"Greyish Excerpt"
GUNNAR LETTOW / GREGORY BÜTTNER "Flakes"
3“CDR, (18‘36’’ ), 60 copies, cardboard sleeve
1000füssler 021, released in February 2014

1. Greyish 10’34’’
2. Ocher 7’55’’

Gunnar Lettow, e-bass, electronics, objects, field recordings
Gregory Büttner, loudspeaker, a low sinus wave, fan, objects

Gunnar Lettow plays his electric bass using an assortment of different preparations such as spears, clips, brushes along with the use of effects units and field recordings. Gregory Büttner plays a loudspeaker cone fed with a non-audible very low frequency sine wave and places different resonating objects on the vibrating speaker membrane. In addition he plays several objects from in everyday life on a computer fan, which he uses as a rotating surface.
www.1000fussler.com


Gunnar Lettow / Gregory Büttner - Greyish excerpt

"Onagro 5 excerpt"
LUCIANO MAGGIORE
Onagro
3“CDR, (22’14’’ ), 60 copies, printed cardboard cover
1000füssler 022, released in February 2014

The material for this work comprises of field recordings made in Ardore, South Italy, August 2012. These recordings were then improvised with using a Revox B77 tape recorder and edited, over the afternoons of September 15th and 16th 2013.

Tracks:
Onagro 1 (4’38’’)
Onagro 2 (4’36’’)
Onagro 3 (3’12’’)
Onagro 4 (4’25’’)
Onagro 5 (3’50’’)
Onagro 6 (1’31’), mp3 excerpt

Music by Luciano Maggiore, 2013. Mastered by Giuseppe Ielasi. Drawing by Luciano Maggiore.

www.1000fussler.com

Luciano Maggiore - Onagro 5 excerpt

"Seeds Of Erasure  excerpt"

AMPTEXT
Seeds Of Erasure
3“CDR, (19'58''), 65 copies, cardboard sleeve
1000füssler 023, released in February 2014

Ex fan club 11’26’’
Seeds of erasure 8’24’’

Gary Rouzer, objects, tapes, field recordings, cello

Music by Gary Rouzer, 2013. Mastered by Mark Beazley. Photo by Gary Rouzer

‘My musical collages often contain the sounds of domestic and city life. I have used traffic, washing dishes, transformer hum, zippers, a can opener, couch springs, cicadas, keyboard typing, a coffee machine, rain, distant conversation, and furnace noises to name a few. My amplified objects are everyday items, such as egg slicers, combs, paint brushes, cardboard, and wooden boxes with contact mics attached. The only functions I use on the computer are simple cut and paste editing, never effects or plug-ins.‘
(Gary Rouzer, 2014) 

www.1000fussler.com

Amptext - Seeds Of Erasure excerpt

Track 2: Ilia Belorukov / Andrey Popovskiy / Birgit Ulher (Excerpt)

BIRGIT ULHER, ILIA BELORUKOV, ANDREY POPOVSKIY 
Live at Teni Zvuka 2012
CDR, (36'07''), 100 copies, cardboard sleeve
1000füssler 024, released in August 2014


Birgit Ulher, trumpet, radio, speaker, objects
Ilia Belorukov, ipad with sine waves, mini-speakers with preparations, objects
Andrey Popovskiy, motors, ebows, mini-amp, dictaphone, contact mic, surfaces, objects

In 2012 Birgit Ulher got an invitation to play at the Teni Zvuka festival in St. Petersburg. Besides solo playing with the trumpet, radio, objects and preparations Birgit also played with Ilia Belorukov who used sinewaves fed through little speakers and Andrey Popovsky who was extracting sounds from mini-amps, contact microphones and other mini-electronics. All the material of this album is recorded live at the festival. 

www.1000fussler.com

02 Ilia Belorukov / Andrey Popovskiy / Birgit Ulher (Excerpt)

Track 1 Birgit Ulher, trumpet, radio, speaker, objects (Excerpt)

BIRGIT ULHER, ILIA BELORUKOV, ANDREY POPOVSKIY 
Live at Teni Zvuka 2012
CDR, (36'07''), 100 copies, cardboard sleeve
1000füssler 024, released in August 2014


Birgit Ulher, trumpet, radio, speaker, objects
Ilia Belorukov, ipad with sine waves, mini-speakers with preparations, objects
Andrey Popovskiy, motors, ebows, mini-amp, dictaphone, contact mic, surfaces, objects

