VERTEX I by Christian Lillinger "KURSIV"
Produced, played and composed by Christian Lillinger,
Cover work by Katrin & Christian Lillinger, 
Art-picture by Edith Ringer
#2021

VERTEX I

[PRR121] // made in Germany
written & produced by @christianlillinger84

visual concept produced by @augenleder
https://youtu.be/XLyYCV2OX-w

PREORDER LINK >>> https://prrrrrrr.bandcamp.com/album/kursiv

while the rest of us continue repeating laidback beat after laidback beat this individual likes to go straight forward. german clockwork.

as you might know we do have a fair amount of international drummers and with that said our next artist we would like to spotlight is in fact local.
this season is starting off strong with an undoubtedly talented drummer hailing from Berlin, Germany - Christian Lillinger.

putting the apron on as a producer KURSIV is his solo debut as a mixing and mastering engineer - bringing his own hyper-realistic textural collages to life.

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preorder

Christian Lillinger - Vertex III

traces of textures, brought together in chaos

you are going to feel uncomfortable


[PRR121] Christian Lillinger - KURSIV
drums, mix & master: @christianlillinger84
on the bass: Petter Eldh

the whole album: https://prrrrrrr.bandcamp.com/album/kursiv

Vertex IX

21€

Christian Lillinger - Vertex IX  (feat. Petter Eldh)

"Αζώθ / Azoth" (2014)
for 3 pianos/12 hands & orchestra  
(total duration: 21')
Domna Evnouchidou, Lola Totsiou, Melina Tsinavou, Theodore Alvanos, Stamatis Vlachodimitris, Antonis Anissegos (piano), Thessaloniki State Symphony Orchestra, Vladimiros Symeonidis (conductor)

Thessaloniki, 17.10.14

Azoth (2014) ‹excerpt›

Christian Lillingers Grund C O R
Plaist 001

Christian Lillinger - drums, composition
Pierre Borel - saxophone
Tobias Delius - saxophone, clarinet
Achim Kaufmann - piano, fender rhodes
Christopher Dell - vibraphone
Robert Landfermann - bass
Jonas Westergaard - bass 

on Vinyl (Limited-Edition), CD and Downloadcode
www.plaist-music.com

C O R

Der Pass (2016)
for orchestra

(after: Bertolt Brecht - Flüchtlingsgespräche)

Der Pass (2016) ‹excerpt›

Diynamic Radio Show January 2019 by Johannes Brecht.

Spotify: https://spoti.fi/2GdCmwD

(1) György Ligeti — Atmosphères — Deutsche Grammophon 
(2) John Cage — What about the Noise ....(1985) — Hat Art
(3) Ryuichi Sakamoto — disintegration — Milan
(4) Philip Glass — Etude 5 — Arabesque
(5) Ryoji Ikeda — data.matrix — Phantom Import
(6) Arvo Pärt — Fratres — Globe Records
(7) Aphex Twin — DISKPREPT1 — Warp
(8) Steve Reich — Drumming (Four Tet Remix) — Nonesuch
(9) Johannes Brecht & Christian Prommer — Page Blanche — Diynamic
(10) Morton Feldman — String Quartet (1979): Part l — Hat Hut
(11) John Cage — What about the Noise ....(1985) — Hat Art
(12) John Cage — Excerpt N.2 — Cramps Music srl 
(13) Grouper — Breathing — kranky 
(14) Karlheinz Stockhausen — Klavierstück VI (Johannes Brecht Rework) — Plaist 
(15) Steve Reich — Clapping Music — Sony Classical
(16) György Ligeti — Chamber Concerto: ll Calmo, sostenuto
(17) Sun Ra — The Living Parable — Modern Harmonic 
(18) Johannes Brecht — 2nd Movement — Diynamic 
(19) Johannes Brecht — Imperfect Moments Pt.4, Piano Piece — hemma 
(20) György Ligeti — Atmosphères — Deutsche Grammophon

Diynamic Radio Show January 2019 by Johannes Brecht

There is a great beauty in the tame mayhem of Brechts and Lillingers new project. It is the first collaboration between Berlin-based drummer Christian Lillinger and multi-instrumentalist and producer Johannes Brecht. Lillinger, known as one of the major figures in European Contemporary Jazz and New Improvisation. Brecht is a classically trained musician and composer, who is attracting attention as a producer in the electronic music scene for several years already.
Collaborating, Brecht and Lillinger let their different backgrounds collide: Beats interconnected with sounds create a dark intensity, interchangeably dense and light. Hyperrealistic sounds interrupt the slow stream of music. But like objects in water, they loose their sharpness. A figureless motion, the thick flow keeps running onward. When the production gains speed, and hardness, and a certain kind of rawness, a rigor, continuously present throughout the EP, momentarily comes to the surface: like rapids on a grid. And then the stream runs on, ceaselessly forming and dissolving its structures.

C O R

Christian Lillinger

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