![\"Nightingale](\"https:\/\/www.gruenrekorder.de\/Photos\/nightingale_cities.jpg\" "\\"Nightingale")
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Nightingale Cities | David Rothenberg<\/a><\/strong> <\/p>\n Five years in the making, David Rothenberg\u2019s Nightingales in Berlin project includes a book, a film, many live concerts, and this double CD, including a 20 page color booklet of stills from the film and music not available in any form online. Here\u2019s what Rothenberg says about the project:<\/p>\n <\/p>\n \u201cI used to make interspecies music largely on my own, seeing myself as some kind of individual explorer seeking out musical ideas with creatures we can\u2019t even talk to. But in recent years I\u2019ve decided that the point of musical contact with another species is to convince other people to join me. Over five years, from 2014 through 2019, I invited the best and most adventurous musicians I know to connect in musical collaboration\u2014humans with nightingales, in Berlin and Helsinki.<\/p>\n <\/p>\n The nightingales have helped me find the perfect sound. By assembling just the right group of kindred spirits, together we dream of a way that humans and nature might live closer together. Our species is warming the planet beyond recognition, and this could mean the end of our reign over this place. Yet there are still these moments during which humans can touch nature through sound happening all around us, as we make music along with the nightingales of Helsinki and Berlin. The paths to animal music sit right before us.<\/p>\n <\/p>\n I love to listen to different musicians respond to the song of the nightingale for the very first time. I have played with these birds for several years now, and sometimes I wonder why I keep trying to make music with musicians with whom I cannot speak, who live as birds\u2014such different lives than people who may join the band. Some human critics think it\u2019s all delusion, that I intrude upon the birds\u2019 ancient world of perfect sound and struggle, but whenever I bring a new musician along to play with nightingales, I realize why I began this process in the first place. We all feel such joy and hope when music can carry meaning from one species to another. The planet becomes a more harmonious place.\u201d<\/p>\n <\/p>\n <\/p>\n Nightingale Cities<\/em><\/strong><\/p>\n <\/p>\n Emil Buchholz, bass <\/p>\n Disc One, Berlin (72 minutes)<\/em><\/p>\n <\/p>\n 1. The Boori Sound <\/p>\n Disc Two, Helsinki (69 minutes)<\/em><\/p>\n <\/p>\n 1. Elektro Repeet <\/p>\n 24 Tracks (141\u203200\u2033) <\/p>\n In the green midnight by the nightingale\u2019s northern limit. Heavy leaves hang in trance, the deaf cars race toward the neon-line. The nightingale\u2019s voice does not step aside, it\u2019s as piercing as a cock-crow, beautiful without conceit. I was in prison and it visited me. I was sick and it visited me. I didn\u2019t know it then, but I do now. Time streams down from the sun and the moon into all the tick-tock-thankful clocks. Right here there is no time. Only the nightingale\u2019s voice, the raw ringing tones that whet the night sky\u2019s gleaming scythe. – Tomas Transtr\u00f6mer, „The Nightingale at Badelunda“<\/p>\n <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n <\/p>\n Photos by Ville Tanttu, <\/p>\n Produced by David Rothenberg together with his book, <\/p>\n Recorded live on location in Germany and Finland 2014-2018 <\/p>\n \u00a9 & \u2117 2019 <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Ed Pinsent | The Sound Projector<\/a><\/strong> <\/p>\n David Rothenberg<\/a> | Nightingale Cities<\/a> @ The Guardian<\/a><\/strong> <\/p>\n \u0141ukasz Kom\u0142a | #Kwartlanik Przekr\u00f3j<\/a><\/strong> <\/p>\n W 2014 r. ukaza\u0142 si\u0119 niesamowity album Cicada Dream Band nagrany przez Pauline Oliveros, Davida Rothenberga i Timothy\u2019ego Hilla, na kt\u00f3rym znalaz\u0142y si\u0119 improwizowane nagrania w otoczeniu odg\u0142os\u00f3w cykad, \u015bwierszczy, humbak\u00f3w, \u017cab i ptak\u00f3w. Rok p\u00f3\u017aniej Rothenberg zainicjowa\u0142 w Berlinie projekt skupiaj\u0105cy si\u0119 wy\u0142\u0105cznie na \u015bpiewie s\u0142owik\u00f3w. Wraz z tureckim eksperymentatorem Korhanem Erelem odby\u0142 wycieczki po berli\u0144skich parkach w poszukiwaniu odg\u0142os\u00f3w tych ptak\u00f3w, po czym obaj nawi\u0105zywali ze s\u0142owikami interaktywne porozumienie. Efekty tych niecodziennych zabieg\u00f3w pojawi\u0142y si\u0119 na p\u0142ycie Berlin B\u00fclb\u00fcl (Gruenrekorder, 2015). W kolejnych latach Amerykanin wyda\u0142 ksi\u0105\u017ck\u0119 i nakr\u0119ci\u0142 film zwi\u0105zany z tym przedsi\u0119wzi\u0119ciem.