© 2017

Norbert Möslang / Ilia Belorukov / Kurt Liedwart
sale_interiora
MIKROTON CD 47 | 2016

Edition of 300

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1. Giallo
2. Nero

Norbert Möslang cracked everyday-electronics
Ilia Belorukov alto saxophone, electronics, laptop
Kurt Liedwart analog synthesizer, electronics, ppooll

Norbert Möslang had been playing in Voice Crack duo with Andy Guhl in 1972-2002, they’ve been working with “cracked everyday-electronics”, modifying and recontextualising the use of home electronics. After the split he continued working solo and in different musical combinations using “cracked everyday-electronics”, among them a duo with eRikm with whom he played in duo from time to time since 2002. He released numerous solo albums as well as collaborations with Günter Müller, Jason Kahn, Ralf Wehowsky, Tomas Korber, Aube, Christian Weber, Katsura Yamauchi. He is part of Signal Quintet and mkm. "sale_interiora" is his third album on Mikroton after "Stodgy" with eRikm and "Five Lines" with Casey Anderson, Jason Kahn, Günter Müller and Mark Trayle.

Ilia Belorukov hails from St. Petersburg and works mainly with prepared saxophone in the field of improvised, noise and electroacoustic music. He’s a member of different projects like Wozzeck, Mars-96 and others. He practices an experimental approach of sound extraction on alto saxophone and uses laptop, electric guitar, drums and other instruments. He also runs our partner Intonema label and organizes with us Teni Zvuka festival in St. Petersburg and Moscow.

In 2009 he joined his forces with Kurt Liedwart, a Moscow-based musician and curator of Mikroton Recordings and organizer of Teni Zvuka festival. When the duo started Liedwart was using only sinewaves and field recordings adding more sounds and noises with time. Liedwart works mainly with computer, electronics, synthesizer and objects, sometimes deleting the line separating concerts from performances or installations, at the same time he’s active in the fields of electroacoustic improvisation and sound art.

In 2014 they invited Norbert Möslang to take part at Teni Zvuka Festival, played two concerts in trio and made 4 hours of recording overall which formed thirty four minutes of "sale_interiora". The three musicians generate pulsing waves of rushing sound, piercing whisltes, bombastic microsound glossolalia, conjuring wide panoramas of sound colours and light streams. The unstable cover drawing was created by Kurt Liedwart.

Reviews

The Sound Projector, Paul Khimasia Morgan:
The packaging for this is bright yellow; a kind of black grid graphic; it looks like it has been photocopied black on yellow. The whole thing is yellow; you open the gatefold digipak and inside its bright yellow. I once had a friend whose favourite colour was yellow. She often maintained that yellow was “the colour of madness”, but that was a long time ago and I expect she’s grown out of saying that sort of thing now. I had another friend who painted her baby daughter’s nursery lemon yellow. Not my favourite colour. I’ve got nothing against the colour yellow, although I must say I prefer the shades nearer to orange than green.
The two tracks on this disc are each just under 17 minutes in duration. The first one is called “Giallo”, presumably after the Italian horror film genre, while the other one is titled “Nero”; another Italian reference I’m guessing, this time to the infamous emperor who was more interested in practicing scales on his violin while his city was on fire. This album is the result of two sessions or performances from 2014; “Giallo” in Moscow and “Nero” in St Petersburg. Möslang is in charge of some “cracked everyday electronics”, Belorukov, alto saxophone, laptop and electronics and Liedwart on an analogue synthesiser (although as a synth nerd, I’m a little disappointed it doesn’t say which one on the sleeve), electronics and ppooll – a piece of software whose manufacturers describe as “audio and visual networking system created from Max/MSP and Jitter patches”.
“Giallo” is an uncompromising crunch-fest. Like a digital re-enactment of First World War trench warfare. Perhaps it was the result of one of those days of travelling where everything went wrong for the musicians? Someone got up late, missed connections, lost luggage, the wrong map, GPS not working, mobile phone out of charge and arrival at the venue with just enough time to set-up with minimal line check before doors open. “No-one served coffee, so no-one woke up”, as Stephen Malkmous once sang. Everyone’s playing sounds thoroughly annoyed. But in a good way. In comparison, “Nero” sounds relatively good-natured. The granular explosions and giant combustion engines producing unnatural sub bass frequencies are still there, but it seems that there is more of an accord or mood of contentment among the musicians. Liedwart’s synthesiser is more to the fore here, too and this gives the piece a perhaps more anxious feel rather than the out and out aggression of “Giallo”. At one point, a sound like wolves howling, presumably a sound sample courtesy of Belorukov’s laptop adds to the disquiet. I’ve never been disappointed by a project involving any of these three musicians that I’ve heard so far. Yeah, I like this item – looks good, sounds good, is good. This is a record I think I’ll be returning to a lot.

