telomer[e]
by srh
Michael Mueller
Michael Mueller
Imagine a pianist raised on a diet of Satie and Glass, playing inside of a water tank, and you'll get a pretty good idea of what this album is like.
The melodies strike a compelling balance between the melodic and modal, and the field-recording components are subtly employed throughout.
The album's melodic cohesion is one of its key strengths, achieved without any sense of repetition.
Tonally warm yet cooly considered, telomer{e] is timely, measured and compelling.
Recommended. Favorite track: AATGGG.
The melodies strike a compelling balance between the melodic and modal, and the field-recording components are subtly employed throughout.
The album's melodic cohesion is one of its key strengths, achieved without any sense of repetition.
Tonally warm yet cooly considered, telomer{e] is timely, measured and compelling.
Recommended. Favorite track: AATGGG.
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Record/Vinyl + Digital AlbumPressed on black vinyl with overall 1C print
Includes unlimited streaming of telomer[e] via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 2 days€10 EUR or more
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
€7 EUR or more
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Full Digital Discography
Get all 27 Klanggold releases available on Bandcamp and save 40%.
Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Music For Video Art & Sound installations, telomer[e], Drawing In Sound, Plaqué, lärm/silence ansatz #23, Bells Breath, Installed Sound Works, Bells Breath (sleep version), and 19 more.
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1. |
TTAGGG
02:54
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2. |
ATTTGG
09:26
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3. |
AATGGG
06:17
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4. |
TGGAAA
02:33
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5. |
AATCCC
04:25
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6. |
TAAACC
06:13
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7. |
TTACCC
06:42
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8. |
ACCTTT
04:49
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about
Sascha Rosemarie Höfer — telomer[e]
Höfer uses different sound sources and recording processes. One of his focus points is the collection of sounds and noises, which he predominantly records analogue and very rudimentary on tape, various voice recorders and microphones he holds dear. Höfer is collecting sounds indoors or in the field. Usually en passant.
“I like to listen if something interesting catches my ear, but not obsessively. I collect sounds, when I feel like it, not because a certain sound may be extraordinarily exquisite, making me want to trace it. I would regard that as a disruption of the moment, something I generally want to avoid.” says Höfer.
Sascha Rosemarie Höfer’s album telomere[e] breaks with his works of previous years. It took longer to complete, is devoid of conceptual and artistically developed ideas. Rather, it presents the process of metamorphosis: dieback, segmentation, recombination, exploration, ageing and rejuvenation, thus mimicking the language of biology.
telomer[e] took three years to complete, a time during which the different pieces underwent various ecdyses, during which ideas developed and unravelled, explored different stylistic directions and once again dissolved, until first fusions emerged. Fusions Höfer picked up to shape the musical segments into something larger than themselves, finally developing pieces for piano he later merged with the different sounds. The result: telomer[e] as presented on this album.
“It is important for me to create a musical representation of the space where I am recording the music. Not least because it carries a central momentum, which I consider as a fundamental element that may not be excluded. The result often sounds rough and lo-fi-esque.” says Höfer.
telomer[e] is captivating due to its contrasts, it is playful, harmonic and atonal, creating a glamorous homogeneity, despite — or because of — these musically antagonistic efforts. Höfer brings the sounds to life, he nudges them into a conversation until they are fusing, but without losing their immediacy. If you are expecting it to be easy on your ears, you’re out of luck.
Höfer uses different sound sources and recording processes. One of his focus points is the collection of sounds and noises, which he predominantly records analogue and very rudimentary on tape, various voice recorders and microphones he holds dear. Höfer is collecting sounds indoors or in the field. Usually en passant.
“I like to listen if something interesting catches my ear, but not obsessively. I collect sounds, when I feel like it, not because a certain sound may be extraordinarily exquisite, making me want to trace it. I would regard that as a disruption of the moment, something I generally want to avoid.” says Höfer.
Sascha Rosemarie Höfer’s album telomere[e] breaks with his works of previous years. It took longer to complete, is devoid of conceptual and artistically developed ideas. Rather, it presents the process of metamorphosis: dieback, segmentation, recombination, exploration, ageing and rejuvenation, thus mimicking the language of biology.
telomer[e] took three years to complete, a time during which the different pieces underwent various ecdyses, during which ideas developed and unravelled, explored different stylistic directions and once again dissolved, until first fusions emerged. Fusions Höfer picked up to shape the musical segments into something larger than themselves, finally developing pieces for piano he later merged with the different sounds. The result: telomer[e] as presented on this album.
