<falte> is methodically based upon a technique invented by the surrealists entitled «exquisite corpse». A method by which a collection of words, images or sounds are assembled collectively in sequence, either by following a rule or by delivering and making visible the «ending» of what has been created previously. This procedure has a resemblance to an old parlor game entitled «consequences», in which the players write alternately on a sheet of paper, fold it to conceal part of what they wrote and pass it on for further contribution.

Based on this process a series of compositions by schurer - steinbrüchel was presented in september 2006 as an eight channel surround soundinstallation at the Kunsthaus Zurich, accompanied by a four channel visual contribution by Yves Netzhammer. The version on this CD documents a condensed, slightly more composed and therefore differentiated form of folding.

"'Back_Forward' is a solo release where Friedl plays an instrument called the hackbrett, also known as cymbalon. Friedl plays this, and afterward he transforms the sound inside the computer. However he opts not for a total transformation but a combination in which we can hear some of the original sounds, as well as the processed versions thereof. That is a nice thing. At times Friedl uses a bit too much reverb for my taste (when it comes to presenting the instrument sounds as they are) or some echo effects. Other than that he creates a powerful interplay between the acoustic and digital sounds, sometimes as opposing elements, sometimes as separate elements, divided in time and sometimes working together. No doubt the music was composed thoroughly, but it maintained a vivid improvisational feel to it. Quite nice." [Vital Weekly 556 - Frans De Waard]

The title Intrinsic Motion emphasizes the movement connecting these four aural compositions, which also share similar interests and aesthetic negotiations. Each work emerged from the combinations of various sound sources such as field recordings, found sound appropriations, contact microphone play, feedback, and studio processing. The works in this release explore the communicational diversity of surrounding sound fields, time, pitch, physical acoustics, and the sensory encounter that conveys human experience. Each piece is the outcome of an empirical interaction, and a significant response to the material found within the intermittent activity of listening.

"[…] Together Phillips and King were Eto Ami, since 2000 and have released a couple of CDRs. Now they use their real names and come up with this new CD, with one track spanning almost thirty eight minutes. Computer processings still play a big role in this music, which apparently also makes use of acoustic instrumentation and field recordings. The two do a fine job, strongly rooted in the tradition of microsound and not, au contraire with the press text, slowly evolving tradition. As such this work is greatly produced, contains some damn fine microsound, but also is still very much known in what we already know of that particular area of music." (FdW – Vital Weekly 526)

The most striking characteristic of TRANS~ is the use of a field recording of a group of three small power transformers I conceived as a kind of improvised piece, changing microphone positions to cull different sounds and overtone spectra from the transformers' intense hum. The field recording became our basis track for TRANS~, and is exceptionally well and seamlessly embedded in the piece.
Heribert plays his amplified Hackbrett (cymbalon or hammered dulcimer), I play my electric cellotar, a self-made bamboo flute, and three harmonicas (two vintage Hohner BluesHarps bought in the 70's and a Hopf 'Golden Hit'). Unlike on Ataraxia, the flute took the back seat this time because the harmonicas' overtone spectrum blended so well with that of the transformers, and helped creating the harmonic richness of the piece.
When asked to describe the piece, the first expression that came to my mind was 'music like weather' – a series of changes and transformations, a myriad of details that unfold according to their own intrinsic logic, but to no intended purpose, and invite the listener to follow their constant becoming and vanishing.
[bernhard günter, 2006]

Richard Garet
| CIRCLE | 13:55
The piece is comprised with field recordings from South America, NYC streets, NYC's subway system, and my studio processing.

Dale Lloyd
| ANAMORPHIC_AT | 12:06
Created mostly with electronic sounds. One or two processed field recording elements of the local surroundings were used as well, however no actual insect or amphibian sounds were used in the making of this piece. The "AT" in the title stands for "Artificial Terrain". The piece suggests the gradual evolution from one type of environment/organism to another and, of course, is reflective of the ever changing aspects of life and what we regard as "reality." Spezieller Extradank: Heri und Raphael.

Jos Smolders
| AIOLOS (VANGSAA EXTERIOR) | 13:02
The title refers to the main protagonist, the wind. I have recorded this outside of a cottage in Vangsaa, Denmark. I have always been fascinated by the power of the wind: its continuous/endless pushing and tearing at everything around us. Just like sound it cannot be grasped. Especially there in Denmark, between the dunes it can be pleasant and violent at the same time. Then there is the ever changing movement of increasing and decreasing pressure, the way the force rises and declines. This is the basic layer of the piece. These wind movements I have synthetically emphasized by editing it through a CDP plugin. On top of that there are tiny bell like anomalies which are produced with Bhajis Loops.

Ubeboet
| THE WAIT | 1:25
| DOUBTS | 5:03
| WAKING UP (MISTY) | 4:06
A nocturnal, psychogeographical approximation to certain acoustic phenomena found in urban, unnatural environments without human presence

bradycard, a medical term means: to have a very slow heart-rhythm, mostly under 60 beats per minute.
the soundwork consists of digitally processed hackbrett (cymbalon), a combination of minimal digital soundscapes, fieldrecordings and acoustic phrases. it is built of very slow, from meditative to almost lethargic gestures that bring the mind into a smoothly, flowing state. limited edition of 300 signed copies.

"This CD contains tracks that are based on works for specific spatial and temporal conditions. Sound installations are very different from compositions for CD, because circumstances differ widely from one situation to the other. In general, my approach to sound installations is more conceptual and systematic than my approach to sound works for CD. The spaces and events involved demand a more specific response to composing than the loudspeakers in my studio and living room. Sound installations are often multi-channel pieces, designed to fit in a certain space (in most cases an exhibition space in which they have to coexist with other works of art) whereas works for CD are composed for regular use in a regular situation (in most cases most likely the living room). To turn sound installation pieces into something more regular is not an easy task and I have been pondering about this for some time. In the end I decided to just give it a try and with careful editing I was able to come up with a satisfactory translation. The result is this CD: it gives an overview of some of the installations I have done in the last eight years. Some tracks are basically the same as the installation, others have been transformed into works that fit better the medium it is presented on." [Roel Meelkop, 2005]