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Frank Bretschneider_Sat

Don't Go to Strangers - A tribute to the Tulsa Sound

LONELY JUNE (feat. Julien Marty)

Komet - Rausch clips

Unequal cycles in search of synchronous experiences: On his new album »Pounding«, Frank Bretschneider tells of distance, convergence and congruence in a continuous, ever-changing flow of events. What is often regarded as an unquestionable dogma in club music (for which Bretschneider has provided significant impetus since the 1990s) – the groove – appears precarious, unstable, and in motion. Pulse and accent are volatile encounters and have to be found again and again for short, delightful moments. Music becomes a constant process of negotiation.
In search of new sound spaces, Bretschneider has recently worked a lot with modular synthesizers, both solo (for example on »abtasten_halten«, 2020) and in collaborations, including the project Beispiel together with Jan Jelinek. »Pounding« was created using similar means - conceived in 2020 for the Pochen Biennale in Chemnitz, subsequently developed further and recorded in March and April 2023 on a sample-based modular system. And in fact, Bretschneider is once again exemplarily scanning his own sound material, such as dub effects that listen to themselves disintegrate; but also the human voice, or more precisely: the stuttering of fragments of speech, far in the distance but omnipresent, like a mysterious narration. Aesthetically, the eleven pieces form part of a series of works with a focus on percussion. Bretschneider has already perfected this approach with albums like »Rhythm« (2007) and has been shifting the perspective ever since, for ever new results.
Shifting is the basic principle of »Pounding«. Bretschneider combines elements that are in different aggregate states, changing their relationship to each other and thus ensuring the complex overall movement. He lets one to two-bar loops run against each other and through small manipulations, develops a network of rhythms that creates a hypnotic state in the counterplay of repetition and mutation, between clearly recognizable meter and disorientation. There are comparable approaches in aleatoric music. Bretschneider combines them with sounds and patterns that are reminiscent of step sequencer logic and at the same time go far beyond it. The result is relational techno. Never obvious, always restless and exciting.

Pounding

Frank Bretschneider »Evening News« taken from »Pounding«

BAND4BAND Remix

frank bretschneider’s new project SINN + FORM (MEANING AND FORM) is based on the idea of a fundamentally chaotic world as we know it from mathematical or physical theories and models (dynamical systems, probability theory, stochastic systems), and the constant attempt of man to recognize and to describe, predict, control and change this world.

musically, this system is simulated electronically using a modular synthesizer system. various modules produce a constant flow of randomly generated data that modulate the decisive musical parameters (pitch, note length, volume, tone). the attempt of SINN + FORM in this context is to transform this stream of events into a musically relevant system of chaos and order, dynamics and statics, content and form by means of an improvised but deliberate process of constant control and influence.

aesthetically, the project recalls the electronic music of the mid 20th century: studios such as the IRCAM in paris, stockholm’s EMS (elektronmusikstudion), the WDR »studio for electronic music« in cologne, or new york’s »columbia- princeton electronic music center«. SINN + FORM also captures the dynamics and energy of a spontaneous improvisation, last but not least as a reaction to a complex world, a world in permanent crisis.

the material was recorded in july 2014 at EMS, stockholm, using the buchla and serge analog synthesizer systems. 

frank bretschneider. free market (excerpt). taken from frank bretschneider. sinn + form

A timeless journey through 20 evocative records, blending rhythmic depth and boundless genres—a sonic world unveiled. https://secretthirteen.org/stm-102-frank-bretschneider/

Secret Thirteen Mix

💀 ᴛʀᴀᴄᴋʟɪꜱᴛ

STM 102 - Frank Bretschneider (Raster-Noton)

SPEED is back with another round of the Artist Invitation Mix series, featuring an incredible artist. We're excited to present a mix from https://soundcloud.com/frankbretschneiderofficial representing Berlin for this edition of the series.

Frank Bretschneider is a musician, composer and video artist in Berlin. His work is known for precise sound placement, complex, interwoven rhythm structures and its minimal, flowing approach. Bretschneider’s subtle and detailed music is echoed by his visuals: perfect translated realizations of the qualities found in music within visual phenomena.

Bretschneider was raised in Karl-Marx-Stadt (Chemnitz since 1990), where his aesthetic developed as he listened to pirate radio and smuggled Beastie Boys tapes in the former East Germany. After studying fine arts and inspired by science fiction radio plays and films he began experimenting with tape machines, synthesizers, and modified guitars in 1984, as well as exploring the possibilities of exchange between visual art and music by various means such as film, video and computer graphics.

In 1986, after establishing his cassette label klangFarBe, Bretschneider founded AG Geige, a successful and influential East German underground band. In 1995, Bretschneider and fellow AG Geige member Olaf Bender founded the Rastermusic record label which eventually merged with Carsten Nicolai’s noton to form raster-noton (now raster media) in 1999. Since then Bretschneider has released more than 30 albums on various labels including Mille Plateaux, Faitiche, 12k and Line, and is performing at music/media festivals worldwide.

