NEW METHODS

Taken off upcoming "Skorpion Nest" cassette on Slave Chandelier

SD.KFZ - Opposing Forces

@alessandro-adriani-mnq is a lot of things – producer, DJ, live performer and label owner – but above all he is a tireless music researcher. He is also already familiar to our audience, to have been invited in 2019 by the Prishtina based @servisorg.

Adriani is distinctively drawn towards the dark and obscure, and you can hear this approach amongst the long, drawn-out mixes of his similarly eclectic DJ sets. Alessandro has contributed outstanding mixes for Resident Advisor, FACT, Crack Magazine, Bleep, Cxema and Dekmantel. On the festival circuit he’s made appearances at Dekmantel, ADE, Dimensions, Neopop, Positive Education, Signal and more, together with his bi-monthly dates at Berghain and Panorama Bar, a residency he’s held since early 2016.

 Adriani’s obsession has naturally shaped his other musical endeavors, not least Mannequin Records, the label he established over than a decade ago, voted label of the month by Resident Advisor in 2017. Over the years, the imprint has won praise from buyers and critics alike for its open-minded blend of on-point reissues, archival collections and fresh productions. The intriguing, leftfield mixture of material on offer – think techno, electro, cold wave, industrial, EBM, minimal synth, and more – is naturally a reflection of Adriani’s wide-ranging and off-kilter tastes (as you’d discover if you had a quick flick through his vast and growing record collection).  

 As a producer, Adriani’s output naturally draws on these inspirations, but also reflects his obsession with electronic hardware. Under his own name Adriani has built a reputation for delivering heavy, angular and forthright club cuts for such celebrated labels as Stroboscopic Artefacts, Jealous God, Pinkman and - of course - Mannequin Records.

Alessandro Adriani ■ Hapësira Podcast XLI

Silk Scarf played at 'Mange d'haleine', Céline Mathieu's solo exhibition at Gr_und, Berlin. Music by Levi Lanser, voice (manipulation) and text by Céline Mathieu

Silk Scarf

Angst ist eine Oper in drei Akten, die sich zeitlich und räumlich über drei Stationen erstreckt: Die Kunsthalle Basel, die Nationalgalerie im Hamburger Bahnhof und La Biennale de Montréal widmeten Anne Imhof im Jahr 2016 drei Ausstellungen, die – wie drei Akte – miteinander verbunden sind. Einen ersten Akt präsentierte die Künstlerin als Auftakt im Juni 2016 in der Kunsthalle Basel. "Angst II" in Berlin bildete den Höhe- und Wendepunkt dieses Werkkomplexes. 
Im Hamburger Bahnhof schuf die Künstlerin für die Dauer von 10 Abenden eine malerische Komposition, die sich aus Musik, Texten, skulpturalen Elementen und Akteuren, Falken und gesteuerten Drohnen zu einem Gesamtbild zusammenfügte.

Photo: Nadine Fraczkowski

ANNE IMHOF - ANGST II

Iphone dj tracks

Ice (Rick Owens SS2012 runway)

Latin Accolade for PULSE by Buffer

First extract from our upcoming tape "Harmonices Mundi"

UNBEKANNT

Track by Qualiatik with a text by mrzb read by Ivan Cheng

K_NIGHT

Cyprien Gaillard. Ocean II Ocean. La Biennale.

Anne Imhof - Faust
Format: 2xLP / CD / Digital
Cat.No: PAN 98
Release Date: 13 September 2019
Purchase: bit.ly/2NCegzC / bit.ly/2zo1bRY

Deriving from the acclaimed performance and exhibition—staged by Anne Imhof at the 57th International Art Exhibition of La Biennale di Venezia and awarded the Golden Lion for Best National Participation— the album Faust is part documentation and part elaboration, the sonic capture and extrapolation of the gestures, intensities, and durations of the live event.
Serving as the dramatic backbone of a several-hour long performance seen by thousands over the course of the Biennial, the soundtrack was a product of the collective and its individuals, animating and organising the performers while immersing the audience in the potent images of power and paradise. The music for Faust was written in a band-like process by Imhof and her close collaborators Billy Bultheel, Eliza Douglas, and Franziska Aigner during the months leading up to its premiere at the opening of the German Pavilion in Venice. From the chaos of the performative, the album is constructed out of live recordings and original arrangements, teasing out the most potent strands and weaving them into a new composition of brutal feeling and baroque intricacy, each track a testament to the energy that brought it into being.

Faust is anchored around three pieces—Medusa’s Song, O.W.E.N., and Queen Song—written and sung by performers Eliza Douglas and Franziska Aigner, whose sonorous and elegiac voices imbue the work as a whole with their crushing depths and dolorous moods. Between these urgent vocal interventions march and twist the winding fugues and electronic abstractions of Billy Bultheel, who has dismantled and reassembled the sonic landscapes of the pavilion, crafting new arrangements that couple the forcefulness of the physical encounter with the artifice of the studio. Throughout the album and culminating in its closing act—the brutal chorus of Douglas’ Faust’s Last Song, a pulsing canon of looped and layered voice pierced by black metal screams—the record admits the listener into the inner space of Imhof’s dramatic vision of power, complicity, and vulnerability.

Shifting hypnotically between times and spaces, between cries and calls, between polyphonic antiquity and polyrhythmic complexity, Faust is the record of a lost event and the promise of a new creation. The release of Faust illustrates the centrality of music to Imhof’s artistic practice. Her musical collaborations with Bultheel began in 2013, and this generative constellation expanded to include the contributions of Douglas and Aigner, together scoring Imhof’s Angst (2016) and recently her performance trilogy Sex (2019).

The album comes with an expansive booklet of photography by Nadine Fraczkowski, another long-standing collaborator of Imhof and a prolific photographer, whose images of the performance and portraits of its cast offer intimate views of the work far beyond documentation.

It was mixed by Nanni Johansson at Hansa Studios and Ville Haimala, mastered by Rashad Becker at Dubplates & Mastering, and designed by Zak Group featuring artwork conceived by Imhof together with Douglas and Fraczkowski. Co-published with German Pavilion 2017 and Galerie Buchholz, Berlin / Cologne / New York.

http://p-a-n.org

Faust 

Cast of Faust - Mars (PAN 98)

Eliza Douglas, Anne Imhof - Medusa's Song (PAN 98)

Nkisi - Destruction Of Power (CM-008) 
A : Destruction Of Power (16:54)
B : Destruction of Power (Live at Café Oto 03.03.2019) (13:47)

 All tracks by Nkisi
Mastered by Josh Eustis
Designed by Ethan Assouline

Cassette out Octobre 1st, 2019

© Collapsing Market - 2019

NEW METHODS

ACP