<\/p>\n <\/p>\n Najnowsze i podw\u00f3jne wydawnictwo Rothenberga Nightingale Cities podsumowuje jego pi\u0119cioletni\u0105 przygod\u0119 z berli\u0144skimi i helsi\u0144skimi s\u0142owikami. Przy tym projekcie pracowali tak\u017ce inni arty\u015bci, kt\u00f3rych zaprosi\u0142 Rothenberg (graj\u0105cy na klarnecie basowym, seljefl\u00f8yte i obs\u0142uguj\u0105cy iPada), czyli: Emil Buchholz (bas), Korhan Erel (iPad), Wouter Jaspers (field kit), Lembe Lokk (\u015bpiew), Benedicte Maurseth (hardanger fiddle), Wassim Mukdad (oud), Jay Nicholas (bas elektryczny), Volker Lankow (b\u0119ben ramowy), Sanna Salmenkallio (skrzypce), Cymin Samawatie (\u015bpiew) i Ines Theileis (\u015bpiew).<\/p>\n <\/p>\n Rothenberg od pocz\u0105tku zg\u0142\u0119bia\u0142 prace niemieckiej ornitolo\u017cki Silke Kipper, kt\u00f3ra od wielu lat bada d\u017awi\u0119kowy aspekt \u015bpiewu s\u0142owika i towarzysz\u0105ce temu r\u00f3\u017cne zawi\u0142o\u015bci, polegaj\u0105ce m.in. na odmiennych tonacjach, jakie wydaj\u0105 z siebie samiec lub samica w r\u00f3\u017cnych okresach \u017cycia. Warto mie\u0107 na uwadze, \u017ce wiosenne miesi\u0105ce (kwiecie\u0144\u2013maj) to doskona\u0142y moment na rozpocz\u0119cie obserwacji s\u0142owik\u00f3w przylatuj\u0105cych z Afryki. Mo\u017cemy je spotka\u0107 w prawie ca\u0142ej Europie i nie tylko. \u015apiew tego ptaka jest niezwykle dono\u015bny, urozmaicony i ma du\u017c\u0105 skal\u0119 ton\u00f3w. Pierwsza p\u0142yta Nightingale Cities jest zapisem \u201ewsp\u00f3\u0142pracy\u201d z berli\u0144skimi s\u0142owikami. Ta cz\u0119\u015b\u0107 wydawnictwa powsta\u0142a g\u0142\u00f3wnie w dzielnicy Kreuzberg. 13 fragment\u00f3w o minimalistycznym zarysie wprowadza w medytacyjny nastr\u00f3j. Pomagaj\u0105 w tym delikatne partie klarnetu Rothenberga i oniryczny \u015bpiew Lembe Lokk.<\/p>\n <\/p>\n S\u0142owicze trele s\u0105 oczywi\u015bcie najwa\u017cniejsze, bo to wok\u00f3\u0142 nich kr\u0119ci si\u0119 podmuch improwizowanego powietrza p\u0142yn\u0105cego z instrument\u00f3w czy ludzkiego gard\u0142a. Niekiedy towarzyszem staje si\u0119 te\u017c d\u017awi\u0119k wygenerowany z iPada. \u201eS\u0142owiki pomog\u0142y mi znale\u017a\u0107 idealny d\u017awi\u0119k \u2013 opowiada Rothenberg. \u2013 Gatunek ludzki ociepla planet\u0119 nie do poznania, a to mo\u017ce oznacza\u0107 koniec naszego panowania nad tym miejscem. Nadal jednak s\u0105 chwile, w kt\u00f3rych ludzie mog\u0105 dotyka\u0107 przyrody poprzez d\u017awi\u0119ki rozgrywaj\u0105ce si\u0119 wok\u00f3\u0142 nas, cho\u0107by tworz\u0105c muzyk\u0119 wraz ze s\u0142owikami\u201d.<\/p>\n <\/p>\n Druga p\u0142yta z tego zestawu w ca\u0142o\u015bci po\u015bwi\u0119cona jest helsi\u0144skim s\u0142owikom i wsp\u00f3\u0142pracy z tamtejszymi muzykami. Tutaj z kolei w przewa\u017caj\u0105cej cz\u0119\u015bci materia\u0142u Rothenberg sam nawi\u0105zuje dialog z ptakami \u2013 robi\u0105c to za pomoc\u0105 klarnetu lub klarnetu basowego, iPada oraz tradycyjnego norweskiego fletu seljefl\u00f8yte (w wolnym t\u0142umaczeniu: gwizdek na foki). Zdarza si\u0119, \u017ce do s\u0142owiczego \u015bwiata artysta przemyca jazzow\u0105, bluesow\u0105 i orientaln\u0105 fraz\u0119.<\/p>\n <\/p>\n Trudno rozpatrywa\u0107 Nightingale Cities w kategoriach czystego field recordingu, gdy\u017c nie o tak\u0105 filozofi\u0119 d\u017awi\u0119ku chodzi\u0142o Rothenbergowi. Ameryka\u0144skiego kompozytora bardziej interesuje \u017cywy kontakt z przyrod\u0105 ni\u017c skupianie si\u0119 na dokumentalistyce. By\u0107 mo\u017ce b\u0119dzie to zbyt daleko id\u0105ca paralela, ale wydaje si\u0119, i\u017c dzia\u0142ania Rothenberga s\u0105 bliskie tw\u00f3rczo\u015bci Luca Ferrariego (1929\u20132005). W kontek\u015bcie Nightingale Cities przypomnia\u0142 mi si\u0119 wznowiony dwa lat temu album francuskiego kompozytora H\u00e9t\u00e9rozygote\/Petite symphonie. Szczeg\u00f3lnie wi\u0105\u017c\u0119 Nightingale Cities z ide\u0105 Petite symphonie. Ferrari tym nagraniem wyrazi\u0142 sw\u00f3j zachwyt nad zachodem s\u0142o\u0144ca, w czasie pobytu w g\u00f3rach, gdzie na szlaku spotka\u0142 pasterza, a ten mu odpowiedzia\u0142: \u201eNigdy si\u0119 nie nudz\u0119, bo ws\u0142uchuj\u0119 si\u0119 w krajobraz. Czasami gram na flecie i w\u00f3wczas nas\u0142uchuj\u0119 echa, kt\u00f3re mi odpowiada\u201d. Podobnie jest ze \u015bpiewem s\u0142owika, nie ma w nim powt\u00f3rze\u0144, przewidywalno\u015bci i ustalonej z g\u00f3ry linii melodycznej, wi\u0119c nie ma tu mowy o nudzie.