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Daniel Spicer (The Wire, July 2019, Issue 425, p. 48)Bunte Truppe: Träumen Ohne Dinge (Play Loud! DL/LP) Bunte Truppe (o...
05/06/2019
play loud! archive and store

Daniel Spicer (The Wire, July 2019, Issue 425, p. 48)
Bunte Truppe: Träumen Ohne Dinge (Play Loud! DL/LP)

Bunte Truppe (or Colourful Troop, as their name would have it) unite a few different generations of German musical experimentation. Ruth-Maria Adam and Ronnie Oliveras have both been affiliated with neo psych folk collective Datashock; Ignaz Schick is a turntablist and saxophonist with a background in free jazz; and percussionist Limpe Fuchs has been a totemic figure since the late 1960s when she and her husband, Paul Fuchs, emerged on the fringes of the West German underground rock and jazz scenes as improvising duo Anima. The four of them have been performing together as Bunte Truppe since 2017, combining percussion, wind and string instruments plus an arsenal of electronic doo-dads. On their debut album the group present half a dozen patchwork collages that feel like missives from an imagined post-industrial future when air travel and the internal combustion engine are faded memories, power comes from wheezing solar powered generators, all the parks and open spaces have been rewilded and armed brigands haunt the hills just beyond the city walls. The raw crackle of electricity is a constant presence, with radio signal whine, seething amp hum and the crunch and hiss of a stuck vinyl loop sketching a tactile backdrop. Fuchs adds metallic clang, clatter and thud from her self-made tuned instruments – queen of the scrapyard beating a leisurely tattoo. Various primitive musical gestures surface: wild violin stridulation; snare drum rumble; sudden bass clarinet shriek; Moogish wibble; an inept bugle snuffling like a truffle hound; and an eruption of absentminded operatics. There’s a workshop vibe about the whole thing, fostering an environment where virtuosity is rejected in favour of spontaneous sonic exploration – as pioneered on antecedents such as Sun Ra’s Strange Strings or Alan Sondheim’s Ritual-All-7-70. In this way Bunte Truppe generate some beguiling, fantastical soundworlds: a domed cyber-garden populated by tiny android hummingbirds, electric cicadas and the whir and rattle of holographic frogs; moonlit magic in a sacred circle of dead refrigerators; windowless railway carriages and flatbed trucks pulled by mountainous shire horses with village pennants flapping in the warm afternoon breeze. Perhaps this is what folk music will sound like in a hundred years’ time.

You can purchase the record directly from the record label here: http://www.playloud.org/archiveandstore/en/vinyl-12/635-bunte-truppe-traumen-ohne-dinge.html

NEW RELEASE Format: Vinyl 12" Artist: Bunte Truppe Release date: May 2019 Recorded at: Neue Schachtel, Stuttgart Bunte Truppe are: Ruth-Maria Adam, Limpe Fuchs, Ronnie Oliveras, Ignaz Schick Upon request those who buy this vinyl record at our archive&store will receive the record as mp3 files once t...

CHARLES WILP fotografiert BUNNY now available at the play loud! archive&store.A blend of jazz, pop, space-age and easy l...
03/06/2019
play loud! archive and store

CHARLES WILP fotografiert BUNNY now available at the play loud! archive&store.
A blend of jazz, pop, space-age and easy listening.
Charles Wilp did the earliest photos of Nico when she started modelling in Germany, and also took fabulous photos of the Monks when they were established in Germany.
In 2002 we had the honour of visiting Charles Wilp in his studio in Düsseldorf on the occasion of an interview for our film Monks - The Transatlantic Feedback. He considered himself an ARTronaut, a term he had coined himself after writing space history in the 1990s with his first art transport into space and his experiments with image plates, which the astronauts carried out on board the Space Shuttle Columbia.
http://www.playloud.org/archiveandstore/en/vinyl-12/639-charles-wilp-fotografiert-bunny.html

Format: LP, gatefold Music by: Marvin Martin (Siegfried Ulbrich) Photography by: Charles Wilp Label: LPS170 / Wah Wah Records Genre: Jazz, pop, space-age, easy listening Produced by: Charles Wilp Art direction: Ken Tjwan Lee, Patrick Walmsley Photos: 1966 Playboy Club London / Photokina Cologne Inne...

