released July 4, 2014
We called our recording "LANDSCHAFTSPARK". This refers to the industrial monument of Duisburg (Ruhr-District, Germany), which is called "Landschaftspark Nord" (see de.wikipedia.org/wiki/Landschaftspark_Duisburg-Nord)
and impressed as well as inspired us.
So the main title of the recording "LANDSCHAFTSPARK" and the name of the last track "NORD" shape a bracket, which is mostly filled with buildings inside the park, each correlating to one single track:
1. "Gebläsehalle": Blasting hall in the original meaning, but the german language Offers a second meaning: a large hall of brass
2. "Kraftzentrale": Means "power plant" but in the same moment the center of force
3. "Gasometer" Gasometer
4. "Hauptschalthaus": "Main switching House"
5. "Hochofen 5": "Blast Furnace 5"
6. "Der kleine Mais-Boyarde": "The little corn boyar" refers to a forgotten brand of very strong french cigarettes "Boyards Mais" It seems, that the blast furnace and those cigarettes ceased smoking around the same time.
7. "NORD": The end of the bracket.
About THE ARTISTS:
trabouliste (modular synthesizers):
Since he was a child trabouliste tended to noisy music. He really liked broadcasted noisy music of contemporary composers. Unfortunately nobody in his family shared his fascination and he hadn't a good memory of the composer names. It remained episode.
As a young man he tried punk and noise sessions. In the meantime he developed an interest in electronic sound generation. Unfortunately the equipment was lacking (as well as the money to buy it) and the electronic sound generators he was able to give a try fell short of expectations.
But with the Internet free access to all kind of information arose. It helped him to define his expectations regarding electronic sound design.
An early video demonstration of the modular iOS-Synthesizer Jasuto convinced him to purchase an iPhone and that was his entrance in experimental electronic sound generation. Meanwhile he is working with different iOS apps as well as with hardware sound generators.
His approach is shaped by three factors:
1. By ear: trabouliste like to enhance his audition. While designing experimental sound design he is guided mostly by his ears. And he really love it (for example) to hear in an accidentally passing by ship-diesel-engine a distant echo of a sound he had patched the evening before.
2. Surprise: trabouliste like it a lot to be surprised by his creations, which therefore are created in varying degrees with many random elements.
3. Experiment: stalking sounds.
As counterbalance to electronics he began to learn also the cello more than two years ago: imitative - sequential versus generative - sound design oriented.
Frank Wilke (trumpet, trombone)
Born in 1962, his first musical preferences were acquired on their parents' record player sitting cross-legged mid-sixties of the last century. Even here, there was a keen interest in brass music (for example: Egerlander Musikanten).
Years later important influences of Miles Davis, Albert Mangelsdorff, Thelonius Monk, Peter Brötzmann, Alexander v. Schlippenbach, Manfred Schoof, Tony Oxley, Gerry Hemingway, George Gräwe, John Cage, Mauricio Kagel, Joe McPhee and others) .
At age of 25 he had classical education in tenor saxophone, in the years 1990 to 1995 he was a member of the punk jazz band Transformer (associated with the “initiative music and art Wanne-Eickel e.V.”), later attending various local saxophone ensembles of the Ruhr area.
After a long musical rest phase a shift away took place from the saxophone to trumpet (2005).
In 2009 he became a founding member of the free jazz connection “freivomhieb” with Henner Graef and Uwe Juchum. Since 2010, adding more instruments (French horn, trombone) and turning to electronic sound enhancements.