<\/p>\n <\/p>\n Nightingale Cities wy\u015bmienicie zaciera granice mi\u0119dzy przyrod\u0105 a cz\u0142owiekiem oraz sk\u0142ania do g\u0142\u0119bokiej refleksji nad kondycj\u0105 ludzko\u015bci. Rothenberg swoimi muzycznymi dzia\u0142aniami kreuje wyabstrahowan\u0105 rzeczywisto\u015b\u0107, tym samym zaprasza nas do budowania symbiozy ze \u015bwiatem b\u0119d\u0105cym na wyci\u0105gni\u0119cie r\u0119ki. Dla jednych natura jest cennym \u017ar\u00f3d\u0142em do\u015bwiadcze\u0144, dla innych \u2013 i niestety wi\u0119kszo\u015bci z nas \u2013 pozostaje zb\u0119dnym dodatkiem. \u015apieszmy si\u0119 s\u0142ucha\u0107 przyrody, kt\u00f3ra nieustannie wysy\u0142a wyra\u017ane sygna\u0142y. David Rothenberg doskonale rozkodowa\u0142 i ud\u017awi\u0119kowi\u0142 ten przekaz. <\/p>\n (DM) | VITAL WEEKLY<\/a><\/strong> <\/p>\n Duncan Simpson | Musique Machine<\/a><\/strong> <\/p>\n The first disk, recorded in Berlin, features the largest group of improvisers, including the voices of Lembe Lokk and Cymin Samawatie , Korhan Erel on iPad electronics and even an oud played by Wassim Mukdad. For the most part though, and exclusively on the second disk recorded in Helsinki, it’s the clarinet and electronic manipulations of Rothenberg himself, alongside the beautifully recorded calls of the nightingale. Recording with a wild animal makes the notion of rehearsal somewhat redundant, and so what we have here are two collections culled from multiple improvisation sessions, and as you might expect this produces a mixed set of results. Indeed the players seem to be finding their feet on some of the early tracks starting with The Boori Sound and Dreaming Slow where Lokk interjects with the Nightingale in a call and response fashion.<\/p>\n <\/p>\n Undoubtedly, the sound initially strikes the ear as odd; sparse, with the bird calls allowed centre stage and the other instrumentalists joining and leaving as they see fit. Things begin to come together on the longer pieces that make up the middle of disk 1. O Bulbul, Your Love and The Nightingales are Drunk both feature more varied and active interventions from the ensemble; in particular Korhan Erel’s iPad electronics which scatter distant percussive trills and fragments of pre-recorded acoustic instrumentation across the mix, lending these piece an extra depth that has you forgetting they are being recorded outdoors. The latter composition is subtly layered with recycled phrases from the clarinet and Lokk’s voice. Though the nightingale sounds sober, there’s a blurred, pleasantly inebriated drift to the ensemble’s playing that’s almost dream like; with Rothenberg’s clarinet oozing out several memorable melodic phrases. The album title track is another highlight with Cymin Samawatie on voice, her serpentine Persian lyrics dovetailing (pardon the pun) superbly with Erel’s electronics, which at times are redolent of Akira Rabelais‘ classic Spellewauerynsherde. The disk closes with an amusing incident when the Berlin police show up, no doubt to find out who these odd people are recording with the birds at 1am!<\/p>\n <\/p>\n The second disk, recorded in Helsinki, features Rothenberg almost entirely solo with a variety of instruments and noise makers including reed warblers and an ancient Norwegian flute called a seljefl\u00f8yte. Rothenberg muses in the sleeve notes: „Does the bird get this?“. Certainly they should be able to comprehend if they’re able to make something of the composer firing their own calls back to them in reverse or at slow speeds, as he does with the aid of the iPad on Elektro Repeet. All the tracks on the second disk bar the last one were recorded during a single trip to Helsinki in 2016 and thus benefit from a greater degree of consistency in approach compared to the first disk which features recordings made over several years. Rothenberg shifts for each track from one set of instruments to another. From his clarinet to the seljefl\u00f8yte and from there onto a furulya (a type of recorder), bass clarinet, electronics and the warblers. It’s tempting to hear more synergy between the human and animal parts of this project than are perhaps actually present. Then again jazz and contemporary composition are full of dissonant recordings where one wonders if the players were in the same time-zone, let alone the same room when they recorded it.