Roky Erickson died at the age of 71. Our deepest condolences go to Roky's family and all people who were close to him. C...
01/06/2019
Roky Erickson, Legendary Psychedelic Musician, Dies at 71

Roky Erickson died at the age of 71. Our deepest condolences go to Roky's family and all people who were close to him. Chris Morris wrote a wonderful obituary. Thank you Chris. Thank you Roky for your beautiful music.

Roky Erickson — lead vocalist and principal songwriter for the psychedelic band the 13th Floor Elevators and one of the leading lights of Texas rock — died Friday in Austin. He was 71. Erickson’s d…

Anima & Limpe Fuchs
31/05/2019
Anima & Limpe Fuchs

Anima & Limpe Fuchs

BUNTE TRUPPE Getting more excellent reviews: https://toneshift.net/2019/05/31/toneshift-shorts/ Before we get lost in the labyrinth of music, let’s rather prick up our ears and devote our attention to the astonishing sounds hiding in this recording: full of life and seemingly carefree, but (at the same time) always heedful of each other, the members of the Bunte Truppe start playing as free as a bird, and manage to unite apparently incompatible musical opposites without any effort. The material cannot be mastered, it has suffered enough already.

Now as DOWNLOAD...
27/05/2019
play loud! archive and store

Now as DOWNLOAD...

Format: Download (mp3) Artist: Bunte Truppe Release date: May 2019 Recorded at: Neue Schachtel, Stuttgart Bunte Truppe are: Ruth-Maria Adam, Limpe Fuchs, Ronnie Oliveras, Ignaz Schick Album also available as LP For all Limpe Fuchs releases on play loud! visit our Limpe Fuchs Archive

Tapetopia - GDR Underground Tapes
22/05/2019

Tapetopia - GDR Underground Tapes

Heute in der taz-Kolumne (letzen beiden Absätze) von Robert Mießner zur Vinyl-Erstveröffentlichung des "Rotmaul-Tapes" von Ornament & Verbrechen...

play loud! productions
17/05/2019
play loud! productions

play loud! productions

Glen are a band out of Berlin - formed in 2015, they create "a synthesis of contrasting textures with different references to No Wave NY, Free Improv, Noise, Doom, Postrock as well as Cinematic Scores" ...well, that all sounds right up my boulevard. 'Crack' is their first album, available via Falling Elevators/play loud! productions, and is a cracking album (sorry, no pun intended!). The band are multi instrumentalist and film score composer Wilhelm Stegmeier and Greek visual artist, film maker and musician Eleni Ampelakiotou along with Benita Koschig and Mario Stahn. What they have created between them is an album of eccentricity and verve but all built on a solid base of musicality and an obvious love, and knowledge, of music.

first track 'Hit' opens with the rise and fall of a guitar and the shimmering of cymbals which create between them a real atmosphere of dread and foreboding. Flourishes of electronica, like otherwordly voices, sit alongside stabs of bass. When the guitar spreads its wings it does so in a mournful, plaintive manner but rich in tone and texture, The sporadic rhythm initially prevents things from settling into anything like a linear narrative but when some semblance of narrative is found it becomes a wonderful thing indeed. There is a real cinematic quality to it but the excellent guitar work stops it from tipping over into full avant garde movie score territory and it remains firmly in the psychedelic post rock area. It doesn't take long, however, from the track to fall apart again, breaking down into its separate components and it all becomes gloriously dissonant once more. The last four minutes or so fly by in a flurry of groove laden post rock. By the track reaches the end of its 13 minute length I'm well and truly sold on this album. 'Go Boy' takes that groove and runs with it, this time accompanied by a lovely motorik rhythm. The krautrock leanings is exacerbated by the very CAN-like vocals.....wonderful stuff...but already I've sussed not to take these fellows on face value. The groove and flow is broken by the heavy hum of static and some heavy stabs of bass and fuzz and entropy appears to take over - things fall into chaotic disarray until the original form is somehow reinstated. 'Crack' sees the band come over all New York No-Wave...it is all sharp edges, unpredictable signatures and obscure spoken word vocals. These guys can obviously turn their collective hand to anything and make it work. 'D' is the longest track at over 16 minutes. After the glorious drone of the introduction a guitar traces filigree lines over more shimmering cymbals and it all sounds beautifully pastoral...but having heard what has preceded you expect the unexpected, just waiting for that twist in the tail. The twist is...there is no twist. The track blooms into a wonderful post rock number and maintains a stately grandeur until the very end. The album is closed by 'Discotheque' which ostensibly sits in the post-rock camp but the noir vocals add a dark edge and more than a touch of noise rock that lifts this above the rank and file and into 'brilliant' territory. As the track wends its way to its conclusions it all becomes a bit weird...the music remains but way back in the background and some manic spoken word vocals disorientates the listener as if it were outside of the music, like a hideous thing looking over your shoulder. Thankfully, 'normality' is resumed and the track is seen out with some fantastic guitar and more groove.

