Limpe Fuchs – Via and Solaia (Streamline / Spam, 2021)

Limpe Fuchs’ first solo record came about by accident. Initially, Christoph Heemann invited the famous Anima duo to do a studio record in his home-town Aachen, but Paul Fuchs decided not to join in, so Limpe went on her own – and the recording sessions taking place in late 1986 and early 1987 turned out to become “Via”, Limpe’s first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. Besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary Anima (Music) records, such as Violin, Saw Blade, Chimes, Wood Block and Limpe’s unmistakable unique vocals, “Via” featured a Korg-Synthesizer. Housed in a dusty corner of Heemann’s studio the instrument drew Limpe’s attention and she decided to give it a try and recorded a lot of electronic music for “Via” – and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances … Fast forward to 2015: After not having met Christoph Heemann for many years, they got in contact again and performed selected dates (as Macchia Forest together with Timo van Luijk) when he proposed to Limpe another Korg-Synthesizer recording. Not having touched the instruments in decades Limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. She also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) – huge self-built instruments of various size with an amazing sound rich of oscillating overtones. The both side-long recordings – one side Korg, one side pendulum strings – featured on “Solaia” are a visceral document of Limpe Fuchs’ artistic versatility and musical sensibilities. It’s fair to say: The spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son Zoro Babel), which is released in conjunction with a first-time re-release of “Via” – both to celebrate her long-standing musical career (and her eightieth birthday). “Via” and ”Solaia” are available now as two separate LP’s. Both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with Limpe Fuchs and Christoph Heemann to give an insight in their collaborative history and portray Limpe’s outstanding artistry.

coming soon...

Limpe Fuchs - Via - Excerpt (Streamline/Spam, 2021)

Limpe Fuchs - Solaia - Excerpt Side B (Streamline/Spam, 2021)

Limpe Fuchs – Via and Solaia (Streamline / Spam, 2021)

Limpe Fuchs’ first solo record came about by accident. Initially, Christoph Heemann invited the famous Anima duo to do a studio record in his home-town Aachen, but Paul Fuchs decided not to join in, so Limpe went on her own – and the recording sessions taking place in late 1986 and early 1987 turned out to become “Via”, Limpe’s first solo-record and the (visible) starting point of her ongoing exceptional career as an internationally performing, independent female improviser. Besides a plethora of (partly self-built) acoustic instruments that can also be heard on her legendary Anima (Music) records, such as Violin, Saw Blade, Chimes, Wood Block and Limpe’s unmistakable unique vocals, “Via” featured a Korg-Synthesizer. Housed in a dusty corner of Heemann’s studio the instrument drew Limpe’s attention and she decided to give it a try and recorded a lot of electronic music for “Via” – and in all the years to follow since then she never got near the instrument again; neither for studio recordings nor live performances … Fast forward to 2015: After not having met Christoph Heemann for many years, they got in contact again and performed selected dates (as Macchia Forest together with Timo van Luijk) when he proposed to Limpe another Korg-Synthesizer recording. Not having touched the instruments in decades Limpe was reluctant at first but warmed up to the idea eventually and improvised a wonderfully meditative and soulful electronic piece of music. She also recorded five of her pendulum strings exclusively for the first time (with a bit of vocals, too) – huge self-built instruments of various size with an amazing sound rich of oscillating overtones. The both side-long recordings – one side Korg, one side pendulum strings – featured on “Solaia” are a visceral document of Limpe Fuchs’ artistic versatility and musical sensibilities. It’s fair to say: The spirit of her musical approach is captured perfectly on this new studio-album (mixed and mastered by her son Zoro Babel), which is released in conjunction with a first-time re-release of “Via” – both to celebrate her long-standing musical career (and her eightieth birthday). “Via” and ”Solaia” are available now as two separate LP’s. Both records are released in an edition of 300 copies and accompanied by a 30-page longform interview with Limpe Fuchs and Christoph Heemann to give an insight in their collaborative history and portray Limpe’s outstanding artistry.

Coming soon...

Limpe Fuchs - Solaia - Excerpt Side A (Streamline / Spam, 2021)

Brutalhappytapes based on recordings with Dictaphones. Objects, instruments,voice or specific sounds from each place she lived, to document the places as sound to find the non asked secret of each place.

