wo die Windharfen standen mischen sich unterschiedliche Umgebungsger\u00e4usche unter die bet\u00f6renden Kl\u00e4nge der Instrumente. Ambient Drone mit Seem\u00f6ve. Minimal Music mit Meeresrauschen. N\u00e4her an New Age Klanglandschaften waren Gruenrekorder vielleicht nie, und es schadet nicht: Absolutes Highlight! Das Meer rauscht auch auf De Rerum Natura \/ Dance of the Elements<\/a> von MERZOUGA<\/a>, die nichts geringeres als eine Komposition auf Grundlage des Lehrgedichtes von Lucretius\u2018 wagen. Soweit so ambitioniert, aber da muss man sich nicht abschrecken lassen. Musik ist immer Ausdruck von Ideen, hier eben einer dezidiert philosophischen. Und elektronische Musik eignet sich auch nicht erst seit gestern, zur Verdeutlichung, mithin Vermittlung abstrakter Vorstellungen. Und so knistert es kleinteilig, die Atome tanzen unsichtbar aus den Lautsprechern, eine Stimme fl\u00fcstert hier und da Versatzst\u00fccke in englischer und lateinischer aus dem Gedicht usw. \u2013 ein kurzeiliges, abwechslungsreiches und durchaus spannendes H\u00f6rerlebnis, das dem \u00dcberbau entsprechen mag; letztlich aber spielt es zum Genuss der Komposition keine entscheidende Rolle, w\u00fcrde ich meinen. \u00c4hnlich gelagert ist es wom\u00f6glich im Fall von The Secret Life of the Inaudible<\/a> von ANNEA LOCKWOOD und CHRISTINA KUBISCH<\/a> anzuh\u00f6ren. Die beiden Klangk\u00fcnstlerinnen haben sich Soundfiles von an sich bzw. f\u00fcr Menschen nicht h\u00f6rbaren geophysikalischen Ph\u00e4nomenen zur gegenseitigen Bearbeitung vorgelegt: elektromagnetische Wellen, Ultraschallwellen, Sonnenwinde\u2026 akustische Ereignisse also, die zun\u00e4chst technisch in eine f\u00fcr das menschliche Ohr h\u00f6rbaren Frequenzbereich \u00fcberf\u00fchrt werden m\u00fcssen und von Kubisch und Lockwood bearbeitet wurden, und die dann \u2013 wie auch immer das im Detail von Statten ging \u2013 daraus sozusagen dunkle Materie gewannen. Mich w\u00fcrde einmal interessieren, inwiefern, das geologisch-kosmische Quellenmaterial, wo es ohnehin in den h\u00f6rbaren Bereich \u00fcbersetzt und also synthetisiert werden muss, nicht auch anders, also mit weniger Aufwand, generiert werden k\u00f6nnte? Ich nehme behelfsweise an, es w\u00e4re nicht dasselbe! Wie dem auch sei, das Ergebnis fasziniert: Sunn O))) \u2013 Kindergarten dagegen. Finster dr\u00e4uende, pechschwarze Klangfl\u00e4chen. Wahrhaft infernalische Musik aus dem Reich des sonst Nichtwahrnehmbaren. Hervorragend.
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

  Slotmachine | Kuhzunft (Achim Zepezauer) Gruen 186 | 10\u201c Vinyl + Digital > [order] Reviews   The \u201eKuhzunft-slotmachine\u201c is a website-project, based on a picture of a crayon-painted slot machine. Clicking the start button activates the machine to randomly combine pre-produced recordings (of 45 seconds length) within three slots. Instead of typical fruits in […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-16948","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16948","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=16948"}],"version-history":[{"count":48,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16948\/revisions"}],"predecessor-version":[{"id":18115,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/16948\/revisions\/18115"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16948"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}