![\"Photos](\"https:\/\/www.gruenrekorder.de\/Photos\/cherry_music\/rhythm.jpg\" "\\"Photos")
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Rhythm | Various Artists<\/strong><\/p>\n Gruen 050 | Audio CD (Digipack) > [Sold Out<\/span>] Reviews<\/a><\/p>\n <\/p>\n 01. Peter Cusack<\/a> \/ United Kingdom<\/strong> Recorded at the Jaguars car manufacturing plant, Liverpool, UK, 2003<\/p>\n <\/p>\n 02. Eric La Casa<\/a> \/ France<\/strong><\/p>\n „Clisson: Moulin de Gervaux“ \/ 8:14<\/p>\n Recorded in Clisson, France, November 2001<\/p>\n <\/p>\n 03. Roland Etzin<\/a> \/ Germany<\/strong><\/p>\n „Premium 900“ \/ 4:59<\/p>\n Recorded in Frankfurt am Main, Germany, 2007<\/p>\n <\/p>\n 04. Jez Riley French<\/a> \/ Yorkshire<\/strong><\/p>\n „Boat Ropes & Lake Hollow Pole“ \/ 6:50<\/p>\n Recorded in the East Riding of Yorkshire Lake Konstanz, 2007\/2006<\/p>\n <\/p>\n 05. Takahiro Kawaguchi<\/a> \/ Japan<\/strong> „for example #01“ \/ 7:02<\/p>\n Recorded anywhere, sometime in 2007<\/p>\n „1928 Australian Streetcar“ \/ 3:28<\/p>\n Recorded enroute from Pioneer Square to Elliott Bay, Seattle, Washington, 2005<\/p>\n „self adjustments on mirror“ \/ 5:34<\/p>\n Recorded at the basement parking area, Meguro, Tokyo, April 2007<\/p>\n „Matti, 06.02.2007, 10:29 am“ \/ 4:42<\/p>\n <\/p>\n 09. Sawako<\/a> \/ Japan<\/strong><\/p>\n „Rain Clock“ \/ 6:42<\/p>\n Recorded in Upper East Side, New York City, 2007<\/p>\n <\/p>\n 10. Walter Tilgner<\/a> \/ Germany<\/strong> „Tag, Mittelspecht“ \/ 3:30<\/p>\n (taken from: Fr\u00fchlingskonzert im Auwald, SM 9003-50)<\/p>\n Recorded by Walter Tilgner www.wergo.de<\/a><\/p>\n <\/p>\n <\/p>\n 10 Tracks (55’16“) <\/p>\n <\/p>\n <\/a>Reviews:<\/strong> Diese sch\u00f6ne Split-Release zwischen Gruenrekorder und dem japanischen Label Cherry Music widmet sich anhand unbearbeiteter Field Recordings dem Aufsp\u00fcren und H\u00f6rbarmachen von den vorliegenden Aufnahmen innewohnenden Rhythmen, Nebenprodukte also, die, sonst wenig oder gar nicht beachtet, hier sozusagen ,spontan entstehen\u2019. Ein Widerspruch? Rhythmus ist \u00fcblicherweise ja eben nicht das chaotische, zuf\u00e4llige und so k\u00f6nnte es sich nat\u00fcrlich auch um Zuschreibungen des H\u00f6rers, oder, wenn eine platonische Sichtweise bevorzugt wird, um Entdeckungen des Musikers handeln. In diesem Sinne er\u00f6ffnet Peter Cusack mit einem recht einfachen Auftakt, n\u00e4mlich einer Aufnahme von Robotern eines Autowerks, w\u00e4hrend andere Arbeiten, wie beispielsweise jene von Lasse-Marc Riek, weit mysteri\u00f6ser bleiben oder, wie bei Takahiro Kawaguchi, der Mensch selber zum (chaotischen) ,Rhythmuserzeuger\u2019 wird, wenn vor einer – vermutlich bewusst generischen – Au\u00dfenaufnahme eine Frauenstimme das Wort ,one\u2019 wiederholt. Insgesamt zehn sehr unterschiedliche Zug\u00e4nge zum Thema tragen so also zu einer zweifellos sehr gut gelungenen Zusammenstellung bei, wobei ich pers\u00f6nlich jene St\u00fccke, denen es an Offensichtlichkeit wie auch an Vorherseh(h\u00f6r?)barkeit mangelt, am reizvollsten finde.<\/p>\n link<\/a><\/p>\n <\/p>\n EAR\/Rational<\/a> | Don Poe<\/strong><\/p>\n Looks like this is a series of field recordings that have some sort of natural rhythm. Like the first track, recorded at a car manufacturing plant. The machines are beating and bending metal to a somewhat set time, but things come and go, different parts change, just like in a real song. Some of the rhythms are more obvious and stated, while others would fall into a beat in the same way some ambient techno has a motion, but not really the 4\/4 thing going on. Some tracks are also louder, while others are more subtle textures.