The Squid's Ear, Dave Madden:
Featuring Norbert Möslang on cracked everyday-electronics, Ilia Belorukov on alto saxophone / electronics / laptop and Mikroton founder Kurt Liedwart with analog synthesizer / electronics / ppooll*, Sale_Interiora offers a wealth of sonic information garnered from the unique, big brains of this trio. As cacophonous as the mix could be (the performers are great at making a ruckus all on their own), the presentation is organic, dynamic and inviting in the way that destruction can be hypnotic, beautiful and awesome from a distance. Yes, "cacophony" should be added back into the description.
The first near-seventeen-minute work, "Giallo," starts low in the trenches with missiles going off in the distance. A subtle, muted thump loops under a great deal of static and feedback; this gradually exits from a wormhole (via electronics filtering) while whirring whooshes of synthetic howls swoop in. Bits of percussion and samples are thrown around until the aforementioned electrical storm fully escapes with a dog whistle pitch and shuts everything else up for breath-holding pauses. After resuming to original state, someone wildly attacks, scrapes and slices across an amplified acoustic object, these sounds bringing a bit of humanity to the war of machines. After a reluctant last wretch, everything except the pulse, now deeper and more melodic than percussive, peels off. Less overwhelming now, small musical gestures are flicked here and there, and we're joined by the shaky ghost of a radio station set on pop ballad. The trio continues to work this aesthetic, changing the tempo, shifting plug-in and pedal settings, so to speak, al niente.
Beginning in a more serene setting, "Nero" stretches time with languid transistor waves, sirens and skewed sonograms that surge, connect, push away and slow dive for octaves over the horizon. Punctuating distortion makers duet and argue across the stereo field, build to eruption and then fade behind flitting synthetic duck calls and hyperactive ticking glitch. As these disappear, tension mounts and the volume (both amount of things and volume nob) rises to a relatively punishing saturation; sudden goat bleats and pig snort samples make a mysterious visit, the work nears explosion, but smooths out into a raggedy sine wave and a few last blips.
This is noise music for listeners who demand more from artists who wear that label but offer "let me turn this on and sit back."

Improv Sphere, Julien Heraud:
Ce n'est pas la première fois que Norbert Möslang apparait sur le label Mikroton, on l'avait déjà entendu sur le superbe Slodgy en compagnie d'eRikm notamment. Quant à Ilia Belorukov, il collabore très régulièrement avec Kurt Liedwart depuis quelques années maintenant, deux musiciens russes qui rencontrent pour la première fois Möslang sur sale_interiora. Au programme, les fameux objets quotidiens électroniques transformés par celui que l'on qualifiera toujours de deuxième moitié de Voice Crack (même si cette formation n'existe plus depuis bientôt quinze ans...), des synthétiseurs analogiques, un saxophone préparé, de l'électronique et de l'ordinateur. Si Belorukov et Liedwart se tournent depuis quelques temps vers des musiques de plus en plus minimales et abstraites, il n'en est rien ici, ils suivent la voie tracée par Möslang et forment un trio énergique, virtuose et puissant.
Samples frénétiques, rythmiques lourdes et entêtantes, basses profondes et larsens foudroyants sont les ingrédients de base de ces deux pièces. Le trio mélange les genres et les codes : techno et électroacoustique, field recordings et noise, improvisation libre et musique concrète se côtoient sans problème, pour créer une musique toujours plus forte et surprenante. Tout est trituré et manipulé pour produire toutes sortes de sons : des aigus, basses, boucles, mur de bruit, glissando, explosion, etc. parsèment ces deux pièces et sont imbriqués de manière toujours logique et rationnelle.
Le trio explore toutes les possibilités offertes par leurs outils, mais également les possibilités offertes par les codes esthétiques propres aux musiques expérimentales et électroniques. Du sample au larsen, des circuits électriques déviés à la synthèse sonore numérique ou analogique en passant par des enregistrements, tout est bon pour créer. On se retrouve ainsi dans un maelstrom de matériaux sonores variés mais qui ont en commun de toujours maintenir l'auditeur sur une brèche tendue. Ils n'utilisent pas que des fréquences extrêmes, ni des synthèses massives, mais des samples ou des sons qui ont en commun de toujours aller de l'avant, de ne jamais s'arrêter. La musique de ce trio avance sans cesse, de façon déterminée et écrasante, comme si rien ne pouvait l'arrêter, et l'auditeur se retrouve pris dans cet engrenage sans pouvoir en sortir.
Que ce soit en voiture, sur une chaîne hi-fi, que l'écoute soit immersive ou distraite, sale_interiora ne laisse pas indemne, on se retrouve toujours pris dedans et on y revient. Peut-être que cette collaboration était ponctuelle, mais voilà le genre de rencontre spontanée qui valait bien le coup d'être éditée, car cette formation a parfaitement su saisir l'instant pour créer une musique puissante, hors-norme, belle d'une certaine manière, juste en tout cas, précise et qui fait sens. Typiquement le genre de disque auquel je retournerais facilement en tout cas.