<\/p>\n <\/p>\n There’s a surreal, almost whimsical side to this project which has a grown man going outside to play along with the birds. But as you listen to these pieces and the bird calls begin to slide in an out with the players it begin to click and you can imagine that impromptu ensembles of blackbirds, nightingales and humans are indeed striking up a most occult kind of jazz music. Ballad with Nightingale and Mosquitoes adds violin to Rothenberg’s clarinet; the strings intervening as short bursts darting around the calls of nightingale, which actually seems to lead the other two players with constant shifting between tonal and textural sounds. If you focus your attention on the birds you can see why someone might want to attempt a recording of this type. The range and clarity of their calls is extraordinary, going from repetitive chirps to melodic riffs, percussive trills and many sounds difficult to describe. The last track on the album is a departure from what went before. It’s a studio composition using bass guitar to accompany Rothenberg’s computer manipulated recordings of the nightingales. Consequently it lacks all the beautifully naturalistic quality of the previous tracks. It’s a fun listen with the bird calls warped into loops or animated into more easily controlled samples.<\/p>\n <\/p>\n At nearly two and a half hours of music Nightingale Cities is a sprawling culmination of a project that’s clearly very close to Rothenberg’s heart. There is material, particularly on the first disk, that manages to raise itself above the slightly whimsical premise of the project. However, many of the recordings here fail to hold the attention for those not versed in the complexities of ornithological vocalisation, and with the variety of material, it perhaps could have done with being distilled a bit more into a single disk. As it stands, Nightingale Cities is a record to get lost in, slightly baffled and occasionally come across a real gem of interspecies synergy. <\/p>\n textura<\/a><\/strong> <\/p>\n Along with Hardanger fiddler Benedicte Maurseth, bassist Emil Buchholz, frame drummer Volker Lankow, oud player Wassim Mukdad, and violinist Sanna Salmenkallio, singers appear (Lembe Lokk, Cymin Samawatie, Ines Theileis) while Rothenberg (in addition to clarinets) and Korhan Erel are credited with iPad and Wouter Jaspers Field Kit. Complementing the two CDs (one documenting the Berlin recordings, the other Helsinki’s) is a twenty-page booklet containing photos plus track listings accompanied by details about personnel, dates, and locations. Groupings of three, four, and five participants perform (nightingale included) on most of the Berlin tracks, whereas eight of the eleven Helsinki pieces are Rothenberg duets. That set also supplements the sounds of the Thrush nightingale with those of the sedge warbler, blackbird, reed warbler, and mosquito, and two album tracks present the nightingale unaccompanied.<\/p>\n <\/p>\n A typical setting presents the leader on clarinet accompanied by two or three others and a nightingale interacting with all of them. The performances unfold in an unhurried, methodical manner, the humans receptive and responsive to the expressions arising from all concerned. The amazing to-and-fro that occurs between Lokk and the nightingale during \u201cDreaming Slow\u201d should lay to rest any doubt that the bird’s expressions are not in some way responses to the singer’s. Much the same might be said of the title track, which sees the birds reacting to Samawatie’s musings, Erel’s eerie textures, and Rothenberg’s explorations.<\/p>\n <\/p>\n The sound design has the potential to expand limitlessly beyond acoustic borders when the iPad’s involved. With the leader generating warbling synthesizer-like noises, \u201cAlien Beauty,\u201d for instance, is hardly like something one would imagine originating out of a Helsinki park. The ear otherwise perks up when the sweetly rustic sound of the Hardanger fiddle surfaces alongside the clarinet and nightingale during \u201cShe’s Finally Here.\u201d With frame drum prodding the music along, the ensemble becomes a folk-tinged septet for \u201cAt Midnight We All Waited,\u201d and then takes on a bluesy Eastern character when oud and frame drum appear in \u201cI Cannot Go Home.\u201d One particularly amusing moment arises during \u201cExit Music\u201d when at one in the morning the musicians are asked to leave a Berlin park and thereafter play no later than ten o’clock at night.<\/p>\n <\/p>\n On disc two, Rothenberg’s wail on the duet \u201cSharawaji Blues\u201d sounds like he might have been imagining himself playing at a jazz club as opposed to a Helsinki park. In \u201cNo One Sings at Dawn Alone,\u201d the Thrush nightingale turns particularly animated and talkative when paired with the leader’s bass clarinet, after which Rothenberg comes close to matching the musical chirp of the Blyth’s reed warblers during \u201cSisichak\u201d when he plays a Bulgarian double whistle called the furulya. In terms of outliers, Nightingale Cities ends on a rather bizarre note when the insistent throb of Jay Nicholas’s bass powers a grooving dance pulse through the nightingale-punctuated \u201cNeoNachtigall.