🔒 This track is private. https://soundcloud.com/johnrobinbold/name-your-track/s-8t8lH

TRACK originated from thinking about the common habit to look at a SoundCloud track's envelope and thereby anticipate its development. The envelope graphically represents a track’s climaxes, fade-outs, and build-ups. It tells the listener their current time position within the track and provides a rough idea of the musical form. TRACK was composed to address this audio-visual relationship’s effect on listener expectation and the experience of time. The envelope on a track’s page is always made of 273.5 grey/white bars which turn orange once played. Coincidentally, assigning each bar the length of one second adds up to a duration of 4:33 minutes and half a second. Henceforth, questions revolving around back- and foreground, representation and (dis-)appearance seemed inevitable. With frequencies beyond the auditory threshold, sounds too short for the envelope to detect them and comments masquerading as part of the envelope, the typical relationship between envelope and sound gets decoupled.

SoundCloud Gazing: TRACK

Taken from the album 'Sky Dice / Mapping the Studio' released as LP and Digital

Marcus Schmickler 'Sky Dice / Mapping the Studio (excerpt)'  (EMEGO 296)

someday

modern semantics

taken from the album "Time Bends" - Noland 2021 - digital + 2 x 12"
recorded live and realtime on percussion + electronics by Robyn Schulkowksy, Andi + Hannes Teichmann

From vinyl you can play this track as well on 33 as on 45rpm.

Why say anything at all?
Why not just listen?
Headphones.
Turn up the volume and look how time bends before your eyes because that is what Robyn Schulkowsky and Andi and Hannes Teichmann do with their music.
They bend time.
They make a ring out of it or some sort of ellipse, and then they pull it straight again, they transform it into a rope, and then,
of course, they balance on it, forwards, backwards, half speed, double speed,
33 rounds per minute, or was it 45?
Just try both. World percussion meets Techno and Berlin club culture, one might be tempted to say. One would be wrong to do so. This is not just crossover, this is just not an „encounter“ between different generations, different experiences, different cultures, traditions and attitudes and form asossations of expressions, or, to put it in a more simple way, an „encounter“ between drums and gongs and bells and stones and on the other side hardware-electronic and sequencing, delay and reverb. This is far more complex. No need to put a label on it.

by Roland Schimmelpfennig / excerpt

Time Bends

Time Bends @ Bandcamp

Robyn Schulkowsky, Gebrüder Teichmann - Triple Exposures

don't worry, this time is different

Originally submitted to the Raster sound of Europe open call.  They didn't take it.  Haha.

Super!

Chris Cutrone joins Benjamin for a discussion of political parties, focusing on the role pluralism plays in Chris' thinking about party structure.

Cutrone and the Party (w/Chris Cutrone)

Keru Not Ever - Mezzanine
Label: Infinite Machine
CAT#: IM115
Format: Digital
Release Date: December 20th
Mastered by Fausto Mercier

Words by Keru Not Ever.

Mezzanine is an album of post-classical music. The twelve pieces that make it up are attempts to take the raw materials of instrumental music, dip them in mud, and turn them into shimmering confetti. Flutes, violins, clarinets, voices, cellos, piano, bass—these elements are all there, woven together through a mixture of hyper-sampling and recording, creating a chamber music without walls, without windows, suspended in stagnant air and multicolored dust. The conductor lies in bed, sheets pulled up to his shoulders.

Modeled on human breath, the pieces highlight the phenomena of loops and feedback, as though each time a theme is voiced, it must be repeated, insisted upon, until something else — a counter-melody — emerges to disrupt it. This is clear from the very first piece, Requiem Caesura, which functions like the tuning of a small orchestra, seemingly deaf to itself. Then come, to name just a few, the shimmering wind arrangements of Ghisolabella, the pulsing glissandi of the solo bass in Mezzanine, and, finally, the epilogue, Harmonies de la brûlure, a tableau of slow-moving harmonic ashes.

This album took a long time to create, the time it took to free myself from Tereza and The Wind Of? — old, forgotten music. Whether that time was worth it, that is, the doubt in which every melody is born, I can’t say. What composes is always next to myself, an extimacy. But it's a leap in time, an interval of a few years, a leap based on certain musical ruins, anonymous shreds twisted in the throes of a pandemic, in the love and joys, the sudden lights striking the blind spots of a body. These are companion pieces produced from the detritus of history. They hold out a cold hand to those who lend an ear. 

Tracklist:
1. Requiem Caesura (Prologue)
2. Ghisolabella
3. Le poumon 
4. La chambre-haute
5. Infans 
6. L'oeil 
7. Passion
8. Coeur de peur
9. Mezzanine 
10. Le lac 
11. Malebolge 
12. Harmonies de la brûlure (Epilogue)

PREORDER

Keru Not Ever - Ghisolabella (IM115)

@boldcowling am 15.12.2024 live bei stromspiesser XVI

Aufnahme von Tim Pauli und Philipp von Neumann
@timpauli
@phvon

Foto von Luise Jakobi
www.luisejakobi.com

Bold/Cowling live@stromspiesser XVI

Transition

experimental music & website-specific art
contact@johnrobinbold.com

SoundCloud Gazing: TRACK

John-Robin Bold

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