Wednesday, 30 July 2014


Year:    2017
Label:    Attenuation Circuit
Format:    cassette
Tracks:    2
Time:    37 min.
Genre:    electronic
Style:            Noise

This release for German label Attenuation Circuit comes from the twin noiseniks of Alexander Adams and Exedo. The latter of which is the “evil side project of EMERGE” who also happens to be AC’s head honcho. Exude makes music that is not for your consumption. It is for their devouring of you. This corrodes. Gently at first, like an arctic breeze blowing through an abandoned camp amongst deep fjords and steep mountains. But then it amps up into a full scale assault by the four stags of Yggdrasil. From Dáinn and Dvalinn to Dunker and Duraþrór a static blast rages and with it comes squalls of feedback and unhinged melody. This is too easy to dismiss as noise. Those that immerse themselves in the cacophony will find layers of loss and longing beneath the troubled exterior. Alexander Adams takes a slightly different approach on his section – Stink Flower Rot. Here the sounds of all of your favourite 80s video games are simultaneously mangled and swept into a black hole. The scattered flurry of stuttering bleeps rallies and surges as if refusing to go quietly into that good night. This is the sort of glitch-frenzy that might be summoned from the tachycardic chart of a dying animal, thrashing in the jaws of a patient predator. Adams has opted for two juxtaposing movements within his twenty minutes. Where the first half is pure disorder and panic, the latter section is far less hurried. Slow drones rumble along and are interspersed with anxiety-inducing metallic shrieks. It is akin to stepping back from a gaping molten chasm that has snaked its scorching way across the earth. We watch in horror as clods of earth, vegetation, and dependable buildings fall away into a natural furnace. All submit. And then all that we are left with is a post apocalyptic sonic gust (*NOTE = this excellent review is from HERE ).
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Year:    2016
Country:    Germany
City:    Augsburg
Label:    Attenuation Circuit
Format:    CD
Edition:    50 copies
Tracks:    1
Time:    35 min.
Genre:    electronic
Style:            Noise          Abstract

The title of this harsh noise album could be read as an anagram of “live,” as the whole audio on the release was created by shredding a live recording by EMERGE. It could also be read literally, though, as Exedo go out of their way to make it sound as crass as possible, with all the contempt for musicality that one can expect from a self-respecting harsh noise outfit. Of all the noise releases on attenuation circuit, this must be one of the harshest – with the exception perhaps of the Rollator series that is specifically dedicated to noise. What makes this example of harsh noise wall interesting, though, is the use of sudden gaps in the noise. Contrasting extreme noise and total silence (with the listener’s ears still ringing) is a minimalistic but very effective strategy for keeping the listener on edge, waiting for the next dropout. Heavy listening indeed, but not boring. If someone want to buy this release on physical format can to do it HERE .
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Year:    2014
Country:    Austria
City:    Ausburg
Artist:    Sascha Stadlmeier
Label:    Attenuation Circuit
Format:    CD
Tracks:    1
Time:    22 min.
Genre:    electronic
Style:           ambient noise wall

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Year:    2014
Country:    Austria
City:    Ausburg
Label:    Attenuation circuit
Format:    cassette
Edition:    4 copies
Tracks:    2
Time:    40 min.
Genre:    electronic
Style:            ambient noise wall

Is a kind of paradox that Sascha Stadlmeier has as a main project EMERGE (an interesting project focalized more on experimental and electronic music), but he has also some b-side projects like for example EXEDO, which I think comes to overshadow other musical projects. This is just a subjective opinion, of course, many people might prefer EMERGE, to have a more electronic sound and even a little rhythm. But EXEDO this artist's talent is very clear when it comes to create layers of sound and noise, and gradually juxtaposing one above the other. Everything happens very slowly and almost imperceptibly, like a storm of rain, which gradually grows until it reaches its maximum. And then it also disappears gradually until it opens the clear and the sun rises. Perhaps the first track is a little bit agressive and fast, just a bit,  but the general atmosphere in the whole album is great and this is a good addition to the collection of those of us in to the projects from the ambient / noise style.
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Year:    2014
Country:    Germny
City:    Ausburg
Label:    Attenuation Circuit
Format:    cassette
Edition:   4 copies
Tracks:   2
Time:   38 min.
Genre:   electronic
Style:            ambient  noise  wall

Some stories begin incredibly banal. A butterfly triggers a tornado, a few braking cars jam out of nowhere - and the simple question of a musician marks the birth of an underground label.  If you ask the Augsburg Sascha Meier barn, why he opened his label only after ten years for other artists, the answer actually sounds outrageous casually. For then he shrugs and says Gerhard Zander, an artist friend, asked him a year ago. "Attenuation Circuit was that beforehand just a name I gave to my work. With the label had little to do... " . As simple as it can go: What was formerly a mere shell, is to Baren heart. Who knows the sound art milieu, the lights a barn Meier's favor on the establishment of a platform. The scene is indeed an international network, but arrested in the niche - Regional often unnoticed and spacious with its myriad small and micro projects, the sound from local studios and Eckstraßengalerien.  If that is evident to, which is found mainly a laudable: The platform comes without fanfare from Off The Hook. No educational mission, only experimental sounds. No finger-wagging, just charming shrug.

Who is the by, is not a fan of radio-friendly tunes. This is by no means self-evident. The label features apart from the usual sorts of strange food for the untrained ear: Noise, Breakcore, Industrial, taciturn and gloomy so. These then processed, for example, Gerhard Zander "Buddha Machine", a jacket pocket suitable box, buzz from the meditative sounds. The project "Sustained Development" gets down to the John Cage Organ in Halberstadt, whose nickname "As Slow As Possible" it has earned a continuous piece of music since 2001 with integrity. The Augsburg R.X.o.N. processed per piece only a sound through an entire disc. And barn Meier itself prescribes itself as "Emerge" of musique concrète, that style of music, then, the use of facilities solely everyday sounds, Broken Read-in and Found.

The enumeration Probierpanoptikums this could go on forever. Fact: If you like this music, is usually not a lover radio compatible instant melodies. Zurrt too much and pulls the platform at the border, draw the most between music and noise.   Gerald Fiebig, spokesman of the label, you need only one set to take the air every suspicion of riot sound: ". The Beatles were also times Barney" "What today so no one wants to see more," adds barn Meier. If the boundaries are blurred when the Beatles were times crash, then what is actually still music? "Music is organized sound. Point, "Fiebig adds. The two agree more obviously it does not.   On the contrary, the principle of verse, chorus, verse was no longer appropriate today. "The 20th century has begun yes, strictly speaking, with the art of noise and nowadays there are also hardly any classical composers that make something like in the heyday of classical music.

Classical music can be found experimentally, "says Meier barn. That love songs, political songs, danceable disco sound, however, look almost old is clear. Too much should be said, too little is new. "There are no big, new findings in the mainstream anymore." One suspects the index finger in such sentences, but Fiebig and barn Meier smile too often to act instructive. "The expectation that music is something that makes an emotional feel-good effect with it is rooted in many people. We see but extremely cool. We just sit, "says Fiebig. There it is again, this ease of playing. Like a shrug. And something comes with a single banal question. (*NOTE = this is a review of Augsburger Allgemeine).
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