MirrorWorldMusic

MirrorWorldMusic is a label, archive, and publishing imprint for diverse idiosyncratic music projects that are linked in some way by their protagonists. The diversity of the stylistic scope, spanning more than 30 years, is unified by an overarching experimental approach and a multi-minded spirit.

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KPARR DIRÈ – Balafon Music from Lobi Country
(Edition Telemark / MWM)

LP+DVD / download AVAILABLE NOW at MWM bandcamp !

LP plus DVD with full-length movie (125 minutes) of Balafon music of the Lobi people, recorded in and around Gaoua, Burkina Faso, on a two-week journey in June 2014, by Dirk Dresselhaus (Schneider TM), Julian Kamphausen and Arved Schultze. Packaged in a full-colour gatefold sleeve with DVD slide, with numerous photos and an extensive interview with Dresselhaus, released by Edition Telemark in cooperation with MirrorWorldMusic.

ALL PROFITS generated with downloads & physical formats at MWM bandcamp go to the involved musicians in Burkina Faso !

The Lobi are an ethnic group of about 180,000 people living in southern Burkina Faso and bordering regions. The primary instrument of their traditional music is the balafon, played solo or in a duet, usually accompanied by percussionists. Lobi balafon music serves as a complex language for communication with the audience but also with ancestors and spirits. Different kinds of music are used for different purposes and social atmospheres (birth, death, joy, hunting, war, etc.)

At its core, this music is hundreds of years old and knowledge of its mastery is passed on from generation to generation, with different styles emerging in different regions and outside influences picked up on the way. The first well-known recordings of Lobi balafon music were made in 1961 and published on the Ocora LP “Musiques du pays Lobi”. While the tunes heard there clearly show their ancient roots, the music on this release is not isolated from current influences and carries traces of modern African electronic pop music and Contemporary R&B that is widespread in the region. This has led to a new minimalist, poly-rhythmic and breakbeat-laden style prominent in Gaoua, to our knowledge recorded here for the first time. Yet the pieces are the same traditionals, played differently from generation to generation and from day to day.

Musicians on the LP are Martin Kensiè (Da Toh Alain) and ensemble, and Palé Goukoun. Their fathers Kambiré Tiaporté and Palé Tioionté, respectively – had been recorded in the 1990s for the Ocora CDs “Pays Lobi, Xylophone de funérailles” and “Pays Lobi, Xylophones du Buur” that served as the starting point for this journey. The DVD features a full-length movie by Arved Schultze, documenting the trip through various localities and villages, with numerous performances also including other musicians.

RELEASE PARTY:
22.03.2020 – 17:00 CET @ ausland, Lychener St. 60, 10437 Berlin, Germany – cancelled / postponed !

Screening / Talk / Performance
w/ Schneider TM, Sarata Diallo Koné, Tomoko Mio, Maurice de Martin, Arved Schultze, Edition Telemark & DJs Phonosphere (Werner Durand & Jens Strüver) / Timmytim

Facebook Event

:::

KPARR DIRÈ – Balafon Music from Lobi Country – long story short
(by Dirk Dresselhaus, Berlin 22.02.2020)

When I entered an Afro shop in the train arches near Alexanderplatz in Berlin in spring 2003, I had no idea what this moment would trigger in the years after. So I entered this shop and saw two strange percussion instruments that were unknown to me: a kind of prehistoric xylophones with a lot of calabashes underneath. The nice owner of the shop explained to me that they were balafones that he had brought from an old man in northern Ghana. We quickly agreed and I bought one of the two instruments that I used for the next few weeks while recording a new Schneider TM album. After a while I got curious and went to the world music department of Dussmann, a book and media retailer, to research balafon music from West Africa. Much of the music from Ghana, Ivory Coast etc. I found was great, very pentatonic and sometimes a bit cheesy, but it was only when I discovered the two Ocora releases of Lobi music from Burkina Faso (“Pays Lobi, Xylophone de funérailles” and “Pays Lobi, Xylophones du Buur”) that it really blew me away. The open (dis-)harmonies, very similar to the tuning of the balafon I had at home, and syncopated polyrhythms moved me deeply and were somehow the most futuristic thing I had ever heard. In the years that followed, I often incorporated the two CDs into my DJ sets and mixed some of them with drone & noise music, which somehow complemented each other perfectly. Like two long lost relatives who suddenly see each other again.
In 2013 I received a call from Arved Schultze and Julian Kamphausen regarding a possible study trip to Africa, funded by the TURN fund of the German Cultural Foundation, to look for musicians or artists with whom there should subsequently be an African-German cooperation as a cultural exchange. I immediately thought that we absolutely have to go to Gaoua, Burkina Faso, to find out if the Lobi musicians were still around whose music I had sucked in all the years before and about whom you could otherwise hardly find any information on the Internet etc. The two initiators were immediately enthusiastic and in June 2014 the trip took us via Bamako (Mali) and Bobo-Dioulasso (Burkina Faso) finally to Gaoua:
 TRAVEL BLOG