“It is important for me to create a musical representation of the space where I am recording the music. Not least because it carries a central momentum, which I consider as a fundamental element that may not be excluded. The result often sounds rough and lo-fi-esque.” says Höfer.
telomer[e] is captivating due to its contrasts, it is playful, harmonic and atonal, creating a glamorous homogeneity, despite — or because of — these musically antagonistic efforts. Höfer brings the sounds to life, he nudges them into a conversation until they are fusing, but without losing their immediacy. If you are expecting it to be easy on your ears, you’re out of luck.
credits
released February 22, 2019
Written and produced by srh. Recorded, arranged and mixed by srh.
Instruments: piano, modulated guitars, drones, fieldrecordings, dictaphones, glockenspiel, analogue synths, digital and analogue processing.
Trumpet on “TTACCC” arranged by srh, played by Marco Stubbemann; voicesample on “TAAACC” and clattering on various tracks by Mathilde Schoenmakers.
Cover photography by Melanie Schoenmakers; design: Andreas Usenbenz; mastered by Fabian Tormin [plätlin mastering].
translated by www.tommibrem.de
kg025 klanggold.net LC77527
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Toneshift Review
The new release from artist srh (Sascha Rosemarie Höfer) offers burrowing rhythms and soft edges that seem to dangle and then drift to the far corners of the room. The balance of piano and variegated cacophony seems a challenge he’s worth taking – even though either could spoil the soup. Instead the blend is stringently delicate, even complex. One could be enjoying an unfolding recital at one moment, only to be interrupted by the unexpected tumble of darker atmospherics.
Aside from playing piano, guitars, dictaphones, glockenspiel, and synths/processing Höfer has also employed the help of Marco Stubbemann as well as Melanie and Mathilde Schoenmakers (trumpet and voices). The quietest pockets bloom into swirling effects and sudden deep breaths, yet the focus is on the ivories, the harmony moving on despite the doctored corrosion and ellipses of streaky distortion. And though an equal weight is given to the intrusion of harmonic focus, all the static and burnishing of frayed tapeloops cannot deter the central player. There’s this undeterred yin/yang relationship in this din of iniquity.
Written and produced by srh. Recorded, arranged and mixed by srh.
Instruments: piano, modulated guitars, drones, fieldrecordings, dictaphones, glockenspiel, analogue synths, digital and analogue processing.
Trumpet on “TTACCC” arranged by srh, played by Marco Stubbemann; voicesample on “TAAACC” and clattering on various tracks by Mathilde Schoenmakers.
Cover photography by Melanie Schoenmakers; design: Andreas Usenbenz; mastered by Fabian Tormin [plätlin mastering].
translated by www.tommibrem.de
kg025 klanggold.net LC77527
-----------
Toneshift Review
The new release from artist srh (Sascha Rosemarie Höfer) offers burrowing rhythms and soft edges that seem to dangle and then drift to the far corners of the room. The balance of piano and variegated cacophony seems a challenge he’s worth taking – even though either could spoil the soup. Instead the blend is stringently delicate, even complex. One could be enjoying an unfolding recital at one moment, only to be interrupted by the unexpected tumble of darker atmospherics.
Aside from playing piano, guitars, dictaphones, glockenspiel, and synths/processing Höfer has also employed the help of Marco Stubbemann as well as Melanie and Mathilde Schoenmakers (trumpet and voices). The quietest pockets bloom into swirling effects and sudden deep breaths, yet the focus is on the ivories, the harmony moving on despite the doctored corrosion and ellipses of streaky distortion. And though an equal weight is given to the intrusion of harmonic focus, all the static and burnishing of frayed tapeloops cannot deter the central player. There’s this undeterred yin/yang relationship in this din of iniquity.
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about
Klanggold Munich, Germany
We started in 2006. Mostly our music is experimental in nature, which draws its influences from many genres. Sound art in general. Rather, we set ourselves the goal of releasing interesting music. This can also strike across the board and not be so catchy. That is exactly what defines an acoustic art work. You should give it time to develop. Discover new things in sound. That's what we stand for. ... more
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