IGNAZ SCHICK ELECTROACOUSTIC SEXTET – THE RETURN OF THE OLD SCHOOL
Ignaz Schick: alto saxophone, flutes
Matthias Müller: trombone
Toshi Nakamura: no-input-mixer
Marta Zapparoli: tapes, field recordings, electronics
Werner Dafeldecker: ac. guitar, tape delay, signal generators
Paul Lovens: selected drums & percussion
Recorded live at Radialsystem V Berlin during A L’ARME! Festival 2013
Recorded by Ignaz Schick
Mixed by Toshi Nakamura
Mastered by Werner Dafeldecker
Cover Design: Carsten Stabenow/Milchhof
In early 2013 Berlin based pianist & curator Louis Rastig gave Ignaz Schick a „carte blanche“ to put together an ensemble project for that year’s 2nd edition of A L’Arme! Festival in Berlin. Schick decided for a carefully mixed group consisting of both electronic and acoustic players. Besides the well balanced instrumentation Schick chose an unusual blend of both Berlin based and international players – all of them have been ground breaking figures in the recent and not so recent history of creative music & improvisation. In addition to the very well selected and highly unique players Schick himself in this group decided to switch roles and perform on his primal acoustic instruments (alto sax and flute) and leave his usual role of being a live-electronics player to three different minds. The group came together in Berlin for a two day rehearsal phase and worked themselves through two stacks of loosely notated graphic scores and instructions Schick had prepared for the occasion. The scores were soon taken away after the rehearsal days and the group improvised the two parts of „The Return of the Old School“ only relying on what each player could vaguely memorize from the original sheets. There were no instructions given how to relate to the original piece and the musicians where completely free how to proceed. The resulting music is an obscure blend of minimal improvisation, cool jazz quotes and contemporary electronics. An understated non-virtuoso music which blends various different musical influences with clear reminiscences to Third Stream Music, European Improvisation, EAI, Glitch & Noise.
This album is the first volume of a planned series of releases documenting Ignaz Schick’s current acoustic works (on alto saxophone) and also functions as and marks a direct link to his recent conceptual graphic & verbal compositional output for improvising ensembles (i.e. the Circuit Training series) which will also be released pretty soon.
CD Zarek 17 [Archival Series] • Euro 14.-
PERLONEX – PERLONOID
Ignaz Schick: turntable, objects, sine waves, live-electronics, feedback
Joerg Maria Zeger: electric guitars, live-electronics, feedback
Burkhard Beins: drums, percussion, objects, zither
Recorded live at Sophiensäle Berlin during Echtzeitmusiktage, Berlin 2010
All music played as heard, without overdubs
Recorded by Kassian Troyer & Ignaz Schick
Mixed by Jörg Maria Zeger
Mastered by Werner Dafeldecker
Cover Design: Carsten Stabenow/Milchhof
This recording has been waiting in the archives for its release since it was performed and recorded during the month-long Echtzeitmusiktage in Berlin. It sums up the whole decade of Perlonex’ previous music making, but at the same time marks a turning point for the group. Due to external individual obligations and other personal reasons Perlonex took a longer concert break after this event up until 2013. In 2014 the group started rehearsing and playing live again, performing a series of concerts in Berlin and Sweden. The music of Perlonex became more colorful and musique concrete-like, not at least due to Ignaz Schick’s return to vinyl manipulation. The concert you can hear on Perlonoid was one of the last concerts of the band where he uses his object-based rotating surfaces set-up.
Perlonoid is rather monochrome, drony, and slow-paced. It is stunning how the music repeatedly gravitates towards its ever-emerging tonal centers. The intensity builds up sheer endlessly and finally explodes at its peaks. An exceptionally powerful sound system, the nice conditions of a large good sounding space and an enthusiastic Berlin festival audience stimulated the trio to build a piece which is both detailed and intense at the same time. Perlonex clearly pushes their long-established maximal-minimalistic material to its formal and physical limits.
