Today an exciting album was released on my EndTitles label: SFAIRA by Tilman Ehrhorn (aka WERKEN). As explained in my last collective message to you, this release is one of the cornerstones of this year. I think that working closely with Tilman last late summer turned an album into a little masterpiece. Personally, I already consider it one of the musical highlights of 2022. I hope you like it too!
SFAIRA is available at a reduced price for the next two weeks. My Bandcamp subscribers get it for free, of course. In the coming days I will write an email to each of you personally.
Privately, I am living and working in Zurich, where I co-own a café with an artisan cake bakery section since 2010 known as Miyuko. At the beginning of January we moved the café to a new location. I see how beautiful and intense everything is coming. Despite everything, in addition to my public and private life, I try to invest as much time as possible in music. That is my balance to daily business. Due to a lack of time, I decided against the Sound Design course I was aiming for at the Zürcher Hochschule der Künste (ZHdK). My focus this year is definitely more concentrated than last year and I’m approaching the year more relaxed than ever! But let’s get to the cornerstones of 2022:
On the 21st of this month, Tilman Ehrhorn‘s (aka WERKEN) new album will be released, in which I was involved. The piece “Sfaira” was released as a little foretaste in January and Tilman’s album “SFAIRA” appears on my micro label EndTitles alongside other subsequent releases by exciting artists such as Daniel Barbiero (Double Bass/Electronics) or Stefan Schmidt (Fretless Bass).
«ZwischenRaum» – The second part of the Raum trilogy with Stefan Schmidt will be released in May on the well-curated Berlin based record label Karlrecords as a limited edition cassette.
And finally the successor to “Less” is also planned for the end of the year. Again on the wonderful Puremagnetik from New York. Thanks for your patience Micah…
And as much time as I can spare, I will use it for encounters like the one next week… and perhaps a few concerts.
Thank you for accompanying me. I thank you from the heart.
Der kanadische Musiker und Maler, Colin Muir Dorward meldet sich zurück mit einem Doppelalbum auf meinem Label EndTitles. Ich führte mit ihm ein kurzes Interview. Auf nach Yukon.
Meeting the artist. An Interview.
ET: What is your new double album «fostexDubs Part 1 & 2» about? What was your instrumental approach for the album?
CMD: I don’t think there is a particular message in my music. Of course there are emotions, and making music is a way to express myself, but I don’t usually have an agenda when I record. If I had to name one driving force it would be curiosity. For this material, it was a fun challenge to make the mc909 not sound like a preset dance machine. With modern gear, it’s easy to become very critical of the engineers for making silly decisions because they should know better by now, but with older stuff, you kind of forgive them and move on. That mental shift of accepting what the tool is, warts and all, and finding out what it can do is a big part of my workflow.
ET: Tell us about your work as modular module designer? A new line to buy soon?
CMD: I got into synth DIY six or seven years ago and it stuck. I’m not an engineer but being a producer has definitely helped. This winter I finished designing a eurorack series I’m calling the Jade system. It’s a bread and butter thing with big, clear fonts, and easy to understand layouts. I wanted something suitable for live performance and also for beginners to learn subtractive synthesis. Despite the generic surface, everything has been designed to have a unique sound. There are lots of cool features and design choices under the hood to make it something of its own. I would love to say this will be available for purchase soon, but in reality what I need is for someone to help me with the entrepreneurial side of things. It’s very easy for me to drift away and lose interest when it comes to promotions, distribution, etc. For now I’m just plodding through and building up a small stock to sell locally.
ET: Tell us about your idea of building a residency for musicians? How is it going in the meantime?
CMD: Last summer we hosted a recording residency for local musicians. Seven artists/groups each got access to a recording studio for one week, and a small honorarium to basically do whatever they wanted. We drew names from a hat to choose who got the residency. This was volunteer run and organised, but we received a small grant from the Yukon government to pay the honorariums and a few other expenses. That project got iced once winter arrived because that space is not really insulated. This summer we plan to offer some new residencies and recording opportunities, but it’s too early to say what yet. There will definitely be a visual arts component added this year. I want to introduce an international residency, but for now that’s obviously on hold.
ET: Online concert series? What is the idea behind that?
CMD: fostexDubs evolved from some material I had prepared for a couple shows I did here in Yukon. I’d like to repeat that workflow and use some more live shows as an excuse to dive into a new setup and get some ideas working. Since online streaming events have become somewhat normalized, I figured it was a good opportunity to stage a tour, of sorts. I like that it’s kind of the opposite of what I imagined I’d be able to do since settling here a few years ago. The nearest metropolitan center is 2000kms away, so touring has not really been on my horizons.
