V7 – SONIC SPRINGS

V7 is a home-build metal spring sound-tool made from an old measurement-unit found at a flea market. Now – disassembled, rebuilt and mounted amongst other things with a 33 foot long Giant Spring that connects the measurement box to an open metal staircase and creates a natural spring reverb. I Played with a bow, friction rubber clubs, metal slides, whipped cream gas cartridges and a souvenir Eiffel Tower.

The result is a unique sound effect library of massive metallic hits, gongs, scrapes, squeaks, friction, rumbles and rattles. From subtle, soft squeaks and harsh, brutal metal shrieks to long and deep musical metal moans.

V7 is recorded with an Ehrlund EHR-E microphone placed inside the metal box. All files are in 96 kHz/24 bit and contains the original acoustic recordings.

Custom made sounds made with the V7 are used in the scores for Control, Wolfenstein and newer projects by award winning game composer Martin Stig Andersen. (https://martinstigandersen.com/)

The sound ‘Kind Creature’ made with the V7 library won the British ‘Sound of the Year Award’ presented by The Museum Of Sound and The New BBC Radiophonic Workshop in the category ‘Best Artificial Sound’.

700 + individual sounds – all tagged with detailed Universal Category System (UCS) metadata.

V7 - Sonic Springs

TELEVISION PICKUP

Katrine Amsler: Keys, Microguitar, Programming
Stephan Sieben: Guitars
Samuel Hällkvist: Guitars
Johannes Burström: Bass
Knut Finsrud: Drums

All music written and produced by Katrine Amsler

Guests

Mike Højgaard: Vocals on Kotashaan and Shanghai Bobby
Lindha Kallerdahl: Vocals on Eagle Mountain and Omaha


Engineered and recorded by August Wanngren in Studio R, 6-7 February 2014
Except Wolf Power recorded by Petter Samuelsson at Inkonst, Malmö, 21 March 2012.

Additional recordings by Katrine Amsler at Valby Station during 2014 and 2015

Mixed by Nikolaj Vinten except Eagle Mountain mixed by August Wanngren and Wolf Power mixed by Morten Bue

Mastered by Morten Bue

Cover design by Mai-Britt Amsler


Thank you:  Mike Højgaard, Lindha Kallerdahl, Qarin Wikström, Erika Angell, Saby Reyes Kulkarni, John E. Citrone, Teater får 302, and our families and friends.
Also thanks to: Eventide, Pigtronix, KTW and Steve Hubback cymbals.


Made in Sweden
C & P BoogiePost Recordings 2015
BPCD021
All rights reserved




Music for Runners

We run toward the people we love and the things we desire. We run for health, for fun, and to win races. We run away from fears and from our darkest thoughts. We run from our enemies, to escape, and in the most horrifying of circumstances, we run to stay alive.
 
Around us, machines are running. Keeping us cool, calculating our debt, drilling our teeth, blowing up buildings and scanning space for life.

Still, running can be liberating. Gaze at Equus ferus as it sprints across the plains. The wild horse runs because it can, and because it wants to. It’s an unbridled exercise of freewill, one thwarted only when man saddles the beast. And then the beast is tamed, forced to run for the amusement of an audience and for the profit of its captor. With a man on its back, the horse runs, now because it is compelled to.

We are like this racehorse, running for profit, captive of something bigger than us, circling the track for the entertainment of others. And this human race seems inescapable, eternal, unwinnable, until one day we find ourselves running headlong into the darkness. Running into the void with no one on to pull back the reins. Running toward a finish line that we cannot see, and whose presence we feel but cannot possibly understand.

Now my nose is running, I am running a fever, My batteries are running low. And we are all, no matter our best efforts to stave off the inevitable, running out of time.

- John E. Citrone

MUSIC FOR RUNNERS

The album title 'LASLAFARIA' is borrowed from the Swiss Guggenmusig orchestra of the same name. 'Laslafaria' (the band) was founded in 1962 by a diverse group of creative young adults that included my uncle, Werner Amsler, and my father, Henri Amsler. My mother, Karin Moos, joined in 1968. The term ‘Guggenmusig’ is a reference to an ensemble that includes a group of people playing simple folk tunes, pop and children's songs on a variety of percussion and brass instruments.  In the case of Laslafaria some members were trained musicians while others had never played an instrument before. The songs were played loud, clear and recognisably and (perhaps with intent) not always in perfect pitch. Since Guggenmusig is traditionally played during Fasnacht, the Swabian-Alemannic carnival season, the performers were also usually adorned in carnival-inspired costumes. 