Le Son Du Grisli, Guillaume Belhomme:
Deux pièces d’un peu plus d’un quart d’heure, enregistrées à Moscou et Saint Pétersbourg en 2014, donnent ici à entendre la paire Ilia Belorukov / Kurt Liedwart improviser en compagnie de Norbert Möslang. Et sur son conseil, même.
Car l’ouverture du premier échange crépite fort et renvoie à l’instrument de Möslang, cracked everyday-electronics qu’on n’avait pas entendu depuis ces Five Lines qu’il traça en MKM. C’est cette fois à une trame que s’attèle Möslang, et le jeu l’inspire : d’un battement qui en impose, le trio fait le métier d’une improvisation impressionnante sur toute sa longueur. Les signaux mêlés (frottements, oscillations, tensions diverses et enfin artifices) s’y mêlent et emmêlent avec bonheur.
Pour la seconde pièce, pas de crépitements porteurs mais des interférences qui composeront autrement – mais avec moins d’évidence, peut-être. Heureusement, l’élan est cosmique, les intentions bruitistes, et la volonté du trio s’arrange avec son harmonie, qui va déclinant. Ce sont d’autres sortes d’artifices, pour compenser peut-être : field recordings et voix attrapées où ? Mais c’est l’expérience de Möslang qui, une autre fois, fera la différence.

freiStil, Andreas Fellinger:
Kurt Liedwart hat wieder einen Schwung Neuerscheinungen aus Moskau ans Licht der Öffentlichkeit gebracht, die sich allesamt durch elektronische oder von Elektronik insprierte Feinmechanik auszeichnen. So schafft er seit Jahren ein internationales Netzwerk an Musikern, seltener auch an Musikerinnen, die sich auf die konsequente Arbeit so minimalistischer wie eigensinniger Strukturen konzentrieren.
Die Schnittmenge von AMM und Angles 9 manifestiert sich im Duo Keith Rowe & Martin Küchen, dessen Debüt the bakery in den Wiener Amann Studios aufgenommen wurde. Kleine Brötchen werden hier quasi in der Mikrowelle gebacken, tonale Verschiebungen sind höchstens unter der Lupe wahrnehmbar, die Klangerzeuger entziehen sich ihrer Definition. Gitarre, Elektronik, Saxofone, Radio, i-Pod, alles wird durch gezielte Transformation seiner ursprünglichen Klangwelt enthoben. Klarheit entsteht durch Diffusion, nichts mehr hat alles zu bedeuten. Rhytmisch legen es Kurt Liedwart & Phil Raymond auf rim an, wobei hinter dem Künstlernamen von Kollegen Liedwart der Mikroton-Labelbetreiber sich verbirgt. Für seine digitalen Zwecke benutzt er im übrigen das von Klaus Filip entwickelte lloopp-Programm, mit dem u.a. auch Christof Kurzmann sein musikalisches Œvre bestreitet. Daneben bedient er die Perkussion – wie auch sein Partner Phil Raymond, der ebenfalls zusätzlich am Computer Platz nimmt.
Etwas kraftvoller gehen Norbert Möslang / Ilia Belorukov / Kurt Liedwart auf sale_interiora zur Sache. Lautstark brutzelt das Soundschnitzel, bis es dunkelbraun wird. Die Sache ist durch, wenn auch noch nicht gegessen; medium rare ist ihre Absicht gar nicht. Der Fieps darf auch bei Gaudenz Badrutt & Christian Müller reinkommen, wenn sich die beiden Eidgenossen ihre Klangpartikel unter strøm setzen. Nach kurzem Aufwärmen kommt bald Stimmung in die Bude, die Festplatten nehmen erhöhte Temperatur an, das Fieber steigt, das Heftige ersetzt das Bedächtige. Aus dem CD-Paket heraus ragt future perfect von Serge Baghdarrians / Boris Baltschun / Burkhard Beins. Ein Haufen an Gerätschaften kommt hier zum Einsatz: Mischpult, E-Gitarre, Delays, Computer, Sampler, Perkussion und Zither. Daraus fabriziert das Trio ein kompaktes Amalgam, ein schlüssiges Sammelsurium aus differenten, ausdifferenzierten Sounds. Und unsicherheitshalber wird das Cover auf Russisch gestaltet. Digitale Expeditionen aus dem besseren Russland laden zur Entdeckung ein.