\u201d<\/p>\n <\/p>\n At twenty-four tracks and 141 minutes, the question invariably arises: wouldn’t a single CD of, say, one-hour-long duration suffice? Yes, it would, but there’s also something undeniably engrossing about the result, even in its unabridged form. If anything, as the recording advances one’s affection for the project grows, especially when the \u2018music‘ produced by the birds is so mesmerizing and the normal barriers separating the species seem to dissolve. As the recording nears its end, you’ll likely find yourself having been won over by Rothenberg’s contention that when humans create music with another species \u201c(t)he planet becomes a more harmonious place.\u201d <\/p>\n Rigobert Dittmann | Bad Alchemy Magazin<\/a> (102)<\/strong> <\/p>\n Richard Allen | a closer listen<\/a><\/strong> <\/p>\n \u201cThe biggest thing is to not play ~ just listen.\u201d says Rothenberg. \u201cListen most of the time.\u201d The opening statement of the trailer sets us at ease. It\u2019s easy to dismiss the thought of interspecies music as fancy or hubris. But if such a thing can happen, it begins with humility. People have conversations with dogs, cats and parrots all the time. So why not music? Some claim that the difference in auditory systems prevents such interactions from happening, or that our music is merely tolerated or ignored by other species. Others show that certain animals demonstrate a preference for certain types of music, or at east an aversion to others. Rothenberg\u2019s \u201cEleven Paths to Animal Music\u201d elucidates his approach. He thinks that he and his friends are performing duets, while realizing that this might be wishful thinking; yet he also apologizes for his earlier criticism of scientists, who are in fact attempting to prove his theories (while occasionally fighting over a single bird).<\/p>\n <\/p>\n So let\u2019s begin with a few basic assumptions: 1) Certain members of the animal kingdom might be willing and able to duet with humans; 2) Listening closely to the sounds of other living creatures increases our overall awareness; and 3) Even if the duets are never proven, the idea of the duet is enough, as Cymin Samawatie extols, to make us feel \u201cconnected \u2026 maybe even to God.\u201d<\/p>\n <\/p>\n The nightingale is capable of producing innumerable vocal phrases, many of which can be heard here. While listening, one begins to anthropomorphize, thinking, \u201cthat part sounds like electronic music\u201d or \u201cis this free jazz improv?\u201d It\u2019s not. It\u2019s birdsong. But one may also connect the ability to that of a newborn human infant, whose vocal repertoire seems endless, and virtually impossible to imitate. Different cultures reward different sounds with repetition, losing the ability to mimic what is not reinforced. It\u2019s fun to watch Rothenberg as he attempts to imitate the nightingale\u2019s growl. While clearly in love with the nightingale\u2019s phrases, he calls them \u201cweird,\u201d but also admits that people have had the same reaction to his own music.<\/p>\n <\/p>\n The full title of the book is Nightingales in Berlin: Searching for the Perfect Sound. Such a search is clearly subjective. A favorite sound is another. When Rothenberg chooses one particular utterance as the nightingale\u2019s \u201cbest note,\u201d we know he\u2019s winking. In like fashion, he asks, \u201cHow can we tell if one soundscape is better than another?\u201d It\u2019s a question we face here all the time, as we do choose to review some soundscapes and not others, then rank them at the end of the year. But we know, as does Rothenberg, that our preferences are sometimes based on measurement (for example, the clarity of the recording ~ this one is pristine) and sometimes arbitrary (preferring dense recordings or sparse).<\/p>\n <\/p>\n When listening to nightingales, one gravitates to one sound to another; when listening to a 140-minute collection of interspecies music, one prefers certain segments. The cacophony at the center of \u201cO B\u00fclb\u00fcl, Your Love\u201d strikes this listener as the album\u2019s best distilled explosion of joy, the beginning of \u201cThe Nightingales Are Drunk\u201d the most relatable soundscape, due to the sound of passing cars. On \u201cSisichak,\u201d Rothenberg and furulya stumble into \u201ca jam session of reed warblers\u201d in Helsinki. Lemke Lokk\u2019s interaction in \u201cDreaming Slow\u201d is convincing on its own, even devoid of context; and amazingly, it\u2019s been caught on film (see below). An exchange at the end of \u201cExit Music\u201d humanizes the composer and his project: \u201cMaking music?