The most common explanation of the word 'Gugge' is that it may derive from the Alemannic 'Sack/Tüte', meaning 'bag'. Other unsourced explanations include the word used for a small children's trumpet, that in Swiss German is the word for 'scream' or the call of a cuckoo bird. The word 'Laslafaria' refers to the German sentence 'Lass es Fahren' or in English,'Let it go.’ 

It is important to establish that Laslafaria was not only a 50 members strong orchestra but also an artistic and almost anti-political movement. They cultivated elements from Dadaism such as initially rejecting the logic, reason, and aestheticism of a modern capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their works. In addition to that, they were also quite simply a mixture of people with an overload of crazy creative ideas who liked to hang out and have fun.

Growing up half-Swiss, half-Danish, and being the daughter of two Laslafaria members, this Laslafarian mentality was always around, somehow. At home, we had two of their albums in our record collection standing alongside The Beatles and Wagner. I remember listening to these particular LP's over and over again with great curiosity. I had never heard anything like that before and was completely fascinated. It was like an undefeatable force of sound. An enchanting unbothered-yet-proud mentality wrapped in brass and drums. I remember imagining it was what American football might sound like if it was only audio and not a physical sport. Over the years, the essence of Laslafaria became a manifestation of the power of imperfection for me, a secret weapon for battling challenging days, an illumination of respect shown to things that might at first seem unimportant or silly but by giving them attention become important and genuine. Laslafaria reminds me that anyone and anything can make a valuable contribution at any time.

My idea was to take that energy and channel it into the creation of this album. I wanted to include everything from cheap-keyboards-running-low-on-batteries to the sound of a MIDI flute and a poorly-written, inconvenient melody that was ‘supposed’ to have been previously discarded. I offered these ordinarily outcasts of instruments and sounds my fullest attention, putting each one on a musical pedestal, and blending them with hifi recordings of my homemade micro-guitars, a beautiful sounding bridge in the town of Elsinore, a handful of my absolute favourite musicians and much more. Throughout the process of sculpting the compositions, all sound-elements were handled with the utmost care (and sometimes calculated carelessness). In some cases, polished to an almost psychopathic extent. In other cases, they were kept untreated as completely raw ingredients. All this, melted together with my blurry childhood memories of our annual trips to Switzerland – the beautiful landscapes, mountains, lakes, and woods. Funicular railways, cowbells and army knives joining forces, weaving a tapestry of my reflections on the LASLAFARIA ideology and gradually became the music you can hear on this album.

LASLAFARIA

Winner of  Sound of the Year Award 2020 in the category Best Artificial Sound - A sound created or manipulated to sound like something it isn't.

V7 is a homemade metal spring instrument/sound-tool made from what i believe used to be some kind of measure meter. I played with a small bow, friction rubber clubs and metal slides. A natural reverb was made with some giant/very long springs attached to the measure meter box and then hanging freely on a high open metal staircase. This particular sound ended up sounding almost like some kind of friendly Dinosaur'ish creature breathing and mumbling small throat-sounds.

The V7 Sound Library will be out this spring !

https://katrineamsler.com/
https://www.soundoftheyearawards.com/2020-shortlists-winners

Sound of the Year is a newly launched celebration of everyday sound (not music) in all its forms presented by The Museum Of Sound in partnership with The New BBC Radiophonic Workshop and others.

Judges  

Alannah Chance - Reduced Listening
Bernie Krause - Wild Sanctuary
Cheryl Tipp - The British Library
Chris Watson - Natural History Sound Recordist
Rana Eid - db Studios
Tony Gayle - The Audio Cartel
Trevor Cox - Professor of Acoustic Engineering
Matthew Herbert - Chair of Judges

V7 Kind Creature

V7 – SONIC SPRINGS

V7 is a home-build metal spring instrument made from what i believe used to be some kind of measure meter. I played with a small bow, friction rubber clubs and metal slides. A natural reverb was made with some giant/very long springs attached to the measure meter box and then hanging freely on a high open metal staircase. V7 is recorded with an Ehrlund EHR-E microphone placed inside the metal box.

