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Acker und Seche

by Thorsten Soltau/EMERGE/RLW

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1.
Vorwort 06:49
2.
Kalk und Schiefer 03:48
3.
Zu den Häfen 03:15
4.
Die Motte des Theta-Schlafes 03:42
5.
Ilios / Heimstatt 03:52
6.
Vor dem Hitzschlag 17:24
7.
Postskriptum eines Traumes 04:39

about

released in 2021 by aufabwegen
aufabwegen.bandcamp.com

Thorsten Soltau (1-5,7):
piano, electroacoustics and electronics
recorded in January and February 2016
commissioned by Swiss Radio and Television (SRF)
additional processing, using concrete sound sources by EMERGE,
in October and November 2017

EMERGE (1-5,7):
field recordings and electronics
additional processing, using sounds by Thorsten Soltau, and final mix
in November 2017

RLW (6):
electronics
transformation and re-composition of the contributions by Thorsten Soltau and EMERGE,
realised in 2017/18
overall album concept created in 2020


thorstensoltau.de
emergeac.wordpress.com
selektion.com

credits

released August 12, 2023

VITAL WEEKLY

Let me see if I can summarize the 'how' and 'why' here. In 2016 Swiss Radio commissed music by Thorsten Soltau. He used piano and electronics for the six resulting pieces. In November 2017, these recordings were then used by Sascha Stadlmeier, also known as Emerge, to further treatment, mix, or whatever you call it, and added field recordings and electronics. Then Ralf Wehowsky received the material and created a seventeen-minute collage out of all the material. For Wehowsky, this has been part of his work ever since working as P16.D4, and later on solo as RLW, working with sound material from others. Stadlmeier (also known as EMERGE) is of the next generation doing similar things and has an impressive list of collaborations. Over the years, Staldmeier's music matured and moved away from the all to obvious repeating samples, and noisy crescendo's into carefully built sound constructions. EMERGE has the first five pieces and the last one, while RLW is sixth. There are some interesting differences between the approaches of EMERGE and RLW. It seems to me as if EMERGE here goes for the method that is all sparse. Sure, he bends his sounds with electronics, staples a drone or two, adds some reverb to a solid bang on the piano, but all of this is finely dosed to precision. I already compared his work with that of Asmus Tietchens, and this is, even more, the case here. But it is not a one on one copy. EMERGE cleverly adds his personal touch to the original sound material and adds his sound material sparsely. RLW, on the other hand, has a slightly different approach, connecting more with a musique concrète approach, and throughout his piece, he moves through more sound material than EMERGE, or at least, so it seems. Maybe he likes it all so much that he wanted to use it a lot. RLW's piece is a collage of sounds, with full stops and starts, taking the piece to entirely different pastures. It is throughout a louder piece of music than the five by EMERGE, but I very much enjoyed this approach. All of this release reads 'classical collaboration spirit'.

www.vitalweekly.net/1304.html

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EMERGE Augsburg, Germany

EMERGE is inspired by the minimalist traditions of experimentalism and non-academic noise music, focusing on generating sound structures intended to make atmospheres emerge that are open to each listener’s own interpretation.
The choice of sound sources used is usually very limited. In most cases only rudiments of the original sounds are recognizable due to various treatments. ... more

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