____ _____ ___ ________ _______ _____ _______ _______ ____ _____
\ |/ // |/ \\_ // __//_ //_ // |/ /
_ _/ _/ / |_ / / \_ /____/ _/ / _/ /__
_\\\____\_____\______/___/\____/____\_______________\_____\_____\_____\\//_
cdr|m's
.:: a klangwerk release ..................................................::.
artist :: slopshop
release :: interpretations
year :: 2002
genre :: lo-fi
label :: poets club
ripper :: glueck
date :: 02-apr-2002
quality :: 192kbps/44,1khz
source :: compact disc
.::.......................................................................::.
01 blue_angel 5:42
02 transzendenz_express_(version) 5:58
03 hypericum 6:45
04 open_doors 8:42
05 swingin_millie_(ian_simmonds-slopshop_jam) 6:52
06 tus_ojos 6:15
07 transzendenz_express_(sensorama_mix) 5:39
08 unending_(by_shantel_-_slop_shop_rmx) 6:32
09 cone_(blackfish-schwalm_jam) 6:42
10 transzendenz_express_(jimi_tenor_remake) 6:11
11 stayand_come_(brian_eno_rmx) 7:19
playtime :: 01h 12m 37s
.::.......................................................................::.
"it's too funky in here", may have been the first thoughts made by
j.peter schwalm after listening to the remixes and "remakes" of
his own tracks cultured by a group of friendly individuals being
part of the same parallel universe in music dedicated to honouring
his being. however, he did finally grow to love every single one
of the convincing interpretations, including, in fact, his own
further versions of slop shop tracks but also works of other
artists. five of the eleven "interpretations" are brand new and as
yet, nowhere previously released. the rest, which are well known
and familiar to vinyl-junkies, are to be found in various 12"
forms.
but first things first: why at all a remix-album from slop shop
alias j.peter schwalm, who feels more a part of the family of such
jazz greats like miles davis or above all, joe zawinul? why the
man who, just to mention, is known for his formidable project
"drawn from life" with brian eno on cd and on selected stages
(porto, japan) and who, according to his own statements, has
nothing much to do with the current club-scene? the answer is
simple and yet complex at the same time, and the album title also
gives much away to the aesthetic intentions of the project: slop
shop "interpretations", as a culmination of artists such as
atomhockey, jimi tenor, ian simmonds and brian eno united, are not
necessarily dissimilar to the 'song lines' of the aborigines; a
dream transcendence of ever progressing developments in a clear,
artistic vision. in return, schwalm's unmistakable signature is to
be found on his selected works of other artists such as shantels
"unending" or ian simmonds' "swinging millie".
'the song remains the same', a statement however, which could not
be more appropriate. the sheer earthy yet intricate substance of
great schwalm tracks like "blue angel" (in a very funky and groovy
atomhocky -mix) and "transzendenz express" has still been
preserved. only rhythmical structures have been adapted to each
field with appropriate instrumentation and shading accordingly,
and here and there, new applications of sounds which lend the
original track a certain 'twist', open new drawers and let new
functions unfold.
as if wanting to lay his own, protecting hand upon his
masterpiece, j.peter schwalm serves us with a 'home made'
"transzendenz express" version which makes quite a 'danceable'
miracle out of an elegiac- electronic love song. it was obvious
that, roman flⁿgel and j÷rn-elling wuttke aka sensorama would
interpret this track quite differently: they have given it a
somewhat playful treatment, mixing their chamber music
electro-ambient sounding aestheticism with the roomy presence of
the slop shop style. the finnish electro-jazz "allrohe roomy presence of
the slop shop style. the finnish electro-jazz "allrounder" jimi
tenor braves totally new dimensions with a "remake" of
"transzendenz express" worthy of being described as pure genius: a
virtual jazz big band complete with genuine sax chases through
different worlds of style, the schwalm pasted vocoder voice
whizzes forwards, backwards and sideways through a fascinating
amalgamation of pressing beats and breaks.
when peter schwalm works on other artists creations he treats them
with the same degree of quality as if they were his own
compositions. this can be best heard on the "slop shop jam" from
ian simmonds' "singing millie", which peter treated with a
thorough fusion laden therapy. herbie hancock and joe zawinul are
the first we are reminded of when hearing how atmospheric sounding
keys combined with abstractly placed rhythms and cosmic vocoder
scat - parts cohere to each other. a real space trip for open
minded jazz-aficionados. far more earthbound is the slop shop mix
of the track "unending" (original version by frankfurt dj and
musician colleague stefan hantel aka shantel - !k7): peter uses a
straight "four to the floor" bass drum but plays with partly
melodic and partly pure percussive sounds to create an abstract
unending collage. hence the title of the track leaving a paradox
impression behind; the "unending" unimpressed, marching on
forwards, treading yet making no ground as if held back by an
invisible hands clutch. in total contrast however, we have the
blackfish & schwalm mix of the already impressive original of slop
shops "gone" from the album "makrodelia": much effort has gone
into this production with schwalm trying his own hand at playing
trumpet (uncanny in its similarity to miles davis), and out of the
depths of space emerges one of the most impressive pieces of music
ever to leave the studio.
it's impossible in this way to go into such detail of all
"interpretations". however, one must take into account the
achievement made in producing the tracks "open doors", "hypericum"
(based on the slop shop-eno-track "so nah") and "tus ojos" (a
variation of the classic "gone"), all three worthy slop shop
tracks of which none can be categorised as a "remix" or as pure
"live" versions. that's fusion. stuff, not just out of different
musical styles but also out of completely different ways of
creating it.
the grand finale however, must be left to grandmaster eno who has
undertaken an interpretation of the track "stay...and come" - the
very track from slop shops debut album which had drawn enos
attention to the young frankfurt based artist in the first place.
for peter had, without knowing, in some way created enos own
concept of 'space jazz' about which, according to his own
testimony, the 'godfather' of ambient and producer par excellence,
had dreamed of doing for years. now the revenge of the senior on
the junior partner has taken place with a thunder storm of
gigantic sounding loops and echo effects unleashed, giving off a
distinct "weed"-aroma spreading in all directions but
simultaneously projecting the concept of "space jazz" into the
future. very dark, but indeed thrilling!
"mission accomplished", one can only exclaim. the adding of new
possibilities and substance by the counter-laying of playful
intricacies to an already matured, musical master plan has truly
been achieved. the "interpretations" never stand at odds with the
originals and all of those involved have played along the lines
with their material. on the other hand there has been enough
static built up to let this piece of work shine brightly, be taken
seriously, and stand out as a star in its own right. as the
contemplating extract from "gone" suggests; "i like to remember
things my own way, not necessarily the way they happened."
.::.......................................................................::.
greetings :: sb, qdp, sour, dps, it, rac, dh, sfe, hbz, igr and mgc
.::.......................................................................::.