The result is a unique sound effect library of massive metallic hits, gongs, scrapes, squeaks, friction, rumbles and rattles. From subtle, soft squeaks and harsh, brutal metal shrieks to long and deep musical metal moans.

The sound Kind Creature made with the V7 library won the British ‘Sound of the Year Award’ presented by The Museum Of Sound and The New BBC Radiophonic Workshop in the category ‘Best Artificial Sound’.

700 + individual sounds – all tagged with detailed Universal Category System (UCS) metadata.

V7 Giant Spring

V7 Clockspring

V7 Impact

V7 Almost Cuica

V7 Low Growl

Commission for Nordic Film Music Days 

Watch the video here :
www.youtube.com/watch?v=oZgkn_9knXs

Katrine Amsler : music, video and mix
Mai-Britt Amsler : artwork stills
Samuel Hällkvist : guitar samples
Frederik Hauch : percussion samples
Qarin Wikström : vocal samples
Nils Berg : sax samples
August Wanngren : master

Fjordbakken Part 1

A while ago I was asked to make a piece for the Royal Danish Cast Collection. The more than 2,000 casts featured in the collection undoubtedly bear the stamp of something big and mighty, but also something sad, ghostly and at times almost comical. 

They left me with a jumble of thoughts about oblivion, reproduction, mimesis, decay, something about abolition, bad timing and not fitting into time or finding one's place. The last two mentioned something that resonates in parallel with my own convoluted career path.

I have reinterpreted and re-sculptured samples of instruments and sounds from the period that the collection covers. Based on the history and fate of the sculptures I wanted to question what good taste is and who (if anyone) has the right to define it.

The Royal Cast Collection :
https://www.smk.dk/en/article/the-royal-cast-collection/

Heart of Darkness

METLImpt GiantWires Impt KA AbandonedOilTank 19

METLImpt GiantWires Impt KA AbandonedOilTank 22

METLTonl GiantWires Bowed KA AbandonedOilTank 57

METLTonl GiantWires Bowed KA AbandonedOilTank 58

METLTonl GiantWires Bowed KA AbandonedOilTank 100

AMBInd Ambience SeagullsOutside KA AbandonedOilTank 01

ROCKImpt Rock KA AbandonedOilTank 04

METLTonl GiantWires Bowed ShortAttack KA AbandonedOilTank 69

METLTonl GiantWires Bowed KA AbandonedOilTank 110

METLTonl GiantWires Bowed KA AbandonedOilTank 94

On a recording trip to the smaller Danish port town Struer, I came across an abandoned empty oil tank. Inside I found two giant wires attached to the floor and the ceiling of the tank, almost like a huge 2 stringed double bass. I’m telling you the reverb in there was longer than the Eiffel Tower on a cloudless day !

On the outside this was just an empty abandoned building, but it turned out it was not empty at all because it was full of sound and a few dead birds. I’m glad I was curious enough to go inside for a closer investigation and not just pass by.

After several hours of concentrated recording, it was nice to get my ears back out in dry air. I’m happy there are no open sends to Valhalla in real life but experiencing the eternal resonance on the low frequencies from the wires was absolutely amazing.

Abandoned Oil Tank was recorded with a LOM basic Ucho stereo pair, a Zoom H6 and the LOM Geofon. All files are in 96 kHz/24 bit and contain the original recordings.

The result is a unique sound effect library including balloon pop impulse responses from a truly unique location that very recently became even more unique since word says that the oil tank is no more and has abandoned this world.

https://www.asoundeffect.com/sound-library/abandoned-oil-tank/

Abandoned Oil Tank

TELEVISION PICKUP

Katrine Amsler: Piano, Keys, Microguitar, Programming
Stephan Sieben: Guitars
Samuel Hällkvist: Guitars
Johannes Burström: Bass
Knut Finsrud: Drums


Guests

Mike Højgaard: Vocals on Kotashaan and Shanghai Bobby
Lindha Kallerdahl: Vocals on Eagle Mountain and Omaha

Music by Katrine Amsler
Produced by Katrine Amsler

Engineered and recorded by August Wanngren in Studio R, 6-7 February 2014

Except Wolf Power recorded by Petter Samuelsson at Inkonst, Malmö, 21 March 2012.