As luck would have it, my sister knew a university friend who was to build a street for an NGO in Gaoua in 2001 and since then had a good friend in Burkina Faso who had lived in Gaoua for a long time and worked there as a German teacher. We met this friend, Issaka Yameogo, at a bus station on the way to Gaoua, and on the same evening he introduced us to his old friend Somda Desiré, who was very well connected in the capital of the Lobi people and in turn directly brought us together with the balafonist Martin Kensiè. Martin turned out to be the son of one of the musicians who unfortunately had already died at that time and who had played on the Ocora CDs from the 1990s. All of this happened immediately after arriving in Gaoua and was the start of two intense weeks in which we were introduced to the music and culture of the Lobi and Dagara people and deep friendships were formed. This was when the recordings took place that are now released as LP & DVD by Edition Telemark / MWM and that originally were intended only for documentation as preparation for future collaboration. Since there never was a collaboration between Martin Kensiè, his ensemble and us experimental musicians from Europe due to a lack of follow-up funding, we have at least managed to make these unique and magical recordings available to the public after a long period of preparation.

“Tell The Drummer I Still Love Her” (LP & download out on IZBIT IN ZID Records bandcamp)

Record Release Concert 02.03.2020 @ Roter Salon / Volksbühne Berlin

GIRLS is the band of Zeitkratzer drummer Maurice de Martin and the actress and performer Susanne Sachsse with Dirk Dresselhaus alias Schneider TM and Hillary Jeffrey. GIRLS is also the reincarnation of a southern Bavarian “International Ladies Show Band”, founded in 1967 by Anny de Martin, the mother of Maurice de Martin. The band broke up when Anny died in 1971 and was quickly forgotten. In fact, the formation was exceptional in several ways: a band made up entirely of female members who composed themselves was something very rare at the time. To do this, they played an experimental music knitted from loops and patterns beyond the classic rock / pop song structures, which is now commonly referred to as “Krautrock” and influenced a whole generation of musicians from David Bowie to Brian Eno. Maurice de Martin catapults his family history into the present with a new cast and reinterprets his mother’s legacy and work.

This is a recording of the public noise session that was happening directly after an electric guitar + amp building workshop for kids & parents on 02.11.2019 at ausland, Berlin.

Idea & production: Tomoko Nakasato 
Host: Mario Michel / ausland, Berlin 
Workshop: José Malaquias / The Inventors 
Technical supervising, photos: Frank Deimel / Deimel Guitarworks   
Musical conduction, recording & mixing: Dirk Dresselhaus / SchneiderTM 

Available now as LP / CD at Erototox Decodings & download at Schneider TM bandcamp:

Schneider TM & Jochen Arbeit of Einstürzende Neubauten release an album of ‘urban cosmic freeform music’ on the US label Erototox Decodings featuring musical contributions by Julia Kent (cello), Lucio Capece (bass clarinet) & Claas Großzeit (cymbal).
The album, which almost became an abandoned treasure, was already recorded in winter 2011/12 and stretches out it’s harmonic dissonances between heavy drones, strange noises, industrial-like metal percussion, feedback-ish flutes, melodic freeform drums and organic cello arrangements.

SATURDAY 15th of JUNE at Ballhaus Ost, Berlin.