'Crack' is a real breath of fresh air...it is an album of infinite variety and many surprises; one which keeps the listener on the edge at all times, veering off course into different directions and sometimes doing the exact opposite of what the listener expects. It is all done with a wry grin on its face, not quite mocking us but certainly aware that we are going to be sent on a whole different trajectory with each passing moment. This is a little gem of an album!

Glen are a band out of Berlin - formed in 2015, they create "a synthesis of contrasting textures with different referenc...
17/05/2019
play loud! archive and store

Glen are a band out of Berlin - formed in 2015, they create "a synthesis of contrasting textures with different references to No Wave NY, Free Improv, Noise, Doom, Postrock as well as Cinematic Scores" ...well, that all sounds right up my boulevard. 'Crack' is their first album, available via Falling Elevators/play loud! productions, and is a cracking album (sorry, no pun intended!). The band are multi instrumentalist and film score composer Wilhelm Stegmeier and Greek visual artist, film maker and musician Eleni Ampelakiotou along with Benita Koschig and Mario Stahn. What they have created between them is an album of eccentricity and verve but all built on a solid base of musicality and an obvious love, and knowledge, of music.

first track 'Hit' opens with the rise and fall of a guitar and the shimmering of cymbals which create between them a real atmosphere of dread and foreboding. Flourishes of electronica, like otherwordly voices, sit alongside stabs of bass. When the guitar spreads its wings it does so in a mournful, plaintive manner but rich in tone and texture, The sporadic rhythm initially prevents things from settling into anything like a linear narrative but when some semblance of narrative is found it becomes a wonderful thing indeed. There is a real cinematic quality to it but the excellent guitar work stops it from tipping over into full avant garde movie score territory and it remains firmly in the psychedelic post rock area. It doesn't take long, however, from the track to fall apart again, breaking down into its separate components and it all becomes gloriously dissonant once more. The last four minutes or so fly by in a flurry of groove laden post rock. By the track reaches the end of its 13 minute length I'm well and truly sold on this album. 'Go Boy' takes that groove and runs with it, this time accompanied by a lovely motorik rhythm. The krautrock leanings is exacerbated by the very CAN-like vocals.....wonderful stuff...but already I've sussed not to take these fellows on face value. The groove and flow is broken by the heavy hum of static and some heavy stabs of bass and fuzz and entropy appears to take over - things fall into chaotic disarray until the original form is somehow reinstated. 'Crack' sees the band come over all New York No-Wave...it is all sharp edges, unpredictable signatures and obscure spoken word vocals. These guys can obviously turn their collective hand to anything and make it work. 'D' is the longest track at over 16 minutes. After the glorious drone of the introduction a guitar traces filigree lines over more shimmering cymbals and it all sounds beautifully pastoral...but having heard what has preceded you expect the unexpected, just waiting for that twist in the tail. The twist is...there is no twist. The track blooms into a wonderful post rock number and maintains a stately grandeur until the very end. The album is closed by 'Discotheque' which ostensibly sits in the post-rock camp but the noir vocals add a dark edge and more than a touch of noise rock that lifts this above the rank and file and into 'brilliant' territory. As the track wends its way to its conclusions it all becomes a bit weird...the music remains but way back in the background and some manic spoken word vocals disorientates the listener as if it were outside of the music, like a hideous thing looking over your shoulder. Thankfully, 'normality' is resumed and the track is seen out with some fantastic guitar and more groove.

'Crack' is a real breath of fresh air...it is an album of infinite variety and many surprises; one which keeps the listener on the edge at all times, veering off course into different directions and sometimes doing the exact opposite of what the listener expects. It is all done with a wry grin on its face, not quite mocking us but certainly aware that we are going to be sent on a whole different trajectory with each passing moment. This is a little gem of an album!