Additional recordings by Katrine Amsler at Valby Station during 2014 and 2015

Mixed by Nikolaj Vinten except Eagle Mountain mixed by August Wanngren and Wolf Power mixed by Morten Bue

Mastered by Morten Bue

Cover design by Mai-Britt Amsler

Thank you:  Mike Højgaard, Lindha Kallerdahl, Qarin Wikström, Erika Angell, Saby Reyes Kulkarni, John E. Citrone, Teater får 302, and our families and friends.
Also thanks to: Eventide, Pigtronix, KTW and Steve Hubback cymbals.


LOGO
Made in Sweden
C & P BoogiePost Recordings 2015
BPCD021
All rights reserved




Music for Runners

We run toward the people we love and the things we desire. We run for health, for fun, and to win races. We run away from fears and from our darkest thoughts. We run from our enemies, to escape, and in the most horrifying of circumstances, we run to stay alive.
 
Around us, machines are running. Keeping us cool, calculating our debt, drilling our teeth, blowing up buildings and scanning space for life.

Still, running can be liberating. Gaze at Equus ferus as it sprints across the plains. The wild horse runs because it can, and because it wants to. It’s an unbridled exercise of freewill, one thwarted only when man saddles the beast. And then the beast is tamed, forced to run for the amusement of an audience and for the profit of its captor. With a man on its back, the horse runs, now because it is compelled to.

We are like this racehorse, running for profit, captive of something bigger than us, circling the track for the entertainment of others. And this human race seems inescapable, eternal, unwinnable, until one day we find ourselves running headlong into the darkness. Running into the void with no one on to pull back the reins. Running toward a finish line that we cannot see, and whose presence we feel but cannot possibly understand.

Now my nose is running, I am running a fever, My batteries are running low. And we are all, no matter our best efforts to stave off the inevitable, running out of time.

- John E. Citrone

MATA HARI

TELEVISION PICKUP

Katrine Amsler: Composer, Piano, Keys, Microguitar, Programming
Stephan Sieben: Guitars
Samuel Hällkvist: Guitars
Johannes Burström: Bass
Knut Finsrud: Drums


Guests

Mike Højgaard: Vocals on Kotashaan and Shanghai Bobby
Lindha Kallerdahl: Vocals on Eagle Mountain and Omaha

Engineered and recorded by August Wanngren in Studio R, 6-7 February 2014

Except Wolf Power recorded by Petter Samuelsson at Inkonst, Malmö, 21 March 2012.

Additional recordings by Katrine Amsler at Valby Station during 2014 and 2015

Produced by Katrine Amsler

Mixed by Nikolaj Vinten except Eagle Mountain mixed by August Wanngren and Wolf Power mixed by Morten Bue

Mastered by Morten Bue

Cover design by Mai-Britt Amsler

Thank you:  Mike Højgaard, Lindha Kallerdahl, Qarin Wikström, Erika Angell, Saby Reyes Kulkarni, John E. Citrone, Teater får 302, and our families and friends.
Also thanks to: Eventide, Pigtronix, KTW and Steve Hubback cymbals.


LOGO
Made in Sweden
C & P BoogiePost Recordings 2015
BPCD021
All rights reserved




Music for Runners

We run toward the people we love and the things we desire. We run for health, for fun, and to win races. We run away from fears and from our darkest thoughts. We run from our enemies, to escape, and in the most horrifying of circumstances, we run to stay alive.
 
Around us, machines are running. Keeping us cool, calculating our debt, drilling our teeth, blowing up buildings and scanning space for life.

Still, running can be liberating. Gaze at Equus ferus as it sprints across the plains. The wild horse runs because it can, and because it wants to. It’s an unbridled exercise of freewill, one thwarted only when man saddles the beast. And then the beast is tamed, forced to run for the amusement of an audience and for the profit of its captor. With a man on its back, the horse runs, now because it is compelled to.

We are like this racehorse, running for profit, captive of something bigger than us, circling the track for the entertainment of others. And this human race seems inescapable, eternal, unwinnable, until one day we find ourselves running headlong into the darkness. Running into the void with no one on to pull back the reins. Running toward a finish line that we cannot see, and whose presence we feel but cannot possibly understand.

