In Folge 1 des TELESKOPpodcast ist der Musiker und Klavierbauer Hans Arnold zu Gast. Er lebt und arbeitet in Leipzig, seine Band heißt »Holzig«. Im letzten Jahr veröffentlichte er mit seinem Solo-Projekt bestehend aus Wurlitzer, präparierter Bassdrum, perkussiven Objekten und Elektronik das Album »And finally the rain« via TELESKOP. Außerdem ist er Schlagzeuger der Bands »H.C. Behrendtsen« und »Elephants on Tape«.

Kurzinfo Podcast:

In diesem Podcast lassen wir euch eintauchen in die Arbeit von Musikerinnen und Musikern, Komponistinnen und Komponisten aus unserem wunderbaren Netzwerk. Wir möchten aufzeigen, was sie antreibt und sie mit ihrem persönlichen Verhältnis zur Musik zu Wort kommen lassen.

#kulturdigital

kontakt@teleskopmusikproduktion.de

TELESKOPpodcast - #1 Hans Arnold

taken from "Mushroom Group" EP, to be released June 25 via TELESKOP.

While on the EP Fire & Coal, released in May 2021, the folk song "Kein Feuer keine Kohle" served as the starting point for the musical exploration and the production phase took place in churches and old barns, the EP Mushroom Group, which now follows promptly, is a small-scale urban studio production that nevertheless finds its inspiration explicitly in the previously experienced natural motifs. The Meuroer Mandolinenorchester once again frames the release, providing an already familiar purist introduction with Oaks and once again sounding at the end in the piece Blushing Wood composed by Stefan Streck (The Micronaut).

Recording: Nada SoundDesign
Mix: Alexander Binder
Master: Zodiaque
Label: TELESKOP

Composition: Friederike Bernhardt
Bass: Lorenz Heigenhuber
Drums: Jan Roth
Guitar: Bertram Burkert
Percussion: Volker Heuken
Saxophone: Damian Dalla Torre
Trombone: Antonia Hausmann

Mushroom Group EP

Black Panther

Beyond w/ Bernhardt. feat. The Micronaut + Meuroer Mandolinenorchester  - Black Panther

Taken from debut 4 tracks EP 'Soap Carv' released on Nov 25th 2013 on Tape Club Records.

Alligator music video: http://youtu.be/_gpWrgB7C5I

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Alligator

Arial Matrix

Taken from the Stealing Sheep album 'Not Real' out 13/04/15 on Heavenly Recordings.

Stealing Sheep 'Greed'

Ankle Injuries from the album Transparent Things

Transparent Things

Ankle Injuries

Matthew E. White 
"Big Inner" LP/CD/DIG
Out January 2013 in Europe on Hometapes and Spacebomb.
www.matthewewhite.com
www.home-tapes.com
www.spacebombrecords.com

Like all of us, Matthew E. White was born into a constructed world. His unfolded out of the mingled sands of Virginia Beach and Manila, the youngest son in a family that raised him barefoot between the blurred racket of that far eastern jungle city and the backyard lightning-bug-hum of a trimmed southern lawn. His first moves, from picking up a basketball to picking up a guitar, were cast in the dual glow of these latitudes. Something between them taught him to love. Something between them taught him to time travel. Here began the lessons of Big Inner.

On that day in August, when the earth shifted into the shape of Matthew E. White, there was so much to listen to, so much to put your heart into, already. The dusts of the Delta had swirled into Rock and Roll. Alan Lomax's recordings sat in a big building in Washington, DC. Lee Perry had built The Black Ark in his backyard in Kingston. Somebody else lived in Big Pink. Mac Rebennack was Dr. John. King Tubby was dubbing. Terry Riley was overdubbing. Sly Stone had hit #1. Randy Newman's Sail Away was a decade old. Caetano Veloso had just turned 40. Muddy Waters was just about gone. Jimmy Cliff had sung "Many Rivers to Cross." So had Harry Nilsson. White shared this common inheritance. He stitched his own flag out of it.

And so it begins with "One of These Days," looking in, up, and over in its declarations of love. It's waking up next to someone. It's feeling the wood of the church pew on your back. This is your introduction to Matthew E. White and the world of Spacebomb; he's convincing you to stay the night. You give me joy like a fountain deep down in my soul. You can hear him breathe in. The first time around, White only hums the chorus. Hums it. Plants it in your head as it blooms in his. Strings enter like a siren. The guitar only talks when it has something to say. The choir lets you know you're not alone. Overdubbed woodwinds and muted brass like it on top, dancing around the embers of the bass line. Whether you're a woman or man, White's mournful, get-it-on voice may be all you can hear: I don’t want to live a day longer than you, so let’s meet the Lord together. You can call it soul music if you want. It's his soul and it's his music. 