\u201d \u201cNo.\u201d Meanwhile, Rothenberg amusingly notes that the nightingale provides no indication of when one song (track) ends and another begins.<\/p>\n <\/p>\n But perhaps the most affecting juxtaposition happens offstage. On \u201cNightingale, You Are the One,\u201d \u201cfinally, our bird can sing for himself, alone, no humans to trouble him.\u201d (The same approach holds true for \u201cSotavalka\u2019s Satakieli\u201d on Disc Two.) At the same time, vocalist Samawatie is not allowed to perform in her home country of Iran. Nightingales may sing loudly in order to drown out their competition; only humans attempt to silence others completely. <\/p>\n Holger Adam | testcard<\/a><\/strong> <\/p>\n CD TIPP \u2013 Label: Gruenrekorder<\/strong> <\/p>\n Seit 2003 ist das deutsche Label Gruenrekorder zust\u00e4ndig f\u00fcr Fieldrecordings, Sound Art und vieles was nie in g\u00e4ngige Schubladen passt oder in die Kataloge des Online Handels. Wer interessiert sich schon dort f\u00fcr Musik aus dem alten Gasometer in Augsburg, den Gesang der V\u00f6gel in den Parks von Berlin und Helsinki? Lasse-Marc Riek und Roland Etzin interessiert es.<\/p>\n <\/p>\n Aus Richtung N\u00fcrnberg mit der Bahn kommend f\u00e4hrt man in H\u00f6he Augsburg-Oberhausen am Gasometer vorbei. Es ist nicht zu \u00fcbersehen. Ein Zeugnis eines Industriezeitalters das der Vergangenheit angeh\u00f6rt. Der Augsburger Gerald Fiebig hat in diesem Gasometer 2013 eine faszinierende Klanginstallation eingerichtet, welche auch die Grundlage der CD ist. Siehe hierzu auch die vielen Reviews dazu<\/a>. <\/p>\n Etwas ganz untypisches f\u00fcr Gruenrekorder wurde mit der Vogelmusik von David Rothenberg ver\u00f6ffentlicht. Was aber auch die ganze Bandbreite dieses Labels ausmacht. Mit dem Gesang der V\u00f6gel wurde in den Parks von Berlin und Helsinki musiziert, dort wo die Nachtigall noch singt \u2026 Jedenfalls bis 22.00 Uhr, dann muss Schluss sein. Musik nach 22.00 Uhr geht nicht und wenn sie noch so sch\u00f6n ist. <\/p>\n F\u00fcr alle die sich einen \u00dcberblick \u00fcber die Klangwelt von Gruenrekorder verschaffen wollen, sei hier die Soundcloud <\/a>Seite empfohlen und der Text von Holger Adam auf Testcard, der bei fast allen Reviews zu den Gruenrekorder Ver\u00f6ffentlichungen zu finden ist !<\/p>\n <\/p>\n Genannte Ver\u00f6ffentlichungen: Nightingale Cities | David Rothenberg Gruen 189 | Double CD > [order] Reviews Five years in the making, David Rothenberg\u2019s Nightingales in Berlin project includes a book, a film, many live concerts, and this double CD, including a 20 page color booklet of stills from the film and music not available in any […]<\/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-17051","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/17051","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=17051"}],"version-history":[{"count":34,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/17051\/revisions"}],"predecessor-version":[{"id":17992,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/17051\/revisions\/17992"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17051"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 189 | Double CD > [order<\/a>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\n
\nKorhan Erel, iPad
\nWouter Jaspers, Field Kit
\nLembe Lokk, voice
\nBenedicte Maurseth, Hardanger fiddle
\nWassim Mukdad, oud
\nJay Nicholas, electric bass in remix
\nVolker Lankow, frame drum
\nDavid Rothenberg, clarinet, bass clarinet, seljefl\u00f8yte, iPad
\nSanna Salmenkallio, violin
\nCymin Samawatie, voice
\nInes Theileis, voice<\/p>\n
\n2. Dreaming Slow
\n3. While Birds Chant Praises
\n4. O B\u00fclbul, Your Love
\nMP3<\/a>
\n5. The Nightingales Are Drunk
\n6. Viktoria\u2019s Dream
\n7. Nightingale Cities
\n8. Addicted to Birds
\n9. She\u2019s Finally Here
\n10. At Midnight We All Waited
\nMP3<\/a>
\n11. I Cannot Go Home
\n12. Exit Music
\n13. Nightingale, You Are the One<\/p>\n
\nMP3<\/a>
\n2. Sharawaji Blues
\n3. Willow Wind
\n4. No One Sings at Dawn Alone
\n5. Ballad with Nightingale and Mosquitoes
\n6. Sisichak
\n7. Sisichak Remix [for Emu]
\nMP3<\/a>
\n8. Alien Beauty
\n9. The Morning Electric
\n10. Sotavalta\u2019s Satakieli
\n11. NeoNachtigall<\/p>\n
\nDouble CD (500 copies)
\n20 page color booklet<\/p>\n
\n
\nstills from his film Nightingales in Berlin<\/p>\n
\nNightingales in Berlin (University of Chicago Press, 2019)
\nwww.nightingalesinberlin.com<\/a><\/p>\n
\nby David Rothenberg, Ville Tanttu, and Reelika Ramot
\nMixed and mastered by David Rothenberg
\nat B Street, Cold Spring and NOTAM, Oslo.<\/p>\n
\nAll titles published by Mysterious Mountain Music (BMI)
\nAll rights reserved.