Perlonoid makes the 7th release of the band Perlonex and will be followed in 2017 by more archive recordings – including recordings with guest performer Mike Cooper – as well as releases of new material. Also in 2017 the group will intensify its concert activity. – But until then, lean back and enjoy the wonderful soundscapes of Perlonoid!
CD Zarek 16 [Archival Series] • Euro 14.-
Andrea Belfi: drums, percussion, gongs, nord modular, looper, feedback
Ignaz Schick: turntable, objects, gongs, bows, looper/pitcher, percussion
Recorded by Andrea Belfi & Ignaz Schick in Verona, May 2009
Roughmix by Andrea Belfi & Ignaz Schick at P4C Studios Berlin, June 2009
Finalmix by Attila Faravelli, September 2009
Mastering by Giuseppe Ielasi, December 2009
Coverdesign by Andreas Töpfer, 2010
“Belfi & Schick have met in Berlin & Bruxelles and after a few conversations found that a collaboration, due to their entirely different backgrounds, could be quite interesting. A small Berlin venue commissioned their first concert & so they just met a day before rehearsing for only one afternoon before the concert. The meeting was sort of a blind date but it turned out to be of such magic that they decided to intensify and continue the collaboration.
All this happened back in 2008. Meanwhile the duo has performed a few very successfull tours & shows in Germany, Switzerland & Italy and in 2009 they met for an intense week of recordings in Belfi’s house in Verona. They recorded a pool of different pieces (which they usually develop on the spot during soundcheck & concerts) – from more abstract textures to very melodic pieces and songs, and in that particular situation using a lot of found and left behind percussion instruments which they spontaneously incorporated into their usual set-up of gongs, objects, drums and electronica. In a second and third meeting in Berlin and Milano they mixed and edited the material down to a very colorful and loose album with material ranging from simple gong melodies, stripped down postrock beats, rythmical musique concrete and abstract sonic landscapes of a very pure and honest beauty. The mastering of the material was finalyzed by Guiseppe Iealasi in late 2009/early 2010.
Belfi is mainly using his minimal set up of snare drum, bass drum, cymbal & electronics while Schick is limiting his rotating surfaces mainly to bows & gongs and some sparse use objects all manipulated with of a looper/pitch shifter. The music comes as a nice blend of different things ranging from Belfi’s postrock and electronica to Schick’s electro-acoustic improv and drone.”
CD (Zarek 15) • Euro 14.-
Ignaz Schick: turntable, objects, bows, cymbals, looper
Dawid Szczesny: laptop, live-electronics
Recorded live by Ignaz Schick @ Cave 12/L’Ecurie Geneva in November 2008
Mixed by Dawid Szczesny in 2009
Mastered by Marcin Cichy for plugaudio in 2010
Coverdesign by Andreas Töpfer
“The second release of the German/Polish duo after their highly acclaimed Non Visual Objects debut “The View Underneath” – this time the material was recorded live during their 2008 tour European tour. The music on this CD documents the entire set as it was performed that night in Geneva. No afterediting, overdubs or cuts were applied – the material was solely mixed and mastered & track indexes were added.
While the NVO release can be clearly labeled as a “first meeting” in the meantime a few years have passed & the duo has gathered quite some experience through perfoming various concerts & tours together.
And at the same time also both artists have moved on individually and their personal musical and artistic development has sharpened. While Schick has worked hard to widen his musical scope in various duo collaborations and on perfecting his turntable techniques and sonic material of his Rotating Surfaces Set-up with a strong focus on tonal material, Szczesny has completed and released a series of works with very loopy and clearly jazzbased samples recomposing them into very unique sounding miniatures. Schick & Szczesny have incorporated those external experiences into their music and also deepened their common sense in how to shape and construct the music. Although the entire stream of music lasts for about 44:00 minutes, the music clearly structures into a suite of shorter & closely related pieces.