Ilpo Väisänen / Dirk Dresselhaus / Anthea Caddy / Oren Ambarchi / Lucio Capece / BJ Nilsen
– LIVE (2 sets of reworks of selected pieces from Kalmukia, 26000 & Terra Null.)

PITA / Peter Rehberg (Editions Mego) – DJ Sets

UPDATE:
Unfortunately Hildur Guðnadóttir can’t join the concert because of movie soundtrack commitments that were re-scheduled to the same period. We are very happy to announce that Anthea Caddy will jump in for her !

TICKETS

FB EVENT

ANGEL, a collaboration between Ilpo Väisänen (Pan sonic) and Dirk Dresselhaus (Schneider TM), is by now an institution in noise music and drones. For twenty years, the duo has explored the depths of concrete noise and grinding sound, their sound evoking associations with grand natural phenomena. No wonder, then, that in reviews of ANGEL – later known as DIE ANGEL – oceans, deserts, canyons and earthquakes are repeatedly used as metaphors.

Väisänen and Dresselhaus have, in the meantime, played an undeniably large part in the fact Drone music has matured into an independent genre. For DIE ANGEL, noise and musical action are means of communication, and music an open process, so instead of withdrawing into their unity, they’ve always sought artistic exchange with others. Thus, it is only logical the internationally renowned musicians would invite distinguished guests to celebrate their twentieth anniversary. These musicians each contributed to three ANGEL albums released by Editions Mego between 2007 and 2014: Hildur Guðnadóttir, Oren Ambarchi, Lucio Capece & BJ Nilsen.

In an exclusive celebration of DIE ANGEL’s 20th anniversary, the six musicians will share the stage, making it a world premiere.
Hildur Guðnadóttir, best known as a cellist and singer, has in recent years composed for theatre, dance and film (e.g. “Arrival”, “The Revenant”, “Sicario: Day of the Soldadound”), while Oren Ambarchi moves between new music and experimental rock. BJ Nilsen, the Swedish sound artist based in Amsterdam, deals mainly with field recordings, environmental sounds and their effects on people, and Lucio Capece was active for many years in the context of Berlin Echtzeitmusik, releasing 30 works on labels such as Pan, Another Timbre, Entr ́acte and Potlatch.

The improvisational music project DIE ANGEL creates instant compositions through communication with sound, its music generated by various sound sources, instruments and objects such as modular synthesizers, guitars, cello, bass clarinet, field recordings and everyday objects. For this joint concert with their four guests, Ilpo Väisänen and Dirk Dresselhaus will intuitively further develop and reinterpret the sound material created between 2006 and 2010.

die ANGEL (Ilpo Väisänen / Dirk Dresselhaus) played their outstanding performance based on one of the current albums Entropien I in the Auditorium at SuperBooth 2018 in Berlin. Please see the full concert in this video.

die ANGEL (Ilpo Väisänen / Dirk Dresselhaus) – Entropien I at SUPERBOOTH 18 from HerrSchneider on Vimeo.

die ANGEL : Entropien I

Now available as download at MWM bandcamp:

die ANGEL : Entropien I (Cosmo Rhythmatic 2017)

In physics, entropy is a quantity generally described as the measure of disorder within any kind of thermodynamic system, including the universe. It counts the microscopic states that system can assume when open, interacting with others or getting altered by external conditions.
Thus, entropy makes for the perfect description of the way Ilpo Väisänen (Pan sonic, I- LP-O IN DUB) and Dirk Dresselhaus (Schneider TM, A S S, Locust Fudge) have approached music creation since the establishment of their collaborative project Angel (now die Angel) in 1999. Allowing energy to flow freely through machines, bodies and different acoustic conditions, they’ve generated a powerful archive of mutating sonic states. A kind of creative attitude that favors exploring the physical complexity of (un-)structured electronics.
That’s where the title for their release on Cosmo Rhythmatic comes from, “Entropien” being the Finnish word and the German plural for entropy. Getting back to the stripped down set of their beginnings (modular synths, effects and processed guitar), they’ve come out with one of their most, intense, rawest and noisiest albums to date, showcasing an impressing scale of dynamics while attacking the senses with belligerent tones. Oren Ambarchi also shows up on two tracks, intertwining his drums, field recordings and guitar within the duo’s discordant layers.

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