New SCHNEIDER TM album EREIGNISHORIZONT out on 26th of May via Karlrecords as 2xLP / 2xCD / DL.

PRE-SALE (from May 5th): Karlrecords bandcamp

LIVE BOOKING: booking@mirrorworldmusic.com

“The event horizon gives the black hole its size; behind it hides the singularity. And the more extended it is, the more massive the black hole is. But the event horizon is also invisible; if matter or light passes through it, there is no turning back.“(Prof. Dr. Michael Kramer, Max-Planck-Institut für Radioastronomie) 

EREIGNISHORIZONT is SCHNEIDER TM’s new and with a duration of over 80 minutes truly epic album: experimental guitar, technological innovations and excursions into musical territories beyond the usual.

Performed on (partly self-developed) electroacoustic guitars + effects through a stereo set of tube amps with sensibilities for the world of modular synthesis and a range of seemingly contrarian musical directions, the 8 tracks present transcendental micro- and macrotonal soundscapes and polyrhythms, a musical cosmology that appears to be located in a sort of idiosyncratic alternate or parallel universe where parameters are slightly shifted, which doesn’t necessarily mean something like ‘otherworldliness’ but certainly offer a view onto ‘reality‘ from a bunch of different angles.

EREIGNISHORIZONT sounds and feels like a soundtrack for a yet-to-be-made sci-fi movie and exposes the essence of Dresselhaus’ artistic approaches, crafted here with a more pared-down set-up, an awareness of advanced musical techniques, the physicality of sound, and an improvisational spirit that is based on the experience that things are strongest when they happen first.

The main tools on EREIGNISHORIZONT are two customized electroacoustic guitars:
# The “FireSchneiderTM“ has sound chambers featuring removable bakelite lids and piezo mics, that can be used as percussion tools, vocal mics, or filled with interesting sounding materials like screws, etc.
# The next step in the long-term collaboration between Schneider TM and Deimel Guitarworks is the “SPARK“:
In addition to conventional magnetic and piezo pickups the guitar also has playable reverb springs, one of which is attached to the tremolo construction and can be tensioned. The different sound sources can be combined via a global selector switch and sent to an integrated electronic LesLee, which oscillates back and forth between the signals and is connected to CV In & Out sockets for integrating e.g. modular synthesizers via control voltage. The “SPARK” can not only be played acoustically, electrically and electronically, but as an electro-acoustic sound object it also offers possibilities for playing techniques that are not typical for guitars.

The sci-fi feel of EREIGNISHORIZONT is complemented by the artwork by SEBASTIAN MAYER who, just a few weeks before Dresselhaus contacted him, got the opportunity to work as a beta- tester with some of the first available AI based image generators (for which Mayer himself prefers the name „neural network image generator“ because there’s no „intelligence“ – yet – in these networks).

Dirk sent Sebastian some tracks of the new album with the note that he was thinking about this particular image when recording them. Mayer listened to his recordings and understood what inspired SCHNEIDER TM about these more-or-less artificial artworks: “there’s a crude weirdness to the image, it’s funny but at the same time a bit frightening, by topic and by style. It’s like an omen of what’s ahead of us in regards to AI – and not only about image generation but in a wider sense. AI will impact our society in ways we can not yet comprehend, and this image is a coarse yet deceptive harbinger for things that are yet to come – for better or worse.”

www.schneidertm.net

Now available at bandcamp as part of the ::: MirrorWorldMusic Archives ::: project ::

This is a live improvisation of the drone & noise duo ANGEL (Ilpo Väisänen / Dirk Dresselhaus) together with the (later) Multi-Award winning Icelandic cellist Hildur Guðnadóttir (Oscar, Grammy etc. for the original scores of Joker, Chernobyl etc.), which was performed in 2005 at CTM in Berlin a couple of months before they recorded their groundbreaking collaboration album KALMUKIA (Editions Mego 2007). It was originally released as CD by ORAL Records in 2006.

Now available at bandcamp as part of the ::: MirrorWorldMusic Archives ::: project ::

This is the first Angel album, which was recorded in Berlin in 2000 at their second ever live appearance, curated by Ran Huber (amSTARt) as an audio-visual performance in conjunction with video works by Videogeist, and was originally released as a CD by BiP_HOp in 2002. It features improvisations by Ilpo Väisänen on typewriter, effects, and CD player and Dirk Dresselhaus on electric guitar, effects, and tube amp.

Now available at bandcamp as part of the ::: MirrorWorldMusic Archives ::: project ::

This is a 6-track EP from 1997 containing “electrosonic dance version” reworks of previous LOCUST FUDGE material, which were produced together with Mario Thaler and Martin Gretschmann (The Notwist, Console, etc.) in 1996 at Uphon Studios, Weilheim; a cover version of The Notwist’s “Our Alien” featuring The Locust Fudge Band, recorded in Prague while the band was touring around Europe at the time; and a 4-track cassette home recording version of Schneider’s song “Green.”

New faust album “Daumenbruch” available as LP / CD / Digital via EROTOTOX DECODINGS

RELEASE CONCERT: faust + Sunroof (Daniel Miller & Gareth Jones) + Chandra Shukla

13TH April 2023 – 20:00h

Sonic Morgue @Betonhalle, Silent Green, Berlin, Germany

TICKETS: https://headquarter-entertainment.reservix.de/p/reservix/event/2052542

There are many “Fausts” in this world, twice as many as there are people in most cases. Yet with the intention of equaled strength is Zappi Diermaier and friendsʼ take on Faust, merely as faust. The lowercase spelling is an emphasis on the original concept of the faust that was truly a collective, free of ʻcapitalizedʼ superiority with a minimalistic intent by making sounds and music with endless improvisation and an unspoken trust in the development of carrying the sound to create something unique, extraordinary and visionary. The traditional approach was not just to make sounds with conventional instruments, but to also include the post-modern sounds of the industrial revolution. Instead of the signature cement mixer and power tools faust is famous for, this version includes many who are engaged in adding varied degrees of other ʻindustrialʼ motifs as ingredients. This time the cast of characters returns to eight members, one more than the original lineup was previously in the days of Wümme. Those members are Zappi W. Diermaier (Faust)  himself on drums, Elke Drapatz (monobeat original)  on drum effects, Gunther Wüsthof (Faust)  on spieluhr (music box), Dirk Dresselhaus (Schneider TM)  on bass and guitar, Andrew Unruh (Einstürzende Neubauten)  on metal percussion, Uwe Bastiansen (Stadtfisch Flex)  on guitar and samples, Jochen Arbeit (Einstürzende Neubauten)  on guitar and loops and Sonja Kosche  on self-made instruments, harp and ventilator. Every ʻvoiceʼ heard by each artist contributing to this incarnation of faust is heard clearly. Instead of an amassing miasmic gurgle as of previous, each artist comes through with distinct individual voices that allow the listener to distinguish what each Musician is sonically responsible for in an unintended symphonic fashion. Recording for ,,Daumenbruchʼʼ was done according to the fact that it wasn’t possible to play and record together live in the same room because of the pandemic situation, most of the overdubs were committed ‘blindly’ on top of previously recorded rough mixes of drums & bass which implemented the method of ‘chance’. Itʼs where primal instinct can transform into tasteful, calculated chemistry woven from absence, silence and negative space through unspoken means of communication.