ET: So see you online in May, the 7th. More details to come. Thank you for the interview, Colin. Cheers!
Sein Klang-Koffer ist die Ausgangsbasis für seine Musik. Je nach Projekt bestückt er ihn neu mit Synthesizermodulen. Klangerzeuger und -verbieger, zwischen modernster Elektronik, Kinderspielzeug und Beinah-Elektroschrott. Dies alles verbindet er mit Patchkabeln zusammen zu Kompositionen und Improvisationen. Als Rahmen sind ungefähr 5 Minuten vorgegeben. Statische und rhythmische Stücke, elektronische und akustische Klänge erzählen die experimentellen modularen Gedanken.
At their best, graphic compositions are both beautiful and provocative. Beautiful in that they can, when artfully done, stand as independent works of visual art. Provocative, because they ask the performer to act as a kind of co-composer—they provoke him or her to make musical choices that, in the absence of specific instructions encoded in standard notation, somehow will translate the markings on the page into concrete gestures producing real sound. Mutatis mutandis the same observation can be made of verbal scores, many of which approach poetry in their use of condensed, evocative language. Both types of scores provoke and inspire by creating an atmosphere in the way that an abstract painting or a poem might create an atmosphere: suggestively, through connotation rather than denotation.
Diverse as they are, all of the compositions in this collection have one thing in common. All of them, by leaving crucial musical and structural parameters undefined, are as much situations or events as they are works–situations to which the performer must respond with an ongoing series of decisions based on significantly discretionary, interpretive judgments. Consequently, the marks on the page (and in one case, the wall) may be thought of as enabling constraints that, in their refusal to fully prescribe a course of action, invite the engaged choices that will realize them as specific sounds and gestures.
In the works performed here, a significant aspect of the meaning inheres in the concrete procedural or technical choices through which the performer, in concert with the initial conditions set out by the score, completes the work. Before performance the work is in a state of incompletion; the performer acts in completion of the work. Hence the title of this collection.
I think of these performances as collaborations in which each of us—the composer, who creates a set of initial conditions or parameters expressed as more or less open variables, and I, who must interpret the implications of those conditions and realize them with concrete values—has an essential part to play, even if at a distance of space or, as in the case of Root Music, of time.
My thanks go to the composers represented here, some of whom composed works for me and others who encouraged me in my interpretations of previously composed work.
Oder besser gesagt, wie produziere ich ein Lo-Fi-Video? Nun, man nehme eine Location, alten Beamer, Open Source Visuals, ein altes iPhone zum Filmen und jede Menge Inspiration. Ich wählte den 90er Jahre MTV/VIVA-Look (Bild in Bild-Aufnahmen, Look, wackelige Führung etc.) inspiriert durch meine Video-Kassetten-Sammlung, die in meinem Studio gleich neben dem Pult auf dem VHS-Rekorder rauf- und runterläuft. Die Locationsuche war eigentlich recht einfach: Der Drehort ist der Fahrstuhl im Produktionsgebäude für mein Kleinstcafé Miyuko. Ursprünglich sollte der Beton-Flur dafür herhalten, aber nachdem ich unsere Produktionsumgebung genauer ansah, entschied ich mich für den Fahrstuhl. Im Grossen und Ganzen dauerte die Bearbeitung ca. 10h exklusive der Renderingzeit. Die Aufnahmen erfolgten zwar in HD, mussten jedoch komprimiert und reduziert worden. Man glaubt das gar nicht, wenn man das Video sieht, wieviel Arbeit dahintersteckt!
Und so entstand die erste Elevator Session mit Joel Gilardini. Falls ich nicht zu faul sein sollte, folgen weitere mit spannenden Künstlern, gell! So, aber jetzt viel Vergnügen mit Joel Gilardini ~ Parched Harbours (Official Music Video)
Willkommen zu EndTitles.Kitchen.Lab’s «Live_Cuts» Album!
Kitchen.Lab ist die Konzertreihe des Labels, welche im Zürcher Kleinstcafé Miyuko angefangen hat. Die Musiker und Künstler performten aus der Küche, durch einen Bartresen vom Innenraum des Cafés getrennt. Die Zuschauer|innen sassen so gesehen nur eine Handbreite von der Performance entfernt. Das war sehr intim und persönlich. Die Reihe habe ich nach einigen Jahren Pause in 2018 mit dem Label neu gestartet, als ich Joel Gilardini wiederholt im Exil live hörte. Die Konzertreihe verlegte ich anschliessend 2019 in den Kulturfolger an der Idastrasse. 2020 sind weitere Konzerte geplant.