Bad Alchemy, Rigobert Dittmann:
NORBERT MÖSLANG trug bereits seinen Teil zu "Stodgy" (2011) und "Five Lines" (2014) bei, nun malt er mit seiner geknackten Alltagselektronik mit am Gelb und Schwarz von sale_interiora (mikroton cd 47), mit KURT LIEDWART an Analogsynthie, Electronics & ppooll und ILIA BELORUKOV an Altosax, Electronics & Laptop. Live 2014 in Moskau und St. Petersburg, wo Liedwart und der ganz ähnlich gesinnte Intonema-Macher Belorukov gern an einem Strang ziehen. Auch beim gemeinsamen Teni Zvuka Festival, das die Gelegenheit bot, mit Möslangs bombastischem Herzbeat und Sirene zum anderen μton-Pol zu brettern. Abrupte Kratzer und nesselnde Intensität inszenieren einen vulkanischen Tanz, Schiefer, splittert, wooshende Wellen stechen, alles reißt und bricht in ungebremst katastrophengeiler Verhackstückung. Sogar mit Fetzen von Gesang und hysterischem Gelächter. Das erinnert mehr an Möslang heftigere Voice Crack-Zeiten als an die Finessen des Signal Quintets. Dem gelben Klang und Giallo-Thrill folgen als 'Noir' glissandierende Kurven über wummerndem und zwitschendem Grund. Der unter den Füßen birst und bebt, während die Luft faucht und bibbert. Der Ohrendruck ist enorm, und säße nicht der Sicherheitsgurt fest und Möslang am Steuer, wäre Panik angesagt, wenn einem da Schweine am Ohr kauen und die Fliehkraft an einem zerrt. Wenn dann noch Schafe blöken, sollte einem freilich dämmern, dass es da mit Karacho zum Schlachthof geht. Das nenn ich gesalzen.

Vital Weekly, Frans de Waard:
The other new releases (more of this label next week) include label boss Kurt Liedwart, who plays analog synthesizer, electronics, ppooll (a software thingy) and the first collaboration is one with Norbert Möslang on cracked everyday-electronics and Ilia Belorkuov on alto saxophone, electronics and laptop and it is due to his involvement at the Experimental Sound Gallery in St. Petersburg where this was recorded. Möslang is of course the main point of focus, having a long career in playing cracked everyday-electronics, which is to be understood as 'modifying and recontextualising the use of home electronics'. He had a duo for thirty years with Andy Guhl called Voice Crack and since 2002 he plays solo and with others. His Russian partners are quite well known players from the world of improvised music and their releases find their way to these pages a lot. 'Sale_interiora' is the result of some four hours of playing together, preparing for the concert and is this trio at their best. Whereas Belorukov and Liedwart are sometimes on the quiet side when it comes to improvisation, it is Möslang who drags them into the world of noise, or so it seems. Of course this is not all a furious blast; in the second piece 'Nero' there is quite some room for a more careful exploration of everyday debris, but through these thirty-four minutes it all appears with some brutal force and has a crude edge; it works however very well. It bounces off in many directions and all roads go anywhere, but the fine interaction between these three players prevents it from being messy.