The musical ingredients are not so very different from the first release (warm medlodic loops, very clicky noises, tonal drones), but they are used in a deeper way and have become way more natural.”
CD (Zarek 14) • Euro 14.-
SNAKE FIGURES ARKESTRA – COOKS & DEVILS
Ignaz Schick: turntable, objects, organ pipes, bows, cymbals, looper
Marcel Türkowsky: modified walkmen, memory box, realia objects, tapes, looper
“Throughout the last 2-3 years & until now mainly active as an obscure recording project with a shared passion for little instruments and armed with childish curiosity this duo is oscillating between post-plunderphonics, electronica, psychedelic music, fake folk, noise & drones. Lots of strange atmospheres, many weird sounds. The live premiere of this obscure project was in 2008. The unit opperates with different guest musicians (Christoph Heemann, Michael Northam, …) and can strongly change musical context, identity or instrumentation. The music of this mini-CD was the result of a short & intense phase of rehearsals at the Kuenstlerhaeuser Worpswede during Schick’s residency and was recorded live at an opening at the Kunstverein Goettingen. Both members who back in different generations are deeply rooted in the Berlin experimental underground and are founders/members of bands as diverse as Perlonex, Phosphor, Blind Snakes (Ignaz Schick) or Kinn, Wooden Veil, Datashock, Cones (Marcel Türkowsky).”
mCD (Zarek 13) • Euro 10.-
Ignaz Schick (tube sine wave, bows, onjects, turntable)
Joerg Maria Zeger (stomp boxes, guitars)
Burkhard Beins (drums, percussion, objects, zither)
Charlemagne Palestine (fazoli grand piano, vocals, cognac glass)
“In early December 2006 a live performance of Perlonex & Charlemagne Palestine took place at the Viennese jazz club Porgy & Bess, recorded and broadcasted by the Austrian radio ORF in 2006 & remastered at Amann Studios Vienna in 2008. Inspired by the club’s name and the chance meeting of a far relative of the Gershwin family Palestine incorporated “It Aint Necessarily So” from the great American songbook into the proceedings. But if you would now expect an apt version of the tune you are definitely on the wrong track. It is more like a recurring quotation of both melody and text embedded in Perlonex’ fine drones & raw noisy musique concrete and Palestine’s extensive piano strummings.
At some point Palestine is turning the lyrics into clear statements about the state of our times, answered by Perlonex with a blast of dark & fierce noise.
Two years after the first meeting of Perlonex & Palestine in 2004 this concert documents a truely magic moment of the collaboration which has become an ongoing project. You could say Palestine has become almost a steady member of the group and is very much integrated in Perlonex’ music. Although the tapes were directly mixded down to stereo DAT and therefore only small approvements to the sound could be made afterwards, we still think it makes a rewarding listening.”
2CD (Zarek 11/12) • Euro 18.-
Margareth Kammerer: vocals, acoustic guitar
Derek Shirley: bass
Steve Heather: drums
with guests Axel Doerner (trumpet), Michael Thieke (clarinet), Thomas Meadowcroft (organ) & Tobias Delius (tenor sax)
“When I asked Margareth Kammerer about doing an album with Billy Holiday tunes or jazz standards she simply declared “You are Crazy! No Way!”. A little time later she came up to me “you know, I thought about your idea …”. Shortly after that in about 2005 I organized a no-budget Zarek label festival in the Berlin venue Ausland, mainly because there hadn’t been releases out for quite a while, and asked Maggy to contribute a set as a future artist of the label. She came up on stage with a big surprise doing her first versions of jazz standards, purely on vocals and guitar with no backing band. As expected she had turned the tunes into something totally own and unique, truely Maggy universe.
Everything I had imagined she could do with the songs she’d done that night. Paying little attention to the conventions she had made them completely her own, with a very special timbre and intonation and her unique accompanyments. She did what any great artist of this so big history had done: playing her own music on the base of a given melody & text. It was a long process of several years to release this album, from finding the right (backing) band to finalizing the mixes & graphic design, but as it is timeless sound, there is no right or wrong moment for putting out this release.”