Tracklist
Good Things End – The Field – From Here We Go Sublime – 2007
Cocoon Dark Dub – Moritz Von Oswald – Cocoon Compilation J – 2010
Parallel Transport – Polar Inertia – The Last Vehicle EP – 2012
Variable Mu – Progetto Tribale – Volume 7 – 2020
WF/60 – Tonne – Do You Copy? – 2006
Prefiero Una Manta – Pep Gaya – Qwartz ED4 – 2006
Serum – Dorisburg – Serum/Venom 12" – 2017
Melancholic Daimon – Retina.It – De Occulta Philosophia Vol.1 EP – 2015
0031 – Julia Govor – Jujuka 01 – 2018
Avanti – G-Man – Avanti – 2002
Jr 500 – Alka – Deployed – 2008
Proof – Stanislav Tolkachev – When You Are Not At Home – 2016
Luna – Nuel – Konstrukt 005 EP – 2017

@frankbretschneiderofficial
http://www.frankbretschneider.com

SPEED 速度
www.instagram.com/speed_bpm
www.facebook.com/speedbpm


Frank Bretschneider | SPEED 速度 | 084

3 - Frank Bretschneider - A Soft Throbbing Of Time

Full stream of Frank Bretschneider's dubby "Elastik," a track from his forthcoming album 'Lunik,' out February 16 on Shitkatapult. 

More info: https://www.xlr8r.com/news/2018/02/premiere-hear-a-dubby-cut-from-frank-bretschneiders-new-album/

@frankbretschneiderofficial
@shitkatapult

Lunik

More info

Premiere: Frank Bretschneider - Elastik

Solid Steel (23rd November) In Hour 1 we welcome Frank Bretschneider who was raised in Karl-Marx-Stadt (now Chemnitz) in the German Democratic Republic. He is the founder of the influential East German underground band AG. Geige and co-founder of the prestigious Raster-Noton label. He lives as a musician, video artist and producer in Berlin. He had this to say about his mix;
"The mix is to promote the SICHTEN 1 album I had the honor to compile, so it contains mainly the music of the artists represented there on. But instead to just repeat the tracks from SICHTEN, I thought to chose new, partly unreleased material as far as available: the title track of Zavoloka’s brand new PROMENI album, new material by Benjamin Brunn, two tracks from Warnecke’s 2016 album COMPUTERMUSIK EINS (FÜR DIE OHREN), and some collaborative work by Retina.It.
The mix includes as well two tracks by raster label mates Island People, resp. AtomTM (in its ’94 incarnation Lassigue Bendthaus), plus some music I enjoyed recently.
Hope you enjoy too."

http://www.modernmatters.net/music/promotion/r-m180_5975


The Solid Steel website http://solidsteel.net/ for track lists and archive shows.
You can follow Solid Steel on
fb.me/solidsteelradio
instagram.com/solidsteelradio
twitter.com/SolidSteelRadio
Email solidsteel@ninjatune.net

Go to Hour 2 here https://soundcloud.com/ninja-tune/solid-steel-radio-show-23112018-hour-2-graham-van-pelt/s-zx1ud

Hour 1 - Frank Bretschneider

https://www.facebook.com/frankbretschneider.music
https://www.instagram.com/rastermedia
https://www.facebook.com/raster.artistic.platform
https://soundcloud.com/raster_artistic_platform
https://twitter.com/raster_raster

Mads Emil Nielsen	Framework 12	arbitrary
MimiCof	Love Control feat. HPRIZM	raster
Benjamin Brunn	Pet Peg Step	not on label
Dieb	Stream 08 (Diebs for Kane Remix)	False Industries
Lee Gamble	Jove Layup	PAN
Julia Govor	0031	Jujuka
Retina.It + Komet	Logicmix	not on label
Zavoloka	Promeni	Kvitnu
MimiCof	Spark	raster
Pierce Warnecke	Stroboscopic Tricks	not on label
Håkan Lidbo	Open Circle	April Records
Badun	Space Swamp	Mindwaves Music
YPY	Smog (feat. AKN)	Nous
Farben	So Much Love	Klang Elektronik
Svreca & Retina.it	Avenza	Konstrukt
Soul Center	Right\Shit	W.v.B. Enterprises
Bretschneider & Brunn	Titel 09	not on label
Island People	Waterway	raster
Lassigue Bendthaus	I'm Slowly Morphing	KK Records
Pierce Warnecke	Resplendent Response	not on label

Solid Steel Radio Show

Solid Steel Radio Show 23/11/2018 Hour 1 - Frank Bretschneider

Out on August 7th, 2020. Available at https://shop.tapeterecords.com/new/conrad-schnitzler-frank-bretschneider-construct.html

About the Con-Struct series
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=min- imal label in Berlin reissued two Conrad Schnitzler al- bums at the outset of the 2010 decade, label honcho Jens Strüver was granted access to this audio library.
Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

Bretschneider on his Con-Structions
I read the name Conrad Schnitzler for the first time in the arti- cle about Tangerine Dream in the Rowohlt Rock Lexicon from 1973 (back then, at 17 in the GDR, an indispensable guide). The first time I heard his music was only in 1980, when his wave track “Auf dem Schwarzen Kanal” was played on the ra- dio, an RCA 12“ Super Sound Single in disco remix. Then the man was gone and stayed under the radar again, in spite of his almost inflationary number of releases. Maybe his mate- rial was too obscure or his approach too radical to be noticed by the general public. It wasn‘t until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius‘ East Berlin Kröten Kassetten label. And again almost 10 years later his Plate Lunch CDs “Rot” and “00/106”. But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer.
Schnitzler‘s early role as co-founder of two influential bands is one reason for the ongoing reception. Another is his con- sequence as an artist. “I‘m not interested in having publicity or a public feedback” he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self- taught person and as someone who prefers to look forward instead of looking back: “I don‘t want nostalgia.” After all it was Jens Strüver who inspired me to work with Conrad Schnitzer‘s material.
I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler‘s world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own. Perhaps I have not always succeeded in merging both worlds congenially, sometimes they orbit, sometimes they collide, but they never stand still. As Conrad Schnitzler says in his „Context“ manifesto: “The sounds don‘t come to stay.”

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