In 2012 Birgit Ulher got an invitation to play at the Teni Zvuka festival in St. Petersburg. Besides solo playing with the trumpet, radio, objects and preparations Birgit also played with Ilia Belorukov who used sinewaves fed through little speakers and Andrey Popovsky who was extracting sounds from mini-amps, contact microphones and other mini-electronics. All the material of this album is recorded live at the festival. 

www.1000fussler.com

01 Birgit Ulher, trumpet, radio, speaker, objects (Excerpt)

DOMINIC LASH / SETH COOKE
Pact
3“CDR, (23'26’’), 60 copies, cardboard sleeve
1000füssler 025, released in November 2014


Seth Cooke – waste disposal sink, electronics, pile of crap
Dominic Lash – double bass

1. PA 11’38’’
2. CT 11’40’’

Dominic Lash & Seth Cooke, March 2014; 
cover photography by Hy Crutchett.

http://www.1000fussler.com

Seth Cooke & Dominic Lash – CT excerpt

DOMINIC LASH / SETH COOKE
Pact
3“CDR, (23'26’’), 60 copies, cardboard sleeve
1000füssler 025, released in November 2014

Seth Cooke – waste disposal sink, electronics, pile of crap
Dominic Lash – double bass

1. PA 11’38’’
2. CT 11’40’’

Dominic Lash & Seth Cooke, March 2014; 
cover photography by Hy Crutchett.

www.1000fussler.com

Seth Cooke & Dominic Lash – PA excerpt

FRANCISCO MEIRINO
The Aesthetics Of Everything For Nothing
3“CDR, (17’57’’ ), 60 copies, printed cardboard cover
1000füssler 026, released in November 2014


The piece explores the sonic possibilites and audio-aesthetics of toddlers toys.
By using binaural microphones, sharp editing and some pitch and resonance treatments, I was able to record and use all the rattle elements, the small motors and tiny bells that are hidden inside those toys.

1. The Aesthetics Of Everything For Nothing (17’57’’)


Assembled and mastered in 2014 at Shiver Mobile.

www.1000füssler.com


Francisco Meirino - The Aesthetics Of Everything For Nothing excerpt

Gregory Büttner "Schwebende Lasten"
CD, 6-panel digisleeve, 150 copies
1000füssler 032, released in April 2024
https://www.1000fussler.com
https://gregorybuettner.bandcamp.com

The basic sounds of the pieces were all created with a Buchla and some with a Serge analog modular synthesizer during my residency at EMS Stockholm, 2013. After this part of the sound creation (and with some files further digital processing), I played the results through different external loudspeakers, which I prepared with resonant objects such as tin cans, tubes, paper, metal plates, wooden boxes or small objects. This mixture of acoustic and electro-acoustic sounds was then re-recorded and assembled into the final compositions.

Schwebende Lasten 2

NICOLAI STEPHAN, ASMUS TIETCHENS, STEFAN FUNCK, GREGORY BÜTTNER

'Heizung Raum 318' CD, (54:24 min), limited edition: 300 copies, cardboard sleeve,
2007 / 1000füssler 008

The four musicians have been meeting weekly in room 318 for years, but only now did they create music using the acoustics of the room. To be more precise, using one element in the room: the heating. The heating has two problems: first, it doesn‘t heat. Second, it whistles. Problem one is unnerving, especially during the winter. Problem two can be used aesthetically: by turning the radiator knobs, not only can the pitch of the whistling be varied, by using several radiators a multitude of sounds and noises can be created. To add to that, the three radiators used influence one another so that the musicians can provoke aimed acoustic situations. The three radiators were played simultaneously and recorded using a room microphone to create the material for the seven tracks. The unedited version can be heard on track eight.

