Wald 002. Richard Eigner - Denoising Field Recordings
Denoising Field Recordings documents an early attempt at using denoising-techniques in a creative and compositional manner. Instead of utilising noise-reduction-algorithms for their intended purpose (the restoration of damaged audio signals), these processes are applied to various field recordings of trains, streets, swimminghalls and public transport. Due to the fact that these recordings consist entirely of noises this operation transforms the originals into an uncanny hybrid of newly introduced processing artefacts, occasional silence and sporadically audible traces of the original field recordings. What kind of sound-aesthetics can emerge while denoising field recordings? Which audible parameters are able to resist this »audio-erasement-process«? How are these traces comparable to the visual remanences of Robert Rauschenberg’s erasure of a de Kooning drawing?
Denoising Field Recordings is released as a limited edition of see-through 12″ vinyl with an intruiging white-on-white cover designed by Hans Renzler. The digital version is available exlusively at Zero”.
Quotes:
»Until recently I was aware of the ‘denoiser’ only as an audio restoration tool to remove the noise from historical recordings or to filter out cracks on old vinyl. […] But then I got to know the young Austrian musician, DJ and denoising-fetishist Richard Eigner. Since then my ears have been full. Of almost nothing! For Eigner had the wonderful idea of using the technical potential of such denoising tools as the plug-in Waves X-Noise or the hardware Cedar DNS 1000 as an artistic means of of deconstruction. „What is left of extreme noise music, for example“, the conceptual artist in him wondered, „if I extremely denoise it? In an ideal case: silence?“« Fritz Ostermayer (Spike #21)
»But of course one may use denoising algorithms also in a different way. You may put them to work for other than analytical and/or restoring purposes, as a compositional tool, in a creative manner. This is what Richard did. He had a simple but beautiful idea which of course is what got him a place in this small gallery of great ideas: he denoised noise music. Arguably the biggest surprise in Richard’s experiments is the undulating and spacious field of interlaced crispy clear (sine wave / overtone) melodies arising from the dense wall of heavily distorted (guitar) feedback in Lou Reed’s Metal Machine Music.« Harrold Schellinx (Soundblog)
Denoised by Richard Eigner. Mastered by Patrick Pulsinger. Design by Hans Renzler.
Order at wald [at] wald-entertainment.com
Walk Denoised
Westbahn Denoised
Church Bells Denoised
Snowy Blumau Denoised
Mainstreet Denoised
People Denoised
Wald 001. Some Freak, Andreya Triana & Ritornell - The Light Remixes
A melancholy tale of seduction relayed from the shadows, with smoky drums, a piano player stuck in perpetual motion and ethereal flutes combining with a dash of exotica. Delicate, fractured vocals emerge as counterpoint to this rhythmic hypnosis. Concocted by three graduates of the 2006 Red Bull Music Academy shortly after their departure from its Olympian domain, “The Light” was recorded in a series of separate sessions with Andreya Triana (known from her collaborations with Flying Lotus, Mr.Scruff and Theo Parrish) and Richard Eigner (Ritornell, last critically acclaimed album “Golden Solitude” was released in early 2009 on Karaoke Kalk). Some Freak polished it off, blending Richard’s beats and Andreya’s vocals with a soft layer of flute and a whole lot of tape delay. The result? An organic slow burner that sounds like a transmission from galaxies away.
Dorian Concept’s neon burning beat productions already found fans on all corners of the musical universe. His multi-faceted debut album “When Planets Explode” was supported by Benji B’s Deviation sessions to Mary-Anne Hobbs and Gilles Peterson both championing his cause in a big way. Dorian’s remix merges his signature abstract electronics seamlessly with Andreya’s vocals for five minutes of organic downbeat bliss.
Viennese-bred producer Patrick Pulsinger has managed to leave his signature warped electronics on just about every style and tempo of dance music. Whether blending jazz with subliminal frequencies, hooking up vintage synths to the sneaky algorithms of the Super_Collider program, or fusing polychromatic disco with vigorous electronic workouts, Patrick Pulsinger knows how to morph elements of error and freestyle into the sublime.
Orakel is the duo of Joachim Knoll & Martin Riedler, two Austrian producers who are combining luscious acoustic jazz elements with intense floor-orientated, broken-beat productions, not losing their focus on keeping music soulful. They are also an integral part of the infamous “comeonfeet!” collective, best known for their brilliant radio shows and savage parties. Keep your ears open for their meticulously crafted debut album which is due later this year and features amongst others the legendary Dwight Trible.
Peter Kruder (G-Stone): „The Light in the original version is excellent! Well done. Microphones are so last millenium…”
Zero dB (Fluid Ounce): “Love the Orakel’s mix and the original, best of all, but all are good. Definitly playing the Orakel’s out though.
Andreya sounds great on all, plain and simple.”
Dimlite (Now Again/Ehstrawlogy Produkte): „Excellent! Can’t wait for the vinyl of this!”
Available at: Boomkat, Juno, Amazon, HHV, Zero Inch, I-Tunes, Juno Download and many more shops!
Some Freak, Andreya Triana & Ritornell - The Light
Some Freak, Andreya Triana & Ritornell - The Light (Dorian Concept Remix)
Some Freak, Andreya Triana & Ritornell - The Light (Patrick Pulsinger Remix)
Some Freak, Andreya Triana & Ritornell - The Light (Orakel’s Free The Horse Dub)
Wald 000. Richard Eigner - Denoising Noise Music
Wald 00. documents an early attempt at using denoising-techniques in a creative and compositional manner. Instead of utilising noise-reduction-algorithms for their intended purpose (the restoration of damaged audio signals), these processes are applied to various noise-music-compositions from early Luigi Russolo and Pierre Henry pieces, to contemporary works of Merzbow and Fennesz. Due to the fact that in the majority of cases, noise-music lacks traditional musical structures such as harmony and melody, this operation erases the original compositions, except for a few sporadically audible traces. Which audible parameters are able to resist this »audio-erasement-process«? How are these traces comparable to the visual remanences of Robert Rauschenberg’s erasure of a de Kooning drawing?
To answer these questions, this work draws a line from a brief history of noise-music, through an overview of noise-reduction-technologies, to a description of various artistic decompositional production-strategies.
Double CD - special packaging designed by Hans Renzler and Richard Eigner. Sewn together by Richard’s Grandma! Strictly limited to 30 copies. Order: wald (at) wald-entertainment.com
Audio Excerpt. Attention: the music is very quiet!