<\/p>\n link<\/a><\/p>\n <\/p>\n Heathen Harvest<\/a> | <\/strong>Andrew Quitter<\/strong> <\/p>\n Peter Cusack starts the disc off right with a really cool recording taken inside of a Jaguar car manufacturing plant. The robotic laborers buzz, click, drill, and pound their way through making what I assume is the frame of a car. What\u2019s really cool about this song is the way that the robots are working assembly line style, which gives the recording „parts“ like an actual song. It\u2019s a locked grove of mechanical hands, never losing time or missing a beat. I can see why this track was chosen to start the album with, because fans of many different types of music can find their own reasons to like it. I enjoy it because it reminds me of the early industrial music I love so much. Others might enjoy it because of their love for robots and technology, while others may enjoy it just because of the cool rhythms it makes. The track ends mysteriously with the sound of lounge music being played on the overhead P.A. speakers, while the machines are cooling down emitting strange hiss\u2019.<\/p>\n <\/p>\n This track is a perfect example of how the sounds found on this album are anonymous enough that they can be pleasing to a wide variety of people for a wide variety of reasons. For instance, the second track by Eric La Casa could easily be compared to crusty lo-fi noise music or the background clatter of a caged beast in some 1950\u2019s B horror movie. The third track by Roland Etzin ebbs and flows with deep bass heavy drones that any fan of dark ambient would love, while the eighth track by Lasse-Marc Riek sounds like an analog synth pulsating along with a huge dream-like ambient quality.\u00a0 Throw it all in a nice digi-pack with a flawless mastering job, and you come away with a really beautiful compilation with a lot of replay value.<\/p>\n link<\/a><\/p>\n <\/p>\n
\nSplit release with Cherry Music \/ Japan and Gruenrekorder \/ Germany<\/p>\n
\nMP3<\/a>
\n„Through the Robots“ \/ 4:21<\/p>\n
\nMP3<\/a><\/p>\n
\n06. Dale Lloyd<\/a> \/ USA<\/strong><\/p>\n
\n07. Takefumi Naoshima<\/a> \/ Japan<\/strong><\/p>\n
\n08. Lasse-Marc Riek<\/a> \/ Germany<\/strong><\/p>\n
\nMP3<\/a><\/p>\n
\nCourtesy of WERGO – a division of SCHOTT Music & Media GmbH<\/p>\n
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\nCD (500 copies)
\nCompiled by Cherry Music<\/a> & Gruenrekorder
\n\u00a9 By the artists of Cherry Music & Gruenrekorder
\n\u00a9 Photos \/ Artwork: Hartmut Wirks \/ Frankfurt am Main
\ncherry-003 \/ Gruen 050
\nJapan \/ Germany 2007 \/ LC 09488 \/ GEMA<\/p>\n
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\nquietnoise<\/a> | Tobias Bolt<\/strong><\/p>\n
\nGenre:\u00a0 Field Recordings \/ Drone Ambient
\nThis is a really cool little compilation with a focus on the use of field recordings that have strong natural rhythm. Artist from all over the world contribute 4-10 minute tracks with a wide range of atmosphere and subtlety. Due to the liner notes that briefly describe where the track was recorded, I get the feeling that these tracks are unedited and exactly how they sounded when they were caught on tape. Most of the tracks have a real strong percussion-like rhythm that brings to mind everything from musique concrete, to minimal electronica. While other tracks have rhythms in the sense that atmospheric sounds repeat in the same way that they would in an ambient or drone oriented piece of music. Overall the album flows very nicely with only a few tracks that I feel are distracting from the theme of the record. There is a lot to enjoy for people into a lot of different kinds of music,\u00a0 and you really feel like this is a comp of actual songs rather than a study in „academic sound theory“, or other beard stroking ideas that tend to turn some people away from this kind of album.<\/p>\n