“Ification” reviewed by Freistil

Ification
Am Anfang holzt die Gitarre, frage nicht. Pure putzt hier das Fleisch eines Samples des “Digital Hardcore”-Stromruderers Christoph de Babalon bis auf die blanken Knochen. Später wird der space zum place seines dringenden Interesses, zur Ehre der Sphäre. Niedere Frequenzen, hoch interessant. Längst liegen die stilistischen Scheuklappen von Pure auf der Deponie der Musikhistorie, da nähert sich noch eine Weile später eine Metallerin (Alexandra von Bolzn) dem Urschrei, in der Schlussnummer nochmals, jetzt aber radikal zurückgenommen und unter Zuhilfename von bohnenstangenschlankem Schlagwerk (Martin Brandlmayr). Und dazwischen ufert in einer guten Viertelstunde “End” durch Eckhartdts Bass beinahe zur Sunn O)))’schen Zudröhnung aus. Danke, Anke. Homogenität ist sohin Pure’s Sache nicht, disziplinäre Hakenschläge und Grenzübertretungen gehören zum Selbstverständnis – und letztlich zum guten Ton. Aus allen Ecken der Genres hat Pure Gäste geladen (s.o.), Martin Siewert – er hatte Pure auf dem Album “Just in case you are bored, so are we” gefeatured – produzierte “Ilfication” allerfeinst, Jan Rohlfs Coverkunst erlangt nahezu Peter Kogler’sche Ausmaße. Der Aufwand steht dafür. Prächtige Platte.

“Ification” reviewed by Hair Entertainment

Ification
Ification, the latest release from Pure, otherwise known as Peter Votava, is seven tracks which stand independently as pieces of work. It is an electronic album with an ever changing background peppered with an array of less subtle noises. Instruments weave and drag around their own stretched sounds and generated electronic hums. Votava has come from a DJ background, through techno and rave, to a now more drone based sound. The voices of such musicians as Ilse Gold, Erich Berger, Alexandra von Bolzn and The Heart Chamber Orchestra exist somewhere in Ification. Pure has twisted and shaped them to create his work. The record opens with “Fire” and a sledge hammering guitar repeated over and over with subtle variations in tone and length. “After the Bomb”, a notable contrast, has a nice background tone pierced with high high pitches. It leads appropriately to “Approximation” in which has the effect of an orchestra stretched to a thin line under ominous brass blasts. Ification continues in a similar fashion with further sampled and drill like sounds. “End”, in particular, harmonised really well with my aging fridge. In general the tracks are long and become seemingly longer through lack of variety. There is little development within the tracks which makes it sound thin. Maybe that is the point. Anna Johnston

New unlimited release: Marc Behrens’ “Compilation Works 1996-2005”

Compilation Works 1996-2005
“Compilation Works 1996–2005”, the first ever authorized online album release by Marc Behrens, features 19 tracks, previously scattered over compilations and reinterpretation projects (by artists like Disinformation, Ralf Wehowsky, John Hudak, Ilios, and others) from a 10 year period.

Most of the works were short one-off conceptual pieces, but, listened to in this new sequence, they reveal common strategies, mainly because many of them feature characteristics from Behrens’ album works, carried out over a sometimes extremely short duration.

The personal shifts in technology, the state of sound research and of processing techniques occurred during the period in which the works were realized turn this release into a good opportunity to explore how Marc Behrens’ work kept a unique consistency under varying conditions and while exploring different concepts.

All works have been carefully remastered and can be considered as definite versions.

You can download “Compilation Works 1996–2005” in high-quality MP3 or Apple Lossless formats directly from Crónica and free of charge. Donations are welcome! :)

The artwork

With Compilation Works 1996-2005 we present the fifth release in the Limited Series of original artworks, especially produced for each digital release. The Limited counterpart of this Unlimited release is “The Recompiler”, a certified signed and numbered limited edition of 19 31,5 x 31,5 cm Lambda prints, produced for Crónica by Marc Behrens. For ordering, please see this page.

New limited release: Marc Behrens’ “The Recompiler”

The Recompiler
…is a multicore adapter cable with eight different connectors, none of them matching. The cable is wired in such a way that if used with powered-up machines like recorders, mixing desks or microphones, it could potentially damage equipment.

The different connectors refer to different generations of technology in my studio. Pieces of equipment from different eras or of different qualities often create adapter problems – not only between connectors, but also regarding their technical specifications, such as impendance, for example. For many years in the past I have encountered such difficulties challenging my technical skills. Many times I had to work around problems in the resulting sounds during post-production – in other cases I simply failed. All the different connectors used on this object refer to historical tape machines, contact or air microphones, digital or video signals, consumer level recorders and sound generating machinery of all kinds, roughly during the time when the tracks included in Compilation Works 1996–2005 were produced.

The Recompiler is part of the Limited Release series from Crónica and is in the cover art of Marc Behrens’ “Compilation Works 1996-2005”. Each of the 19 signed and numbered copies is signed and certified by Marc Behrens and available directly from Crónica for just 100€.

“Berlin Backyards” reviewed by De-Bug

Berlin Backyards
Gilles Aubry lebt seit 2002 in Berlin und hat vier Jahre später Fieldrecordings von einigen Hinterhöfen der Stadt gemacht. Er arbeitet dabei mit dem natürlichen Hall der Gebäudekomplexe, die sich als natürliche Soundeffekte auf die Alltagsgeräusche der Stadt legen. Die Hinterhöfe funktionieren als halbprivate Bereiche, dienen Kindern als Spielplätze und Erwachsenen als Ort zur Müllzwischenlagerung und Versorgung mitStrom und Frischluft. Und genau das hört man auf seiner neuen CD außer dem Baulärm von der Straße: Vogelgekrächz, Kindergeschrei, Ventilatoren, Müllcontainer und Geräusche von Stromgeneratoren. Ganz normale Stadtgeräusche, die der Bewohner schon längst nicht mehr bewusst hört, die ihn aber täglich umgeben. Unterm Kopfhörer klingt das wie eine fremde Welt.