Now my nose is running, I am running a fever, My batteries are running low. And we are all, no matter our best efforts to stave off the inevitable, running out of time.

- John E. Citrone

WOLF POWER

TELEVISION PICKUP

Katrine Amsler: Piano, Keys, Microguitar, Programming
Stephan Sieben: Guitars
Samuel Hällkvist: Guitars
Johannes Burström: Bass
Knut Finsrud: Drums


Guests

Mike Højgaard: Vocals on Kotashaan and Shanghai Bobby
Lindha Kallerdahl: Vocals on Eagle Mountain and Omaha

Engineered and recorded by August Wanngren in Studio R, 6-7 February 2014

Except Wolf Power recorded by Petter Samuelsson at Inkonst, Malmö, 21 March 2012.

Additional recordings by Katrine Amsler at Valby Station during 2014 and 2015

Produced by Katrine Amsler

Mixed by Nikolaj Vinten except Eagle Mountain mixed by August Wanngren and Wolf Power mixed by Morten Bue

Mastered by Morten Bue

Cover design by Mai-Britt Amsler

Thank you:  Mike Højgaard, Lindha Kallerdahl, Qarin Wikström, Erika Angell, Saby Reyes Kulkarni, John E. Citrone, Teater får 302, and our families and friends.
Also thanks to: Eventide, Pigtronix, KTW and Steve Hubback cymbals.


LOGO
Made in Sweden
C & P BoogiePost Recordings 2015
BPCD021
All rights reserved




Music for Runners

We run toward the people we love and the things we desire. We run for health, for fun, and to win races. We run away from fears and from our darkest thoughts. We run from our enemies, to escape, and in the most horrifying of circumstances, we run to stay alive.
 
Around us, machines are running. Keeping us cool, calculating our debt, drilling our teeth, blowing up buildings and scanning space for life.

Still, running can be liberating. Gaze at Equus ferus as it sprints across the plains. The wild horse runs because it can, and because it wants to. It’s an unbridled exercise of freewill, one thwarted only when man saddles the beast. And then the beast is tamed, forced to run for the amusement of an audience and for the profit of its captor. With a man on its back, the horse runs, now because it is compelled to.

We are like this racehorse, running for profit, captive of something bigger than us, circling the track for the entertainment of others. And this human race seems inescapable, eternal, unwinnable, until one day we find ourselves running headlong into the darkness. Running into the void with no one on to pull back the reins. Running toward a finish line that we cannot see, and whose presence we feel but cannot possibly understand.

Now my nose is running, I am running a fever, My batteries are running low. And we are all, no matter our best efforts to stave off the inevitable, running out of time.

- John E. Citrone


SHANGHAI BOBBY

KOTASHAAN

EAGLE MOUNTAIN

OMAHA

DAS HEUVOLK 

Performance by SIGNA
Music and Sound Design by Martin Stig Andersen & Katrine Amsler

Performed at the biannual festival Schillertage in Mannheim June 2017
Nationaltheater Mannheim

http://signa.dk/projects?pid=103805

DAS HEUVOLK(by Martin Stig Andersen & Katrine Amsler)

Music by Katrine Amsler
Mixed and produced by Katrine Amsler
Additional mix by August Wanngren
Post processing by Martin Stig Andersen
Master by Morten Bue
Artwork by Jan Oksbøl Callesen

A huge thank you to the musicians on this album :

Qarin Wikström , Samuel Hällkvist, Nils Berg, Josef Kallerdahl,
Knut Finsrud,Frederik Hauch, Sture Ericson, Stephan Sieben, Mike Højgaard and a special thanks to all members of the Laslafaria orchestra

This album was made with financial support from the Swedish arts council.

Transit Wetzikon

Music by Katrine Amsler
Mixed and produced by Katrine Amsler
Additional mix by August Wanngren
Post processing by Martin Stig Andersen
Master by Morten Bue
Artwork by Jan Oksbøl Callesen

A huge thank you to the musicians on this album :

Qarin Wikström , Samuel Hällkvist, Nils Berg, Josef Kallerdahl,
Knut Finsrud,Frederik Hauch, Sture Ericson, Stephan Sieben, Mike Højgaard and a special thanks to all members of the Laslafaria orchestra

This album was made with financial support from the Swedish arts Council

Katrine Amsler

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