Zu hören sind Ausschnitte (Cuts) vierer Konzertabende, direkt aus dem Mischpult heraus ohne grosse Bearbeitung. «Live_Cuts» beginnt mit einem Ausschnitt von 2018 des japanischen Ambient-Gitarristen Chihei Hatakeyama, dessen Album nächsten Monat bei EndTitles erscheinen wird.
Ich danke herzlich allen Gästen, Beteiligten und Musikern für die schönen Abende und wünsche viel Vergnügen beim Hören.
ET: What is your new album «Arborescence» about? What was your instrumental approach for the album?
A: «Arborescence» is about ideas leading to the next ones. At some point, the decisions you take regarding a certain sound, will impact the way the track progresses. So many crossroads. Some ideas and sketches for this album came a few years back, I went and recreate them.
ET: Tell us more about your work with Modular?
A: My eurorack modular journey started a few years ago. I started slowly, learning my first few modules. Then, moving forward as my interest progressed. I really like the way you can me things happen on different levels. There are always new things, new ideas to try. Even though, it is quite fun to work with no screen and make a really good patch, I’m also trying to blend it with my DAW productions. It is just so damn fun to mess with.
ET: What are your main music related influences? What makes Ambient music so interesting?
A: In my teenager years, I was really into rap, still am. Also went really deep into those Warp Records early classics (Aphex, Autechre, Boards of Canada). I guess all of those things influenced me. Always going back to some jazz classics, as well, Miles, Thelonius, Coltrane, Mingus, etc. Also listened to a lot of those ‘70s German Krautrock band, I will never get bored of those Can records.
ET: Best loved hardware vs. Best loved software?
A: My most loved hardware was for a long time my Moog Slim Phatty. Since having a more «complete» eurorack modular synthesizer, I cannot lie, this is totally my new favorite thing to work it. It is so flexible and inspiring, always something new to dig, to try. When it comes to software, my favorites are from Madrona Labs, U-he and Sinevibes. I think I have all the products of those 3 companies. If I had to choose only one, it would be u-he zebra2. This is the synth I’ve used the most in all of those years I’ve been making music. It’s a semi-modular softsynth. It is really nice at doing all sorts of things. I know it so well so it is a nice tool for me. The Zebrify effect unit coming with it is really usefull, too.
Heute ist auf meinem Label EndTitles ein neues Album erschienen. Ich bin sehr stolz Arbee aus Kanada unterstützen zu können. Viel Spass beim Download.
Hier einpaar Infos zum Künstler: The Canadian musician Arbee (Mathieu Lamontagne) has been working on his music and sonic textures for over a decade now. During the first few years, he worked and made several shows in the electro-hiphop band Anachronicxp. Since the end of this project, he has worked with numerous labels sharing his textural works including broken melodies and sound design abilities. He has worked with numerous people including Specta Ciera, mr bios, Emmanuel Toledo and much more.
Wie die Zeit vergeht. Es ist fast ein Jahr her, dass ich das wilde Cairo besuchen und erleben durfte! Diese Millionenstadt hat einen solch immensen Eindruck auf mich verübt, dass ich mich vor wenigen Monaten entscheiden habe, das Konzert des Mapping Possibilities-Festivals als CD zu veröffentlichen. Eigen finanziert und auf meinem Label EndTitles veröffentlicht.
«Back in September 2018 I have been invited to play a show at the Mapping Possibilities VI Festival in Cairo. This show took place at the Cinema Zawya and it was an anniversary show for Pro Helvetia Cairo. The idea of the Mapping Possibilities festivals is to play a live show supported by strong visuals. My Visual Artist was Mostafa El Baroody. There is no full-length video of the show. Only a few fotos by Aly Nabil. But some of the visuals by Mostafa can be seen on my webpage. Links below. So arm yourself with good headphones and while you are listening to this album just imagine crazy visuals. Have fun!»
Eine Sache! Die CD hat einen Schönheitsfehler: Das Presswerk hat versehentlich obligatorische Pausen von wenigen Sekunden zwischen den einzelnen Stücken hinzugefügt. Das war nicht beabsichtigt. Als ich nach vier Wochen aus den Ferien zurückkam und die CD sichtete, war es leider zu spät dies zu beanstanden. Ich kann damit leben. Ich hoffe ihr auch ;-)