Last Wednesday (29.11.17), two albums from my back catalogue were greenlighted for rerelease.
On the Rereleases
Both albums suffer from the same problem Neinnein auf dem kleinen Weg did: everything was slammed into a loudness maximizer before it even hit the recording medium (in all cases DAT). Add to that a non-perfect level matching and you get a sound that replaces dynamic content with added distortion.
For working on that, I once again opted for the concept of outsourcing: rather than dealing with those painful audio sources myself, I enlisted for “everything audio” (read: remaster) the services of Martin Kristopher (known as Kanal Drei, 3DTorus and Trium Circulorum, and head of the now defunct label Mobiusspin).
And with that: Martin will do all the hard work (on the way offering a new perspective on the material), and I will do the rest (mainly restoring cover art, preparing final prints etc.).
Both albums share the approach (also with Neinnein auf dem kleinen Weg) of using a hardware-based setup with a Quasimidi Sirius as a beat machine, a bass guitar in weirdbass tuning (read: five octave range) as one of the key instruments, realtime loops and added soprano sax and trombone for additional bonus.
groxis tafelbilder was, in that context, a live recording of the first event where I really took that performance approach to the public. In the context of a vernissage of an exhibition by groxi of Schlickhorns fame, I had the opportunity to simply see how that stuff works. In that context, I arrived with a few pre-programmed patterns on the Sirius and took it from there – including nods to John Surman an early Genesis on the way. The recording is a complete concert in two sets, and the individual tracks move into each other on the continuous recordings of both sets.
SAUBER! on the other hand, was done at home (or “in the studio” as the proper business lingo goes). It uses three individual pieces, most of which see me moving through different thoughts in the immediate and larger context, and incidentally end up forming another album with two long tracks, each having individual subsections. The key instruments in this are really the processors: Sony’s HR-GP5 which turns the vocals into something ugly, and Lexicon’s Vortex deployed on the drums.
None is given yet. But “within 2017” is not entirely unrealistic.