Tracklist:
Stefan Funck: version paris-dakar / 6‘26
Stefan Funck: version hare / 6‘37
Gregory Büttner: heiz / 14‘23
Asmus Tietchens: keine Wärme / 10‘04
Nicolai Stephan: ziehung / 5‘07
Stefan Funck: version vier häuser / 6‘20
Stefan Funck: version almöhi / 0‘22
sourcematerial / ausgangsmaterial / 5‘05


www.1000fussler.com

Heizung Raum 318 preview mix

GUNTER ADLER
Douches Dames
3"CDR, (21:32 min)
© 2008 / 1000füssler 010

Douches Dames was part of an ancient indoor swimming pool in Forest/Brussels. Today this elegant Art Nouveau building hosts the eclectic art laboratory Bains::Connective. The music, originally intended as a sound installation, is an amalgam made of field recordings from inside the building, antique heptatonic scales and synthetically produced sounds spread out painstakingly in the first movement, infinitely transposed downwards in the second (Shepard Tones) and finally hidden inside a shady atmosphere in the third, where another stimulating motif is aperiodically interrupted by sudden violent curves. In addition Gunter Adler has compiled a jumbled array of electroacoustic samples forming a zigzagged rather than streamlined path through his archives. During the roaring times, after the melting of the polar caps had begun, visual artist Isabelle Rouquette showed works on this theme from a diversity of sources and engraved them into the trapezoidal patterned floor of the pool. On the day of the opening the interior was illuminated by flowing zebra skin light projections while the music was presented in a sort of live performance, a soundtrack accompanied by a sweeping improvisation on a synthesizer and twiddling with delay effects. It has an opulent and festive character and is at home in both ancient and modern contexts.

Douches Dames 12‘55
Scheppertones 3‘31
Mousse-Touch 5‘00

www.1000fussler.com

GUNTER ADLER - Douchesdames excerpt

RUI COSTA
Sightseeing For The Blind
CD, (56:20 min), 300 copies, cardboard cover
© 2009 / 1000füssler 012, Release Date: August 2009

Tracklist:
Rui Costa: Sightseeing For The Blind, 26‘22

further Sightings
Gregory Büttner: Side Play for Blinds, 5‘43
Pali Meursault: Hidden Insights, 5‘08
Bill Jarboe: Sightseeing joint sdif 2’, 3‘58
Maile Colbert: Site Sighing for the Time, 5‘01
Marc Behrens: Site for a Numb, 9‘54

The idea for the piece first came to me in 2005, when I was invited to develop a sound project with the city of Lisbon as its theme. I decided to wander through the city, making a series of sound recordings using a pair of binaural microphones. What I concluded from these recordings was that, more than capturing the sound of the place or its “atmosphere”, they reflected a lot about me: my decisions of where to go, what places to avoid, how fast to walk, how long to linger in one place… preconceived ideas of what I wanted to be captured on tape.
Later I followed up on this idea by introducing an element of “sonic sightseeing”. I grabbed a tourist guide of Lisbon, walked along the recommended hiking routes and made recordings with binaural and shotgun microphones. I wrote down my impressions, states of mind, mental associations and decisions and then mapped the recorded sounds against these notes, considering them as “instructions” or “cues” for a sound composition.
I suppose that the experience that tourists get from a city is in great measure determined by the randomness of these almost unconscious impressions, of a permanent mapping out of what they see against their desires, preconceived ideas, memories, etc. All in all, my intention was to convert this process into a method for sound composition using field recordings. (Rui Costa, 2009)
Sound recordings made by Rui Costa between 2005 and 2008 in Lisbon, Portugal. Composed and mixed by Rui Costa in 2008,

www.1000fussler.com

RUI COSTA - Sightseeing For the Blind excerpt

EVAPORI (Oliver Peters)
Rehearsals for Objects
CD, (33:20 min), 300 copies in special foldout cardboard cover
© 2008 / 1000füssler 011, release date: 14. Jan. 2009

The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.

Recordings were made at Rauchhaus / Berlin, Fundbureau and Christianskirche / Hamburg
Mastering by Guy Saldanha
Artwork by Nicolas Wiese
Thanks to Celia Herrero and Christoph Lohse

Rehearsal I 18:23
Interlude 3:12
Rehearsal II 11:34

www.1000fussler.com

EVAPORI -  Rehearsal1 excerpt

EVAPORI
Rehearsals for Objects
CD, (33:20 min), 300 copies in special foldout cardboard cover
© 2008 / 1000füssler 011, release date: 14. Jan. 2009

The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.

www.1000fussler.com

EVAPORI - Rehearsal excerpt2

SIMON WHETHAM
D/R
CDR, (47:30 min), 100 copies, digipak cover
© 2009 / 1000füssler 013, Release Date: August 2009

