REAL TIME
Reinhold Friedl (zeitkratzer) & Dirk Dresselhaus (SchneiderTM)
The two protagonists are coming from really different backgrounds: Dirk Dresselhaus released since the late ninties as Schneider TM several experimental-electronic Freakpop recordings. He startet in the 80ies Indipendent rock/pop-Postpunk and developed his personal approach to sound and structura as an autodidact, starting with guitar effect devices and 4-track homerecording. Reinhold Friedl studied mathematics and music, got scolarships and international commissions, and built up the ensemble zeitkratzer, disrespecting all musical frontiers. Si tt’s not satonishing, that both met for the first time, when zeitkratzer performed the Lou Reeds Metal Machine Music: Dirk Dresselhaus was restless enthusiastic about this unrestrained contemporary music group, succeeding to devote itself to the instrumentation of purely tuned guitar feedback.
Dresselhaus and Friedl started their cooperation, that happened over years in studios only: what happen’s if you put those strange inside-piano sounds – another domain where Friedl set standards – or those powerfull hupe piano-drones into Schneider TM’s electronic devices, modulating them with an incredible complex Feedback system and recursive effect settings? Sometimes violent, somtimes subtile, mostly large-scale sound fields, which always work out only one sound or noise, developing an overwhelming impact.
Reinhold Friedl plays pianoforte, harmonics, horse hair, metal sheet, fishing line, metal tube: inside-piano, extended piano; Dirk Dresselhaus plays oscillator, spring reverb, isolator, memory man, digital delay, mixing desk, lfo, noise generator, vibrator / time machine, pitch shifter, ring modulator. The 3CD-set REAL TIME is ready for release.

3 albums from the 90′s re-released as downloads :

CD available at: Oral Records

Hildur & Schneider met in 2004 in Berlin’s partyzone and found out they were both living in the same neighbourhood. Soon the idea came up to do some music together. One fine day Hildur came over to Schneider’s house/studio and brought her cello. Before they even started talking or drinking coffee, the track my favourite caucus airchamber was recorded. After that they met occasionally to play some game of bowls in the park or have one or two drinks together. A couple of weeks later the second track inspired by a common love of Sun Ra music (don’t give up, what is death?) was recorded just like the first one…but this time she also brought her zither, accordion and saw…. no talking, no specific ideas, no direction: just Hildur playing over and over the acoustic instruments and Schneider processing them live on his mixing-desk. A couple of weeks later Hildur moved back to Iceland to finish her electro acoustic studies and Schneider visited some jail to work on German gangster-rap with some prisoners. When Hildur came back to Berlin to join Angel for their drone-set in October 2004 at Club Transmediale, the time was right to record the track not all crows are black. Then, one afternoon, the Schmucks appeared at Schneider’s studio, but this is another story…