zeitkratzer - electroniX

Infos: www.staubgold.com, www.zeitkratzer.de
info(at)x-tract-production(dot)de, phone +49 (30) 505 93 401

x-t 2006 CD
Reinhold Friedl (artistic director, piano), Burkhard Schlothauer (violin),
Michael Moser (cello), Alexander Frangenheim (doublebass), Franz Hautzinger
(trumpet - on 2, 3, 4, 5), Axel Dörner (trumpet - on 5), Melvyn Poore(tuba),
Ulrich Krieger (saxophone), Luca Venitucci (accordion), Ray Kaczynski
(percussion - on 1, 4, 5), Maurice de Martin (percussion - on 2)
Dror Feiler (saxophone - on 5), Sebastian Hilken (cello - on 1)

1. Bernhard Guenter, “insects” (18:49)
(live at Podewil, Berlin 19/3/2001)

2. Terre Thaemlitz, “supersuperbonus” (11:39)
(live at Podewil 14/6/2000)

3. Manfred Klauß/Onnen Bock, „was noch was“ (12:37)
Klangorganisation unter Verwendung von "55 similar sounds + 2 drummers
drumming“ von Burkhard Schlothauer und „bisherigori“ von Anne Gillis

4. Column One
(Rene Lamp/Robert Schalinski), “Dead Air Part 8 Autonomie der Signale” (12:55)
(live at Podewil, Berlin 14/6/2000)

5. Dror Feiler/zeitkratzer, „Improvisation“ (7:47)
(live at Podewil, Berlin 18/1/1999)

total (63:51)

produced by Elke Moltrecht, Reinhold Friedl, Manfred Klauß
recording: Marcus Waibel
mixed: Reinhold Friedl, Manfred Klauß, Marcus Waibel, Onnen Bock
mastering: Onnen Bock
executive producer: Elke Moltrecht
distribution: www.staubgold.com, www.trenteaiseaux.com
cover painting: Jens Wolf, design: LSD
booklet design and inlaycard: House of Audio

Kindly supported by Berliner Kulturveranstaltungs-GmbH.
Special Thanks to Guido Henneboehl.

zeitkratzer - electroniX

The present CD documents a facet of zeitkratzer’s early phase, a time when the ensemble began collaborating with musicians who were making exciting new music outside the confines of academic “contemporary” music. Indeed, it was in the orbit of the electronic avantgarde where many musicians were setting themselves apart in their more radical, freer ways of thinking, new concepts of sound and - thanks to the democratization of the means of production - by creating music independent of institutionalized studios. There is, however, no denying that - with regard to complexity and dynamism - instrumental sounds are still clearly superior to those electronically generated: this was the argument that helped seduce the composers of the works on this CD into composing for amplified instruments. The fact that each of the musicians of zeitkratzer is equipped with an arsenal of very personal, special techniques and sounds that are in no small way influenced by electronic sounds made this proposal all the more attractive. Bernhard Guenter had already made a name for himself in the early years of independent electronic music with his first production “un peu de neige salie” on the label Selektion (reissued on the label Table of the Elements and his own label trente oiseaux). For his composition “insects”, he not only provided a precise description of the instrumental sounds, but added an accompanying performance CD whose sounds are imitated and also counterpointed by the ensemble. Ever since his days as an underground DJ in New York (when he was producing records with Bill Laswell), Terre Thaemlitz has seen himself less as a musician than as an artist and activist for gender-bending. As material for his collaboration with zeitkratzer, he suggested his fag-jazz production which was arranged by zeitkratzer in the spirit of Thaemlitz’ outstanding electronic releases “Means from an End” (Milles Plateaux) and “Couture Cosmetique” (Caipirinha Productions). “supersuperbonus”, presented here, is a spin-off from the zeitkratzer LP of the same name that was released on Kirschbier Records and Comatonse. Thaemlitz’ electronic “milkglasspane sound” translated for instruments collides with asymmetrical fag-jazz patterns. After listening to the live version of the composition “55 similar sounds and 2 drummers drumming” by Burkhard Schlothauer (which is due for release on the label wandelweiser in the original zeitkratzer recording), the idea arose to make the material available to the audio advisor Manfred Klauß for a new version. He realized the work together with Onnen Bock, who has garnered a lot of attention for his sound direction. The cooperation with Column One took place against a very different background. The two-man Berlin formation had already released a wide range of very sonically attractive productions (White Error/Artefakt 5 a. o.), situated more in an industrial, underground or art context. The present recording is the acoustic documentation of an installation work in which five musicians are each positioned with their instruments between a monitor and a video camera. This creates visual as well as acoustic feedback which can then be influenced by the playing and movements of the musicians. In addition, Column One chose the instrumental sounds in such a way that it is almost impossible to perceive a difference between these and the finely constructed feedback thanks to the acoustic characteristics of the fusion. The last recording on electroniX is an improvisation between the ensemble with Dror Feiler: in the same concert, zeitkratzer performed a very loud composition by the composer (released as “lärm…\noise”, Tourette). Dror Feiler, known for all-out noise as well as differentiated noise composition, loves opposition – also, at times, surprising and self-ironic. He suggested playing a pianissimo improvisation that zeitkratzer realized in the form of electronic-sounding instrumental sounds and their amalgamations. Reinhold Friedl founded zeitkratzer in 1997 in Podewil, where it developed its artistic profile. In 2001, zeitkratzer was Ensemble in Residence, and in 2002, Associated Artists. zeitkratzer enjoys an outstanding international reputation thanks to its unique programs and collaborations. These include interpretations that range from Karlheinz Stockhausen, Helmut Lachenmann and Mathias Spahlinger to LaMonte Young, projects with Lou Reed, Carsten Nicolai or choreographers such as Sasha Waltz and the fashion designer Lisa D. (

text: Reinhold Friedl/Elke Moltrecht translation: Laurie Schwartz