October 2008, I join a group of UK based performance artists in Tallinn, Estonia, to produce new collaborative works as guests of Non Grata. The project, Co-LAB‘08, is organised and run by Orion Maxted and protopPLAY. The theme of the project is ‚Deconstruction/Reconstruction‘, appropriate as this reflects my composing using field recordings.
The first performances are solo, showcasing existing work. I spend two days recording and composing in Tallinn, performing a 30 minute sound piece for the group.
The second performance has barely begun when the power is cut and a hole is smashed in the wall of the performance space with a sledgehammer.
The third performance is a group reaction to this, starting loud and intense, gradually becoming calm and peaceful.
Throughout the fourth performance, individuals reacted to artists actions during the previous performance. My subject, Yoko Ishiguro, carried out the following: smoking, cooking, washing her hair, eating a banana, attempting all simultaneously. (Simon Whetham, 2009)

www.1000fussler.com

SIMON WHETHAM - yoko excerpt

ROEL MEELKOP
Grey Mass / Grey Matter
2 x 3“CDR, (2 x 21:20 min),
100 copies / DIN A5 cardboard cover, one CDR on each side.
1000füssler 014, release date: February 2010

The tracks on 'grey mass / grey matter' have come together in a very satisfying way. They were all concieved as single tracks except one and were composed with quite some time intervals inbetween. Now they converge on this release as if they have always belonged together. In a sense that is certainly the case, because the essence of these tracks lies in their concrete origins: all sound material is based on recorded sounds. No electronic sounds whatsoever were added. As if in some mysterious way this can be percieved and it should indeed be noted. Or maybe it should just be enjoyed?.
Roel Meelkop, 2010

Tracklist:
grey mass 4‘09
grey mass 3‘56
grey mass 13‘13

grey matter 8‘34
grey matter 4‘48
grey matter 7‘56

www.1000fussler.com

ROEL MEELKOP - Grey matter1 excerpt

BIRGIT ULHER / GREGORY BÜTTNER
Tehricks
3“CDR, (19:38 min), 100 copies, foto cover
1000füssler 015, release date: February 2010

Birgit Ulher: trumpet, speakers, mutes
Gregory Büttner: computer

Gregory Büttner plays sounds from a computer through various small speakers, which Birgit Ulher uses as mutes for her trumpet. This way the trumpet sounds and the electroacoustic sounds are modulated by the acoustic resonance chamber of the trumpet. The trumpet is simultaneously a transmitter and a receiver.

www.1000fussler.com

BIRGIT ULHER / GREGORY BÜTTNER - Tehr excerpt

2 + 1
3“CDR, (15:35 min), 100 copies, foto cover
1000füssler 016, release date: 27th october 2010


Costa Gröhn makes field recordings on the road, at home, in the city or in the forest. On "2+1" he processed recordings from his archive and added feedbacks and vinyl record samples to 2 and 1 soundscape compositions.

[P] January 2009.

1. Chirring calls at home 8'25
2. Within a circle of fire (disrupted playback) 3‘10
3. Discounterbeat 3‘44

www.1000fussler.com


COSTA GRÖHN - Chirring calls at home, excerpt

ASMUS TIETCHENS
Abraum
CD, (56:22 min), 300 copies, cardboard cover
1000füssler 017, release date: 27th october 2010

A new subway tunnel is being built in the harbor area of Hamburg's inner city. The tunneling produces waste and the waste needs to be disposed of. In this case sand and shredded rubble are mixed with groundwater in order to be pumped out through steel tubes with a diameter of approximately 80cm. The sounds that are produced in the tubes are object of field recordings that I made at different times and places on site. It was immediately apparent that the continuum of the basic sounds that I used for my compositions already sounded formed in its randomness and diversity. The real surprise though, was that commonplace noises such as flowing water and rippling sand were completely inaudible, instead a steady progression of sophisticated rasping and quiet metal jangling was present. Besides the polymorphism of the basic sounds it was the total artificiality of the signal that interested me, acoustic manifestations of sand and water subject to the conditions of technical and functional canalization. Asmus Tietchens

www.1000fussler.com


ASMUS TIETCHENS - Abraum3 excerpt

ASMUS TIETCHENS
Abraum
CD, (56:22 min), 300 copies, cardboard cover
1000füssler 017, release date: 27th october 2010