Ignaz Schick, 03/2009
CD (Zarek 10) • Euro 14.-
Andrea Ermke: sampler, md-players
Andrea Ermke is one of the most unknown and underestimated sound artists of the so-called Berlin scene. Self-taught, she has been working with field recording, sampling & hands-on sounds since about 1995. She has developed a very personal and uncompromising style of collage which is more influenced by Australian sound art than Berlin’s reductionists. She has worked/collaborated among others with Tony Buck, Jim Denley, Stevie Wishart, John Butcher, Chris Abrahams, Ignaz Schick, Annette Krebs, Margareth Kammerer, Leonid Sobeylmann, Nicholas Bussmann,… She was member of the groups Guest Star and Cox Orange and currently performs with Organic (w Thomas Charbonnel, Pablo Juanes) and Tree (w Chris Abrahams & Burkhard Beins) She uses simple equipment (Sampler, MiniDisc) to archive rather complex and dense pieces and she is not afraid of incorporating narrative notions. Andrea Ermke lives and works in Berlin.
mCD (Zarek 09) • Euro 10.-
Finally the overdue and long awaited re-release of IOVAE’s Quatervois which came originally as a limited CD-R release on Drone Disco. IOVAE, native of Cincinnati is a true alchemist, working out lo-fi tape collages and simple four track assemblages. He uses unusual sound sources and layers these into rather dense and industrial etudes of found sound. Iovae (Ron Orovitz) has been playing with sound in the culturally insular confines of Cincinnati Ohio since circa 1988. Initially, tape & turntable manipulations were the medium. Through the 1990s, more and more unique sound sources were sought to serve as the subject of developing manipulative techniques. Scientific instruments such as tone generators became a favorite tool, as well as the fashioning of various “procussion” instruments (utilizing fire-works). The recordings herein demonstrate some of these sonic characteristics as composed and processed stochastically (Xenakis is the inspiration in this respect) upon a four-track recorder.
CD (Zarek 08) • Euro 14.-
Ignaz Schick: live-electronics, samplers, feedback
Jörg Maria Zeger: electric guitar, effects
Burkhard Beins: drums, percussion, objects
The second longplayer of the group recorded live on their extensive European tour in December 2000 at Instants Chavires. Monochrome and extremely minimal layers. Recommended.
CD (Zarek 07) • Euro 14.-
Burkhard Beins: drums, percussion, objects
Keith Rowe: table-top guitar
Two fantastic studio tracks and one piece recorded live documenting the first meeting of two European giants.
CD (Zarek 06) • Euro 14.-
Ignaz Schick: live-electronics, sampler, md-players
Andrea Neumann: inside-piano
The first CD documenting 4 year long collaboration. Lot’s of hiss, buzzes, click’s ‘n noises. Recorded in 2000.
CD (Zarek 05) • Euro 14.-
Ignaz Schick: alto saxophone
Georg Janker: double bass
Sunk Pöschl: drums
A double CD documenting a concert in March 1999.
Recorded by the Bavarian Radio (Bayrischer Rundfunk).
2CD-R (Zarek 03/04) • Euro 20.- • Best.-Nr. 1025
Ignaz Schick: live-electronics, md-players, feedback
Wires, piezos, contact mics, digital & analog feedback, mixingboard noises & hiss, overdriven bassfilters, distorted no-input, fastforwarded footage, extreme high frequency manipulation, distorted ground, …
Mainly the pieces are about investigating the possibilties of using samples or acoustic footage as a trigger for more abstract structures and form
CD-R (Zarek 02) • Euro 12.-
Ignaz Schick: live-electronics, sampler
Jörg Maria Zeger: electric guitars
Burkhard Beins: drums, percussion, objects
The first longplayer of the group recorded in May 1999 also being the first release of the new Zarek label.
CD-R (Zarek 01) out of print