from 'N(31) - Oie Kirr' [LP|DIGITAL]
Denovali Records · den205
available on all formats at [http://denovali.com/n]

N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. June marks the release of two new records, including a second collaboration with Tzesne (ES). After a first very fruitful collaboration with Basque sound artist Txesus Garate alias TZESNE for the album CARRISSALS, released in 2011 by Denovali Records, the artistic vital necessity to exchange and work together carried on. In contradistinction to their collaborational debut Carrissals, where warm and dark qualities of drone interweaved – blended with Tzesne’s distinctive field recordings – they left the bright nature of that imaginary sundried place in Spain behind to take a leap into the harsh environment of the post-industrial landscape, being the inspiration of their upcoming release named THE BELT. Both artists share the interest of reflecting the conditions of a chosen location. Usually a an existing place gives inspiration for N’s sound research as distinguished from Tzesne, who collects field recordings from a wider area and manipulates them in the phase of post-production to a rather diffuse imprint. Way more heavy and dark is the impression, which THE BELT causes, right after giving a listen to its first minutes. The smell of bygone plants is synaesthetically floating within the soundscape, though trails to the dawn of a new era are roughly outlined. The four-track album features the tracks “Weaving A Wall”, “Beton”, “Bold Backwards” and “IkKky”. Limited to 100 LPs.

Accompanying the collaborational release with Tzesne, N recorded a one track solo record named N(31) “OIE KIRR“. Following the approach of his previously solo album GOOR, N has captured again his current live set. N(31) “OIE KIRR“ is a 45 minute track, only interrupted by the need to flip the record. Almost detached from its tonal origin created with guitar and amp, a deeply dark rumble initiates the track, followed by slowly accumulating captivating sounds, drifting into one another to finally gush forth to sea-like melodic drones. While the track wanders ethereal through different kinds of state, it more and more draws the listener in. After around half of the track the dense grim atmosphere clears up, offering an invitation to take a rest in the sun spread doldrums… before the storm breaks loose... The uninhabited islands of (Barther)-Oie and (Great)-Kirr are the record’s eponyms. Only rising one meter above sea level, they belong to the nature reserve, located in the lagoon of Barther Bodden on the Baltic Sea coast of northeast Germany. The islands are covered by salt marshes and dissected by creeks and are well known for their species-rich nature. N(31) “OIE KIRR“ is strictly limited to 100 LPs, including a download code presenting the track as one piece.


Oie Kirr

N(31) - Oie Kirr (Snippet)

[ ▲A p o l l o § A r †▼ ]
[ T w o H u s s a r s ]
[ E c c 3 : 4 ]
[ S t e r e o s c e n i c ]

"Under the ban, --
So, ye have wrought me
Designs on the night of our knowledge, -- yea, ye have taught me,
So,
That haply we know somewhat more than we know.

Ye lispers, whisperers, singers in storms,
Ye consciences murmuring faiths under forms,
Ye ministers meet for each passion that grieves,
Friendly, sisterly, sweetheart leaves,
Oh, rain me down from your darks that contain me
Wisdoms ye winnow from winds that pain me, --
Sift down tremors of sweet-within-sweet
That advise me of more than they bring, -- repeat
Me the woods-smell that swiftly but now brought breath
From the heaven-side bank of the river of death, --
Teach me the terms of silence, -- preach me
The passion of patience, -- sift me, -- impeach me, --
And there, oh there
As ye hang with your myriad palms upturned in the air,
Pray me a myriad prayer.
My gossip, the owl, -- is it thou
That out of the leaves of the low-hanging bough,"

“The phrase and the day and the scene harmonized in a chord. Words. Was it their colours? He allowed them to glow and fade, hue after hue: sunrise gold, the russet and green of apple orchards, azure of waves, the greyfringed fleece of clouds. No it was not their colours: it was the poise and balance of the period itself. Did he then love the rhythmic rise and fall of words better than their associations of legend and colour? Or was it that, being as weak of sight as he was shy of mind, he drew less pleasure from the reflection of the glowing sensible world through the prism of a language manycoloured and richly storied than from the contemplation of an inner world of individual emotions mirrored perfectly in a lucid supple periodic prose?”

https://www.everydayknow.com/positive-words-that-start-with-k/

"The keynote of the stylization achieved in ballet is: weightlessness. Paradoxically, ballet presents man as almost disembodied: it does not distort man’s body, it selects the kinds of movements that are normally possible to man (such as walking on tiptoe) and exaggerates them, stressing their beauty—and defying the law of gravitation. A gracefully effortless floating, flowing and flying are the essentials of the ballet’s image of man. It projects a fragile kind of strength and a certain inflexible precision, but it is man with a fine steel skeleton and without flesh, man the spirit, not controlling, but transcending this earth . . . .

Strong passions or negative emotions cannot be projected in ballet, regardless of its librettos; it cannot express tragedy or fear—or sexuality; it is a perfect medium for the expression of spiritual love."

"As Opposed To What?"

"Almost every wise saying has an opposite one, no less wise, to balance it."

“All the works of man have their origin in creative fantasy. What right have we then to depreciate imagination?”

[ H y p e r b o r e a ]
[ T h e E a s t E n d ]

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