Big Inner is told in seven songs that mingle memory with the rawness of any given human moment. The references — from the lyrics that echo the common conditions of love, death, seeking, and finding, to open tributes to artists like Washington Phillips, Allen Toussaint, Jorge Ben, Jimmy Cliff, and Randy Newman — are their own scavenger hunt through history and through White's place in it. "Big Love," the album's whopping second track, evolves the serenade of the opener into an all-out field holler. The vibe is farmed by Trey Pollard's cinematic string arrangement, Megafaun's Phil Cook on near-frantic keys, baritone sax squawks, pacemaking congas, and the first appearance of a burning White guitar solo. I am a barracuda, I am a hurricane. You don't need the seven-voice choir chasing White's voice to make you believe it, but it sure doesn't hurt.

For a record so personal, built on such code, it's never been a secret. Inseparable from Matthew E. White is Spacebomb — the process, the sound, the spirit, and the record label which White's debut launches. A gifted jazz arranger and exceptional guitarist, White is joined by bassist Cameron Ralston (the Wise) and drummer Pinson Chanselle (the Mighty) in the formation of the Spacebomb House Band. You won't forget those names. This core group, multiplied by horns, strings, and a choir (all culled from and roused by the venerable landscape of Richmond, Virginia), was captured to tape in White's own tricked-out attic on the west side of town. This is Spacebomb: an inimitable House Band, a producer, and a unified crew of arrangers and musicians join with an artist and cut a record — with staggering results. White assumed the actor-director role for Big Inner; it's the first Spacebomb album, the playbook and the highlight reel all at once, for a colossal series of upcoming albums from Natalie Prass, Karl Blau, Joe Westerlund (Megafaun), and Ivan Howard (The Rosebuds, Gayngs). A conductor in every sense of the word, an ambitious new label and a solo album were an easy segue from White's well-known post as the leader of the avant-garde jazz band Fight the Big Bull. 

As you swing into "Will You Love Me," you're a goner. Big Inner is an album of firsts, for White and for our place in time. He trades his guitar in for piano. He coos into the piano mic on the first take, a hunch that turns into an ice-breaker for the tingling dirge of "Gone Away." Written on the night of his young cousin's death, it walks the line between worldly gloom and heavenly lightness — and questions the validity of both. As on the rest of the album, White arranged the horns; they speak volumes beyond the limitation of his earthbound vocabulary.

The album culminates in the riverbed of "Brazos," a parable for the whole of Big Inner. Take every story you've heard, every note that's shaken your bones, every sunrise, and every friend you've got — and run. Like the rest of Big Inner, this closing track stands at full attention, the Spacebomb House Band, Horns, Strings, and Choir waiting their turn to kindle a flame that lights up the endless desert. Like every man before him, Matthew E. White is leaving a mark on the landscape. It's there, on records. It's there, on stage. But, like rare few, what Big Inner has brought to its glistening surface is what very well might be right inside of you.

-Sara Padgett Heathcott, Hometapes

Matthew E. White "Big Love"

@juliagjertsen curates our latest mix with a beautiful selection of tracks featuring Bersarin Quartett, Dmitry Evgrafov, Daigo Hanada, Jim Perkins, Daniel Pemberton and much more. 

Julia released her album 'Fragile' on @modernarecords in November which you can listen to and purchase here: https://modernarecords.bandcamp.com/album/fragile 

Tracklist:
Bersarin Quartett - Wenn wir nur wollen             00:00
Jonas Meyer - Strömung                                      04:40
Dmitry Evgrafov - Anthem                                   11:59
Daigo Hanada - En                                               14:39
Mette Henriette - Passé                                        18:11
Jim Perkins - Enfolding                                         22:58
Niklas Paschburg - If                                             27:04
The Seven Fields of Aphelion - Michigan Icarus   32:00
Chris Watson - El Divisadero                                 37:04 
Daniel Pemberton - OSR I - I                                 42:15
Nuojuva - Hämärään                                             45:57

Contemplative Classical Mix

Julia Gjertsen - Contemplative Classical Guest Mix

written and produced by Oliver Gehrmann
additional production by Xaver Hirsch and Giugiu
Co-Produced and mixed by Mario Willms
Mastered by Frederic Stader at Music Matters Mastering

Label: TELESKOP
Publishing: Kicktheflame

Random Orchestra is the audiovisual vision of media artist Xaver Hirsch and music producer Oliver Gehrmann, that unites atmospherical electronic music with sophisticated visualization. 
Influenced by artists like Apparat, Tokimonsta and Alva Noto, they find their home in the genre-bending twilight of abstract hip-hop, ambient, electronic music and organic visual weirdness. On Inhale, Random Orchestra pave the way into their audiovisual universe. Both the music and the accompanying music video welcome listeners and viewers onto their journey with a mystical construction.

Membrane

Inhale

Random Orchestra - Inhale

Studio, Label, Publishing Edition from Leipzig. Gems of special taste blurring between Indie, Electronica and Ambient Composition.