\nTerra Nova Music – TN1920<\/p>\n
\nGermany \/ 2019 \/ Gruen 189 \/ LC 09488<\/p>\n
\n
\nClarinettist and sound artist David Rothenberg made the Cicada Dream Band record for Gruenrekorder in 2014 (with Pauline Oliveros and Timothy Hill); that record made use of insects and birdsong as part of its conceptual whole. A similar approach is used on Nightingale Cities (GRUENREKORDER Gruen 189), a double CD set of music recorded in Berlin and Helsinki. The nightingale is the key. Rothenberg claims this particular bird has \u201chelped me to find the perfect sound\u201d. He enlisted the help of various musicians and singers, plus field recording technicians, and they went out and played in the raw, creating music right there in the forests along with the song of the nightingales. The sessions have been thoroughly documented in the fat book of notes \u2013 photographs and annotations galore, meticulously detailing the circumstances of each separate track. Yet the results aren\u2019t really that great to listen to, and there\u2019s a rather twee vibe to the whole thing (bad poetry and much mutual self-admiration among the players), but Rothenberg may be onto something with his ideas about \u201cinterspecies music\u201d. It\u2019s a fairly imaginative way of engaging with the ecological debate, for one thing.
\nlink<\/a><\/p>\n
\nWhy nightingales are snubbing Berkeley Square for the Tiergarten
\nScientists, including a descendant of Charles Darwin, are researching the birds\u2019 preference for Berlin — by Philip Oltermann<\/p>\n
\nDavid Rothenberg to ameryka\u0144ski klarnecista, kompozytor, profesor filozofii, absolwent Harvardu, a tak\u017ce wyk\u0142adowca w New Jersey Institute of Technology. Autor wielu interesuj\u0105cych ksi\u0105\u017cek, np. Why Birds Sing (2005) i Thousand Mile Song (2008) oraz film\u00f3w dokumentalnych, w kt\u00f3rych opisuje i bada muzyk\u0119 przez pryzmat \u015bwiata zwierz\u0105t.<\/p>\n
\nlink<\/a><\/p>\n
\nDavid Rothenburg is building up an interesting life work. He is working on \u2018interspecies music\u2019! Several of his earlier projects for Gruenrekorder, a German label specialised in field recordings, soundscapes and sound art, has been reviewed here. But with this new release, it started to work for me what Rothenberg is exploring. This project took five years (2014-2018), doing recordings in Berlin and Helsinki, including a book as well as a documentary. Gruenrekorder again releases this double CD, with a 20-page booklet included. Disc one has 72 minutes of recordings done in Berlin. For disc two we are 69 minutes in Helsinki. As a composer and clarinettist with roots in jazz, to make music with birds became a fascination that never left him. At the same time, it remains a mystery for Rothenberg himself what attracts him in this possible communication that can never be proven. His research on the relationship between music and birds is what made Rothenberg known as an expert in this field. On earlier recordings, it was always just Rothenberg and the birds. This time he invited musicians to participate: Emil Buchholz (bass), Korhan Erel (iPad), Wouter Jaspers (Field Kit), Lembe Lokk (voice), Benedicte Maurseth (Hardanger fiddle), Wassim Mukdad (oud), Jay Nicholas (electric bass in remix), Volker Lankow (frame drum), , Sanna Salmenkallio (violin), Cymin Samawatie (voice) and Ines Theileis (voice). David Rothenberg plays the clarinet, bass clarinet, seljefl\u00f8yte and iPad. Rothenberg: \u201cThe nightingales have helped me find the perfect sound. By assembling just the right group of kindred spirits, together we dream of a way that humans and nature might live closer together. Our species is warming the planet beyond recognition, and this could mean the end of our reign over this place. Yet there are still these moments during which humans can touch nature through sound happening all around us, as we make music along with the nightingales of Helsinki and Berlin. The paths to animal music sit right before us.\u201d Most of the tracks have a clear recording of a nightingale, with few other environmental sounds. For his recording in Berlin, Rothenberg is assisted by two or three musicians. The Helsinki recording has him solo. So what is it that we are listening to? A one-sided communication, blinded by idealism? Anyway, it is a very specific and consciously chosen musical response to aspects of our environment that starts with a close listening, driven by curiosity what nature and environment produce. In this case, the phrases produced by the nightingale. A sympathetic and sometimes touching enterprise! The last track is a surprising one; a long one with some \u2018real\u2019 music. A computer-generated beat, with a bass solo by Jay Nicolas. And \u2018Nightingale as a machine, machine as a nightingale\u2019, Rothenberg explains. (DM)
\nlink<\/a><\/p>\n