CoCo is interested in Error Music Development and mistakes. She uses her own language for inner disciplins and places, telling storys and create pieces, melodies with her Voice / Objects and Dictaphones.

beast&lovers tape contains 8 tracks.
c20, riso printed cover and inlay.
spam5
infos: flamingosandothercreatures.wordpress.com
coco-brutalhappytapes.tumblr.com

coco-beast&lovers:  Haldolheike & The Great NOo

smacked cucumber are ross parfitt and jennifer iker. it rattles, scrubs, hums, whistles and bangs. two people, one room and the search for sound. the first time in space and the space becomes an acoustic environment.
who knows what everything is here on the recording? perhaps it is the noise in front of your door, you hear ...

more infos:
http://rossparfitt.wordpress.com/
http://suddencricket.wordpress.com/

smacked cucumber - first time in space
A: 
first time in space part a
B:
first time in space part b
stealing the american simulator

recorded by ross parfitt and jennifer iker
photos by jennifer iker

spam6
2014
c30 

smacked cucumber - first time in space (excerpt)

NILS QUAK - in girum imus nocte et cinsumimur igni - 
Sonne Ohne Licht

Having released on illustrious labels like SicSic, J&C, Cosmic Winnetou and Sacred Phrases lately, Cologne-based Nils Quak returns to Cologne for another damn fine collection of modular synth-music. Simple as that. „In girum imus nocte et consumimur igni“ - Nils Quak on SPAM. Period. 

tracklist:
I Can See Through Your Eyes 
Dream Almost While Still Awake
Litmus
Plätze In Städten
Zurückbleiben Bitte (Zwischen Wirklichkeit)
Sonne Ohne Licht
Teething
Und jetzt auch noch du
Return to Sender

Received 2014 in stolen moments of mid-life angst
Danke Ronnie!
nils@nilsquak.com


spam 14, 2015
lim. 40
out soon!

NILS QUAK - in girum imus nocte et consumimur igni - 06 Sonne Ohne Licht

Günter Schlienz - Selbstportrait

Günter Schlienz is widely known for his well-crafted synthesizer compositions. This time he took his machines outdoors to record next to a campfire. It crackles along Günter's peaceful modular meditations. Heartwarming, indeed!

spam 25
2017

Günter Schlienz - Campfire Suite (excerpt)

Hawlimann & Stricktschek - TEENSDREAMS

Peter Strickmann and Philipp Hawlitschek are two hotshots when it comes to utilizing whatever‘s at hand to make some joyful noise. But don‘t be mistaken, they are not just messing arond, they are capable of bringing a pile of junk back to life. They are spirited hunters and gatherers of sounds heard and unheard. Come along for the ride!

spam 26
2017

Hawlimann & Stricktschek - Jörg

Featuring & Andere is the moniker of Hamburg based Roland Wendling. It’s hard to describe the hyper-active, sonic madness delivered here, but if you dig vernacular vitriol a la Dylan Nyoukis and 80s japan pop a la Picky Picnic or Wha-ha-ha : check this!

Released in an edition of 30 tapes.

Spam No. 32
2018

Featuring und Andere - my peergroup left without me (excerpt)

Tom Smith – MOANS the HOBBLED CANON

Fun fact: Tom Smith is neither living nor shaving in L.A., he’s dwelling in Hannover assembling peerless electronic music topped off with his vocal-style extraordinaire. While minding his own business, his chin remains smooth-shaven, indeed – he’s not your average experimental music entrepreneur trying to break into whatever non-existent music market. Shit’s fucked up and there’s not much left to do except to face the music and dance. Just do it.

Out now (in an edition of 80 tapes)
spam 33 
2019

Tom Smith - MOANS the HOBBLED CANON - excerpt (spam 33)

DJ Shlucht - Civilization

The music on this tape has been re-recorded and edited from an originally 4-hour long DJ-Set at last year’s NNOI-Festival. At first, it’s discreet music, an unobtrusive sonic environment but the minute you decide to listen closely it reveals rich detail and countless tonal and a-tonal adventures. In short, it’s a boundless sonic revue: post-industrial-musique-concrète-a-go-go, très chic!

