Releases

zarek_20_bandcamp3Ignaz Schick/Oliver Steidle – ILOG2

Ignaz Schick – turntables, voltage controlled sampler, looper/pitch shifter
Oliver Steidle – drums, percussion, sampler, kaosspad

All music by Ignaz Schick/Oliver Steidle & performed in real time with no overdubs
Recorded August 20th & 21st 2020 by Ignaz Schick at ausland Berlin
Mixed October – December 2020 by Ludwig Wandinger
Mastered December 2020 by Werner Dafeldecker
Graphic design: milchhof.net
Copyright by Zangi Music/Zarek & the artists 2020
Oliver Steidle plays Meinl Cymbals, Tama Drums, Vic Firth Sticks

Ignaz Schick and Oliver Steidle started collaborating as Ilog around 2013/2014 with celebrated concerts in the Berlin experimental underground. Their first album on Boomslang Records was released in 2015 and since then the two have been performing on and off concerts & tours in Germany, Austria, Czech Republic, Italy, Slovenia, Switzerland and the USA. In the meantime they also collaborated with the Norwegian bass maverick Ingebrigt Haker-Flaten and German sound artist Jan-Peter Sonntag and slowly developed new and fresh material.
While the first record and their early music was clearly rooted in the noise and power play tradition with harsh and intense cut-ups in the meantime they have subtly refined their approach. Their music now displays multi-layers of crisp rhythm, sophisticated noise, de- and re- constructed beats and finely processed and manipulated electro-acoustic samples combining a fresh approach to turntablism and sampling with highly virtuoso drumming. The music of Ilog2 is unique, one of its kind and hard to label and draws inspiration from jazz, improvisation, noise and electro-acoustic music but at the same time postulates a new form of abstracted avant beat which clearly pays tribute to hip hop, dubstep, house or any other form of deep and cosmic groove. Still the music you hear is performed in real time with no pre- or post studio production.

Reviews

CD/DL Zarek 20  • Euro 12.-
https://zarekberlin.bandcamp.com/album/ilog2

zarek_18-19_reducedAchim Kaufmann/Ignaz Schick – ALTERED ALCHEMY

Achim Kaufmann: grand piano
Ignaz Schick: turntables, sampler

All music by Achim Kaufmann/Ignaz Schick
Recorded February 2nd & 3rd 2016 by Ignaz Schick at ausland Berlin
Mixed September & October 2020 by Ignaz Schick at Q-136 Berlin
Mastered October 2020 by Werner Dafeldecker
Graphic design: milchhof.net
Copyright by Zangi Music/Zarek & the artists 2020

Achim Kaufmann and Ignaz Schick met for the first time in 2015 when they performed together on a Finland tour with Sestetto Internazionale. Both musicians work with refined textures and strongly abstracted sounds, thus a more intimate and direct collaboration in a concentrated duo format was a logical fit. At that time, Ignaz Schick also immediately asked Kaufmann to join his large ensemble Circuit Training, as he felt the pianist, with his subtle playing, would enrich the sound of the group with his multi-layered sounds and his refined harmonic concept, hence providing an essential three-dimensional quality to the sound as a whole. As a duo (sometimes joined i.e. extended by Andrea Parkins), they have performed the occasional concert over and above an eight-concert tour (NRW Soundtrips) in late October 2020 right before the second pandemic lockdown. 

The eight pieces on Altered Alchemy were recorded at “ausland Berlin“ over the course of two afternoons with a simple recording setting initially not intended for release. Altered Alchemy is this duo’s very first session before they even started performing concerts. The sequence of the pieces was not altered, only a few sections were shortened. You can basically follow the entire process of how these two musicians interact and explore the musical terrain. One could describe the musical approach as electro-acoustic. Kaufmann’s blending of traditional piano playing, pedal-echo effects, preparations and inside-piano mapping are contrasted with the deliberately balanced loops and soundscapes which Schick creates with turntables, a sampler and a looper. Schick uses all kinds of source materials and quotations which he constantly questions with manual irritations, pitch variations and other forms of processing. The two musicians in their interplay manage to create a kind of meta- instrument in which the acoustic and electronic components of the music interlock so seamlessly that it is often difficult to tell who is doing what. The resulting music combines stylistic elements from Third Stream, Musique Concrète as well as contemporary music and jazz. The two artists here managed to develop a unique sound world which follows the lineage and traditions of European improvisation and at the same time aims to push against its limits and boundaries.

Reviews

CD/DL Zarek 18/19  • Euro 18.-
https://zarekberlin.bandcamp.com/album/altered-alchemy

zarek_17_press_72dpi_281216IGNAZ 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.

Reviews

CD Zarek 17 [Archival Series] • Euro 12.-

zarek_16_press_72dpi_281216_kleinPERLONEX – 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!

Reviews

CD Zarek 16 [Archival Series] • Euro 12.-

  ANDREA BELFI/IGNAZ SCHICK – THE MYTH OF PERSISTENCE OF VISION REVISITED

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.”

Reviews

CD (Zarek 15) • Euro 14.-

IGNAZ SCHICK/DAWID SZCZESNY -LIVE IN GENEVA

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.”

Reviews

CD (Zarek 14) • Euro 12.-

2t 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).”

Reviews

mCD (Zarek 13) • Euro 8.-

PERLONEX & CHARLEMAGNE PALESTINE – IT AIN’T NECESSARILY SO

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.”

Reviews

2CD (Zarek 11/12)  out of print

MARGARETH KAMMERER/RUBY RUBY RUBY – THE SHADOW OF YOUR SMILE

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

Reviews

CD (Zarek 10) • Euro 12.-

ANDREA ERMKE – PIKE

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.

Reviews

mCD (Zarek 09) • Euro 8.-

IOVAE – QUATERVOIS: FOUR-TRACK MAGNETIC TAPE ARRANGEMENTS

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.

Reviews

CD (Zarek 08)

PERLONEX – PERIPHERIQUE

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.

Reviews

CD (Zarek 07) • Euro 12.-

BURKHARD BEINS/ KEITH ROWE – GRAIN

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.

Recorded 2000.

Reviews

CD (Zarek 06) • Euro 12.-

IGNAZ SCHICK/ ANDREA NEUMANN – PETIT PALE

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.

Reviews

CD (Zarek 05) • Euro 12.-

IGNAZ SCHICK’S DECOLLAGE 3 – LIVE. VOL. 1 & 2

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) out of print

IGNAZ SCHICK – TABIT

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

Reviews

CD-R (Zarek 02) out of print

PERLONEX – PERLON

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.

Reviews

CD-R (Zarek 01) out of print