These are excerpts from the Schneider TM album "The 8 Of Space", out on Editions Mego as LP / CD / download:
https://schneidertm.bandcamp.com/album/the-8-of-space
Promo: 
ed(at)dense(dot)de

www.schneidertm.net
http://editionsmego.com/release/EMEGO-297

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of “pop” more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with “Skoda Mluvit“ from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie‘. The ‘plot' revolves around a post-dystopian landscape which posits the make up of reality in the future. 

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what’s actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG. 

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the ‘I’ or ‘me’ is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it’s melancholic tone. 

In the opening song “Light & Grace“ iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible.“Light & Grace“ serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists. 

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it’s own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

The 8 Of Space

The 8 Of Space (album snippets, eMego 2021)

sound track to installation 'Einmal ist Keinmal' (2019) @ Zwitschermaschine, Berlin 07.11.19

sound track to installation 'Tears of Ice' (2019) @ Zwitschermaschine, Berlin 29.11.19

sound track to installation 'Black Cube' (2023)

Kparr Dirè - Balafon Music from Lobi Country (LP/DVD/DL):
https://mirrorworldmusic.bandcamp.com/album/kparr-dir-balafon-music-from-lobi-country

This recording of Martin Kensiè's ensemble (feat. 2 balafon- + 2 tam tam players) is one of the many field recordings that were done by Dirk Dresselhaus (Schneider TM) during a trip to Gaoua, Burkina Faso to research the contemporary traditional music of the Lobi people. 
For more info: 
http://mirrorworldmusic.com/balafo/

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www.schneidertm.net
www.mirrorworldmusic.com

Martin Kensiè Ensemble  - Song 2 (Master Test)

Sunny Night

Sunny Night (Single Version)

In 2007, after playing Pan sonic & Schneider TM sets at Uuden Musiikin Festivaali in Turku, Ilpo Väisänen, Mika Vainio & me drove up north to Ilpo's cottage to hang out there for a while...we decided to build a kind of harp from the left overs of Ilpo's grandmothers ancient weaving loom and played this little polyrhythmic Blues. I miss you Mika, R I P.

V V S - 2007

Technosphärenklänge #3 | Performance by cellF and Schneider TM, mixed by Schneider TM.

The third edition of the Technosphärenklänge series, produced by the HKW in collaboration with CTM Festival, presented musical projects operating at the border of art and science. 

"cellF" by Guy Ben-Ary and collaborators (with media artist Nathan Thompson, electric engineer Dr. Andrew Fitch, musician Darren Moore, stem-cell researcher Dr. Michael Edel, neuro-scientist Dr. Stuart Hodgetts, and neuro-engineer Dr. Douglas Bakkum) represents a radical new way to think about what a musical instrument can be and how music can be made. With cellF, human neurons grown in a Petri dish form the living “brain” of an analogue electronic synthesizer. Using these neural networks, cellF controls in real time its "body", that is made of an array of analogue modular synthesizers, forming an autonomous wet-analogue cybernetic musician capable of entering into musical dialogue with human musicians: in this case guitarist Schneider TM. 

Inputs from Schneider TM's guitar were fed into cellF’s neural networks as electrical stimulation. The network’s reactions to the artists’ impulses resonated through its modular synth body, creating reflexive and improvised post-human pieces of music resulting from the communication between human and non-human musicians.

Technosphärenklänge #3 | CellF Performance with Schneider TM

In physics, entropy is a quantity generally described as the measure of disorder within any kind of thermodynamic system, including the universe. It counts the microscopic states that system can assume when open, interacting with others or getting altered by external conditions.
Thus, entropy makes for the perfect description of the way Ilpo Väisänen (Pan sonic, I- LP-O IN DUB) and Dirk Dresselhaus (Schneider TM, A S S, Locust Fudge) have approached music creation since the establishment of their collaborative project Angel (now die Angel) in 1999. Allowing energy to flow freely through machines, bodies and different acoustic conditions, they’ve generated a powerful archive of mutating sonic states. A kind of creative attitude that favors exploring the physical complexity of unstructured electronics.
That’s where the title for their first release on Cosmo Rhythmatic comes from, “Entropien” being the Finnish word and the German plural for entropy. Getting back to the stripped down set of their beginnings (modular synths, effects, and processed guitar), they’ve come out with one of their most, intense, rawest and noisiest albums to date, showcasing an impressing scale of dynamics while attacking the senses with belligerent tones. Oren Ambarchi also shows up on two tracks, intertwining his drums, field recording, and guitar within the duo’s discordant layers.
Entropien I is dedicated to Mika Vainio. May your soul rest in peace.

die Angel - Terminen Kevat (CR06)

Stephen O'Malley: electric guitar
Anthony Pateras: egregore / Farfisa Compact Duo / Revox b77 / Stuart & Sons piano

Materials recorded live in concert, Instants Chavirés, Montreuil, France, 2011
Additional materials recorded at the Peggy Glanville-Hicks House, Paddington, Australia, 2016
Mixed and produced by Anthony Pateras at Gold Tony Love's Audio Hell, Sydney, 2016
Mastered by Lachlan Carrick at Moose Mastering, Melbourne, 2016
Layout by Shehab Tariq at Implant Media, Melbourne, 2017
Special thanks to Jean-François Pichard

IMM013: Stephen O'Malley · Anthony Pateras - Rêve Noir I (excerpt)

the space between here and there, no-place in no-seconds, a wreck safe-crashing into a new beginning where time stares itself into a comforting void...for God so loved the earth that he chose not to save the world.

Feral-ambient soundscapes by Ani Samperi + Jaike Bon Jovi.
Field-recordings by Ani Samperi.
Body-material contact sounds by Julian Meding.
Mixed + mastered by Jaike Bon Jovi.

Scary Building

MirrorWorldMusic (MWM), founded in 2007 by Dirk Dresselhaus and Michael Beckett, is a label, archive, and publishing imprint for diverse idiosyncratic music projects that are linked in some way by their protagonists, involving the likes of Schneider TM, Kptmichigan, Ilpo Väisänen, die ANGEL, Hildur Guðnadóttir, Christopher Uhe, Locust Fudge, Werner Diermaier, Elke Drapatz, faust, Elena Poulou, and Jochen Arbeit, among others. The catalog's stylistic scope, which spans more than 30 years and ranges from early indie rock, avant-pop, and electronica to improvised drone, soundscapes, noise, or field recordings, is unified by an overarching experimental approach and a multi-minded spirit, channeled in the forms of regular releases, live recordings, film music, and others. The MWM SoundCloud contains live recordings, rough mixes, non-regular goodies or edits, etc. For regular releases and updates, please visit:

www.mirrorworldmusic.com
www.mirrorworldmusic.bandcamp.com