Out now (in an edition of 48 tapes)
spam 34
2019

Dj Shlucht - Civilization - Excerpt (spam 34)

Like sandpaper, noise is all about texture – layers of harsh sonic vibrations work your ears like small bits and pieces of aluminum oxide or silicon carbide. A close listen to this monochromatic music reveals rich detail and complexity – fascinating, isn't it? 

EHE - Autodafe 
spam 36
2020

EHE - Autodafe excerpt (spam 36)

Remember the poor fellows in Carpenter's "Dark Star" travelling through space searching for unstable planets to destroy? Instead of enjoying the ride they mostly bugged each other or dealt with their boredom in other not so delightful manners. Now imagine Werner, Moritz, Thilo and Ernesto inside the ship: exploring space, having a laugh and a smoke while dabbling around with all the electronic devices on board. Not a single minute wasted! That's how it's done!

The Fly And Its Dangers 
spam 37
2020

the fly and its dangers - Klein Eiland (excerpt) (spam 37)

bunte truppe: träumen ohne dinge

ruth-maria adam: violine stimme elektronisch
limpe fuchs: perkussion röhrophon viola stimme
ronnie oliveras: elektronisch erweitertes zeux klarinette
ignaz schick: plattenspieler elektronik digitale schleifen

live recording: 9. november 2017, thilo kuhn, werner nötzel, moritz finkbeiner
mastering: zoro babel
cover: limpe fuchs
layout: ulrike stolz

bunte truppe – disembodied dreams
As can be ascertained from the programmatic introduction, the group’s name appears first, followed by the various musicians involved and their respective instruments. It might be worth mentioning when the Bunte Truppe was actually founded. The attentive reader will notice that Limpe Fuchs, Ruth-Maria Adam, Ignaz Schick and Ronnie Oliveras started performing together in 2017 with a battery of percussion, wind and string instruments, as well as numerous electronic aids. At this point, it is extremely important to describe how such a colourful troupe can remain at the cutting edge of contemporary music, moving effortlessly between different musical genres with their improvisations. It goes without saying that this rather exaggerated claim assumes that the Bunte Truppe can challenge their audience in this way. But of course!
Anything else worth mentioning?
Attention could be drawn to historical contexts and other cultural connections, for example the fact that Limpe Fuchs has been around as a musician for God knows how long (for a time in the free improv duo Anima-Sound), and is widely known internationally; or that Ruth-Maria Adam and Ronnie Oliveras also go on the rampage with Datashock and the Flamingo Creatures; whilst Ignaz Schick rushes from one Artist in Residency to the other with a record player under his arm. These facts may or may not be important. Similarly, in order to put their music in perspective, it may or may not be helpful to draw comparisons with other international benchmarks. However, before we get lost in the labyrinth of music, let’s rather prick up our ears and devote our attention to the astonishing sounds hiding in this recording: full of life and seemingly carefree, but (at the same time) always heedful of each other, the members of the Bunte Truppe start playing as free as a bird, and manage to unite apparently incompatible musical opposites without any effort. The material cannot be mastered, it has suffered enough already.

bunte truppe - träumen ohne dinge - excerpt (play loud!)

Side A:
Time and Again

Side B:
The Trains

Consisting of two side-long pieces, Perception & Association was composed over a period from 2012-2018. Opening side-A is Time and Again, a startling work for tape and electronics which pulses over waves of interlocking spatial relationships. These elements are at once distant, even static, yet Heemann gradually propels the listener along chapters of an unexpected and further revealing sonic narrative. While the deliberate frames and events offer a specific path, even the most active listener will gain new insights with repeated spins. Side-B, The Trains, suggests not merely a travelogue, but a series of meticulously constructed episodes that reference the record's opposite side as well as the album title as a whole. In the spirit of early electroacoustic works by Jacques Lejeune, Eliane Radigue, and Jaap Vink, these new pieces continue to emphasize Heemann's ongoing filmic obsessions and firmly engage the listener with his latest cinéma pour l'oreille (cinema for the ear). Widescreen. Front cover artwork by Ruth-Marie Adam and back cover painting by Fritz Martin. 
(label info)

order at: http://www.robotrecords.com

Christoph Heemann - Perception & Association - The Trains(trailer) (robot records)

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