A new subway tunnel is being built in the harbor area of Hamburg's inner city. The tunneling produces waste and the waste needs to be disposed of. In this case sand and shredded rubble are mixed with groundwater in order to be pumped out through steel tubes with a diameter of approximately 80cm. The sounds that are produced in the tubes are object of field recordings that I made at different times and places on site. It was immediately apparent that the continuum of the basic sounds that I used for my compositions already sounded formed in its randomness and diversity. The real surprise though, was that commonplace noises such as flowing water and rippling sand were completely inaudible, instead a steady progression of sophisticated rasping and quiet metal jangling was present. Besides the polymorphism of the basic sounds it was the total artificiality of the signal that interested me, acoustic manifestations of sand and water subject to the conditions of technical and functional canalization. Asmus Tietchens



www.1000fussler.com

ASMUS TIETCHENS - Abraum2 excerpt

Excerpt of Track 1 from the the CD:
GREGORY BÜTTNER
"Wenn uns jemand hört - sag - wir haben einfach kurz Luft geschnappt"
CD, (52'27''), 200 copies, 4 panels digisleeve
1000füssler 027, released in august 2015
http://www.1000fussler.com/seiten/reviews/reviews_g_buttner_wenn_uns_jemand_hoert.html

Gregory Büttner - Wenn uns jemand hört - sag - wir haben einfach kurz Luft geschnappt (Excerpt)

Excerpt of track 2 from the the CD:
GREGORY BÜTTNER
"Wenn uns jemand hört - sag - wir haben einfach kurz Luft geschnappt"
CD, (52'27''), 200 copies, 4 panels digisleeve
1000füssler 027, released in august 2015
http://www.1000fussler.com/seiten/releases.html


Gregory Büttner - Falte Excerpt

Excerpt of: 
GOH LEE KWANG
Radio Station EXP
3“CDR, (20’26’’), 60 copies, printed cardboard cover
1000füssler 028, released in November 2015
http://www.1000fussler.com/seiten/releases.html

Goh Lee Kwang - Radio Station EXP Excerpt

Excerpt of:
SIMON WHETHAM
Contrivance
3“CDR, (22’40’’), 60 copies, printed cardboard cover
1000füssler 029, released in November 2015
http://www.1000fussler.com/seiten/releases.html

Simon Whetham - Contrivance Excerpt

Excerpt of track 2:
YAN JUN
On 3 Pipes
3“CDR, (22’33’’), 60 copies, printed cardboard cover
1000füssler 030, released in November 2015
http://www.1000fussler.com/seiten/releases.html

Yan Jun -  Music 2 Excerpt

Excerpt of track 1:
YAN JUN
On 3 Pipes
3“CDR, (22’33’’), 60 copies, printed cardboard cover
1000füssler 030, released in November 2015
http://www.1000fussler.com/seiten/releases.html

Yan Jun - Music 1 Excerpt

Excerpt of
DIATRIBES & CRISTIÁN ALVEAR
Roshambo (trio)
3“CDR, (23’16’’), 60 copies, printed cardboard cover
1000füssler 031, released in November 2015
http://www.1000fussler.com/seiten/releases.html

Diatribes & Cristián Alvear - Roshambo Excerpt

GREGORY BÜTTNER
Scherenschnitt
3“CDR, (11'44''), 65 copies, cardboard sleeve
1000füssler 020, released in march 2013
Scherenschnitt
3“CDR, (11'44''), 65 copies, cardboard sleeve
1000füssler 020, released in march 2013

For the piece ‘Scherenschnitt‘ (German for ‘silhouette‘, ‘cut out‘ or ‘paper cut‘) I recorded sounds where paper and cardboard are cut with scissors, or torn apart with a cutter. By using very close miking, some digital processing and editing I wanted to zoom into the material. The sound of paper and cutting itself becomes an acoustic silhouette.

www.1000fussler.com

GREGORY BÜTTNER - Scherenschnitt excerpt

ADAM ASNAN
FBFC
3“CDR, (18’39’’), 50 copies, cardboard sleeve
1000füssler 019, released in march 2013

FBFC comprises of 4 studies, each using a single speaker driver, amplification feedback and the lid of a 35mm nitrate film canister, that once contained reel 13/16 of Henry V.

www.1000fussler.com

ADAM ASNAN - FBFC 02 excerpt

ADAM ASNAN
FBFC
3“CDR, (18’39’’), 50 copies, cardboard sleeve
1000füssler 019, released in march 2013

FBFC comprises of 4 studies, each using a single speaker driver, amplification feedback and the lid of a 35mm nitrate film canister, that once contained reel 13/16 of Henry V.

www.1000fussler.com


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