{"id":8173,"date":"2016-03-08T10:24:07","date_gmt":"2016-03-08T09:24:07","guid":{"rendered":"http:\/\/blog.cronicaelectronica.org\/?p=8173"},"modified":"2016-03-07T23:25:14","modified_gmt":"2016-03-07T22:25:14","slug":"new-release-andreas-trobollowitschs-roha","status":"publish","type":"post","link":"http:\/\/blog.cronicaelectronica.org\/?p=8173","title":{"rendered":"New release: Andreas Trobollowitsch’s \u00e2\u20ac\u0153Roha\u00e2\u20ac\u009d"},"content":{"rendered":"

\"cronica105-2016_520\"<\/a>
\nROHA<\/a> is the first solo album by Andreas Trobollowitsch.<\/p>\n

Previously a member of the duos N\u00c3\u00b6rz<\/em> and Acker Velvet<\/em>, he produced two highly acclaimed albums, released through Schraum<\/em> (Berlin) and Monotyp Records<\/em> (Warsaw), and in collaboration with David Schweighart, he composed the soundtrack for the 1920\u00e2\u20ac\u2122s cinema series Digi Wave<\/em> for the Filmarchiv- Austria.<\/p>\n

As in his previous works, the production process of ROHA<\/em> is based on improvisations to be used as basic materials. The actual pieces, as heard in the album, were developed by a later process of selecting, combining and cutting these basic materials. Although using a similar approach, the works in ROHA<\/em> are considerably more straightforward, rawer, and rhythmical than his previous endeavours.<\/p>\n

Focused on the colour of sound, ROHA<\/em> oscillates \u00e2\u20ac\u201c in the field of electroacoustic music \u00e2\u20ac\u201c between experimental, minimal and metal music. Each piece has its specific and clear compositional idea, which makes them accessible, without forfeiting surprising twists. From somewhat exotic instruments to the no-input mixing desk, this album is mechanical, while remaining intensely human and analogue, not including any digitally-produced sounds.<\/p>\n

Some of the pieces start from a single sound-source: 1\u00e2\u20ac\u212211\u00e2\u20ac\u009d<\/em> from feedback produced by a electric bass; zain<\/em> from double bass; klavirzinho<\/em> from a piano loop that gradually transforms until almost disappearing in a wall of sound; in ratt<\/em>, ssbeat<\/em> and i.ii.<\/em> the textures are far more complex and orchestral, with high and low pitches, strenuous squeaks from where minimal melodies emerge; tuul<\/em> is based on unexpected cut-ups, while tapco<\/em> blends several recordings of double bass with white noise and drums that not only provide rhythm as also sonic complexity.<\/p>\n

Highly detailed and thorough, ROHA<\/em> is a very organic album, built from diverse materials, in a densely textural patchwork.<\/p>\n