\nPhilosopher and musician David Rothenberg has had a fascinating and singular career. Through his many books and recordings Rothenberg has forged a niche for himself as something of an interspecies musicologist. Beginning with his first book Why Birds Sing: A Journey Into the Mystery of Bird Song he has explored both human and animal relationships to sound and the environment by way of mutual song. This has on several occasions – as it does here on his fourth outing for Gruenrekorder – taken the form of actually playing along with the calls of animals. Nightingale Cities is a sprawling 2CD collection of recordings of Rothenberg and others improvising with those birds in and around Berlin and Helsinki. The release coincides with the publication of a book of the same name.<\/p>\n
\nlink<\/a><\/p>\n
\nOn Nightingale Cities, clarinetist David Rothenberg expands on the duet approach of his earlier \u2018interspecies‘ recordings by including others. To that end, he and like-minded musicians collaborated with nightingales in Berlin and Helsinki over a five-year period, the results documented in this double-CD release (a companion to the recording is Rothenberg’s 2019 book Nightingales in Berlin). One of the best things about this unusual project is that it’s not field recordings-based in the usual sense: a recording of that kind typically sees the artist collecting sounds from the environment and merging them with material, musical or otherwise, generated at a different place and time; in Rothenberg’s case, interactions with nature, in this case nightingales, happen live and are recorded in real-time. (His music projects involving non-human species haven’t centered on birds exclusively, by the way, but also have included ones with whales and bugs.)<\/p>\n
\nlink<\/a><\/p>\n
\nDAVID ROTHENBERG ist Klarinettist, erprobt im Spiel mit Scanner, Pauline Oliveros, Iva Bittov\u00e1, Marilyn Crispell, er ist Professor of Philosophy and Music und er ist der Autor von „Sudden Music: Improvisation, Sound, Nature“ (2002), „Why Birds Sing“ (2005), „Thousand Mile Song: Whale Music in a Sea of Sound“ (2008), „Survival of the Beautiful: Art, Science, and Evolution“ (2011) oder „Bug Music: How Insects Gave Us Rhythm and Noise“ (2013). Lauter B\u00fccher mit Musik. Zu seinem neuesten, „Nightingales in Berlin“, geh\u00f6rt Nightingale Cities: Berlin \/ Helsinki (Terra Nova, TN 1920 \/ Gruen 189, 2 x CD), aber auch schon „Berlin B\u00fclb\u00fcl“ (TN 1511 \/ Gruen 159). Beides mit Electronics von Korhan Erel, Rothenberg mit auch noch Bassklarinette, Seljefl\u00f8yte, Furulya oder iPad, sowie nun auch noch den S\u00e4ngerinnen Lembe Lokk & Cymin Samawatie, der Geigerin Sanna Salmenkallio und weiteren Berliner B\u00fclb\u00fcllauschern, die sich die N\u00e4chte um die Ohren schlugen, um mit Nachtigallen zu musizieren. Deren Musik der Dichter John Clare schon 1832 bewundernd einfing mit \u2018Chew-chew chew-chew\u2019 & higher still \/ \u2018Cheer-cheer cheer-cheer\u2019 more loud & shrill \/ \u2018Cheer-up cheer-up cheer-up\u2019\u2014& dropt \/ Low \u2018Tweet tweet jug jug jug\u2019 & stopt \/ One moment just to drink the sound \/ Her music made. So suchte Rothenberg, meist allein, im Mai 2016 in Helsinki auch den Zusammenklang mit Sprossern, Busch- & Schilfrohrs\u00e4ngern (mit Amsel oder Wachtelk\u00f6nig als akustischem Beifang). In der \u00dcberzeugung, dabei nicht einem ‚Anderen‘ als ‚Alien Beauty‘ zu begegnen, vielmehr einem Widerhall menschgemachter Kl\u00e4nge, hard machinery ebenso wie soft melody. Natur und Kultur verklammert durch Sch\u00f6nheit als evolution\u00e4rem Plus? Mit anf\u00e4nglichen Finessen- und Verbl\u00fcffungsvorteilen der Geschn\u00e4belten, denen dennoch ob des unm\u00f6glichen Dus die Rolle von Accessoires und Lokalkolorit droht. Am Ich-Du-\u00e4hnlichsten ist es, wenn Rothenberg unter finnischem Himmel und unter vier Augen quasi selber zum Vogel wird.
\nlink<\/a><\/p>\n
\nDavid Rothenberg is a musician with a calling: to hear, appreciate, and participate in the music of the animal kingdom. A triptych of books on whale music, bird music and bug music has cemented his reputation. In 2019 he returns with a defined focus ~ the music of the nightingale ~ and this time, he\u2019s brought friends, who play everything from frame drum to laptop (playing the birdsong of the nightingales back to the nightingales). Nightingale Cities is the two-disc facet of this release, while Nightingales in Berlin is the title of the book and film, all premiering this spring.<\/p>\n
\nlink<\/a><\/p>\n
\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
\nMusik von David Rothenberg und Gerald Fiebig<\/a>
\nVon Henry Kozok<\/p>\n
\nsoundcloud.com\/gruenrekorder\/gasworks-gerald-fiebig-feat-emerge-christian-z-muller<\/a><\/p>\n
\nsoundcloud.com\/gruenrekorder\/nightingale-cities-david-rothenberg<\/a><\/p>\n
\nGerald Fiebig feat. EMERGE & Christian Z. M\u00fcller: \u2018Gasworks<\/a>\u2019
\nDavid Rothenberg: \u2018Nightingale Cities<\/a>\u2019<\/p>\n","protected":false},"excerpt":{"rendered":"