Format: Vinyl 12" Artist: Glen Release date: June 1st, 2019 Guitar, Vocals: Wilhelm Stegmeier Guitar, Vocals: Eleni Ampelakiotou Bass: Benita Koschig Drums, Vocals: Mario Stahn Produced, recorded & mixed by: Wilhelm Stegmeier Album also available as download (mp3)

La huella de carbono de la música en streaming es mayor que en vinilos y CDs
15/05/2019
La huella de carbono de la música en streaming es mayor que en vinilos y CDs

La huella de carbono de la música en streaming es mayor que en vinilos y CDs

El almacenamiento y procesamiento de los archivos en la nube depende de inmensos centros de datos que precisan de una ingente cantidad de recursos y energíaEn 1977, los gases de efecto invernadero producidos por grabaciones musicales en Estados Unidos alcanzaron los 140 millones de kilos. La estima...

Tapetopia - GDR Underground Tapes
15/05/2019

Tapetopia - GDR Underground Tapes

Das Presswerk kam nach 5 Monaten nieder, wir zeigen die glückliche Ankunft der #1 in der tapetopia-serie an: ORNAMENT & VERBRECHEN.

Die Vinylveröffentlichung basiert auf dem legendären, in informierten Kreisen "Rotmaul" genannten, Tape von 1988.
Die Platte ist ab jetzt im Fachhandel erhältlich. Die aufwendige Rekonstruktion des Tapes basiert auf vier verschiedenen Kopien aus den 80er Jahren. Bei Interesse untenstehend in deutsch und in englisch mehr:

deutsch:
tapetopia 001 stellt die Rekonstruktion eines Tapes dar und ist im besten Sinne eine authentische Abbildung seiner damals in wenigen Exemplaren kursierenden Kopien. Zu sämtlichen Bandartefakten wie Sättigungen, Übersteuerungen, Wow & Flutter, Vor- und Nachechos sowie zu komplexem Rauschen bekennt sich diese Rekonstruktion aus Gründen eines authentischen Sounds. Nachbearbeitungen dieser Effekte wurden unterlassen, die ursprüngliche Reihenfolge der Tracks blieb erhalten.

Über 30 Jahre nach der Veröffentlichung der Rotmaul-Kassette war das Mutterband nicht mehr auffindbar. Die aktuelle Veröffentlichung basiert im Wesentlichen auf einer Kopie, die seinerzeit direkt von dem Muttertape gezogen wurde. Teile dieses Tapes, die altersbedingt wiederhergestellt werden mußten, hat Bo Kondren von Calyx Mastering durch Material von drei weiteren Kassettenkopien ersetzt. Dabei wurde deutlich, wie bescheiden die Qualität damaliger Überspielungen war, die der Hörer seinerzeit als normal empfand; alle vier Tapes wiesen wiederkehrende Dropouts und Stellen mit geknittertem Band auf. Der rechte wie der linke Kanal waren mit Differenzen von bis zu 12 db unterschiedlich ausgesteuert. Stellenweise fehlten auf einem Kanal die Höhen ab 8 khz komplett. Da es sich zum Teil um Überspielungen der dritten oder vierten Generation handelte, hatte sich bereits Bandsättigung akkumuliert. Durch die Mehrfachüberspielungen und lange Lagerzeit wurden multiple Vor- und Nachechos erzeugt.

englisch:
In the best sense, the reconstruction of this tape is an authentic depiction of the few copies from the original that were floating around at the time. This reconstruction reflects all of the tape saturation, overdriven signals, wow & flutter, pre-&-post echoes and the complex noise found here in the interest of maintaining the authentic sound. There was no post-production treatment of these effects. The songs are in their original order.

tapetopia 001 is based on the reconstruction of an original tape. Over 30 years after the release of the Rotmaul cassette the original master couldn’t be found, so the current release is essentially taken from a copy of the master. Due to its age this copy had to be technically reconstructed, and Bo Kondren from Calyx Mastering replaced parts of it with material from three other cassette copies. This process illustrated just how poor the quality of the copied tapes was, although listeners at the time accepted it as normal. All four of the cassettes had repeated drop-outs and spots where the tape had crinkled. The right and left channels were unbalanced, with differences of up to 12 db in some places. In other spots high frequencies of 8 kHz and higher were completely missing on one channel. With some of the recordings coming from 3rd and even 4th generation copies, tape saturation was also a problem, while being recorded over several times and decades of storage created numerous pre-&-post echoes on the cassettes.

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