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| !:. | . album : Moonstruck . | .:! |
| ::. | artist : Barbara Buchholz | .:: |
| !:. | | .:! |
| !:. | label : Intuition | .:! |
| !:. | cat.nr. : INT 34022 | .:! |
| !:. | | .:! |
| !:. | year : 2008 genre : Avantgarde | .:! |
| ::. | source : CDDA quality : VBRk HQ Joint-Stereo | .:: |
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| : R E L E A S E N O T E S : |
: . . :
. .
. Barbara Buchholz: theremin / Jan Bang: samples, .
. programming / Tilmann Dehnhard: contrabass flute, bass .
. clarinet, baritone saxophone, samples, programming / .
. Ulrike Haage: grand piano, electronic, inside piano .
. percussion / Arve Henriksen: trumpet / Jan Krause: .
. samples, programming / Sebastian Merk: drums / Alejandro .
. Govea Zappino: vocals, guitar / Heike Aumⁿller: harmonium .
. / Christopher Brunner: percussion, vibraphone / Johannes .
. Frisch: double bass / Thomas Weber: guitars, percussion, .
. feedback, piano / Heike wendelin: violin, viola / Susanna .
. K. Wallumrod: vocals / Morton Qvenild: keyboards .
. .
. ---- .
. .
. Barbara Buchholz has managed to produce a unique album in .
. which you sometimes even forget you are listening to a .
. theremin. She paints an image of an ocean of sounds in .
. which you can drift around forever. You see the stylistic .
. banks, but you will never reach them. The current of this .
. music follows its very own laws, which have not been .
. recorded in any musical atlas or illustrated reference .
. book. Barbara Buchholz has done an inestimable service to .
. the theremin with the unambitious simplicity of her .
. aesthetic. That alone would make this CD a milestone, .
. even if it did not also offer such wonderful music. .
. .
. The theremin is enjoying growing popularity, and .
. Berlin-based Barbara Buchholz is one of the worldÆs top .
. virtuosos of this instrument: the magic kit that came to .
. us from Russia at the beginning of the previous century. .
. It is the only instrument that is played without being .
. touched and the grandfather of all electronic .
. instruments. It is the tremulous-sounding superweapon .
. featured on the soundtracks of countless horror films. On .
. her internationally celebrated debut album, Russia with .
. Love, Barbara Buchholz took stock of this unusual .
. instrumentÆs capabilities. On her new CD, Moonstruck, she .
. places it in an entirely new context. .
. .
. On her first CD, Barbara Buchholz presented her .
. instrument; on the new one, the theremin is presenting .
. Barbara Buchholz. It is no longer about the history and .
. present day of the theremin but rather about its .
. possibilities. A master student of Lydia Kavina, .
. grandniece of the inventor of the theremin, Lev Termen, .
. Buchholz is returning to her own roots. The goal is to .
. free the theremin of its overloading of exotic .
. associations, to strip it of nostalgic clichΘs, and to .
. view it as an organic component among the available .
. modern instruments. On Moonstruck, the theremin is not .
. omnipresent in the foreground but rather fulfills a .
. variety of very different functions. Sometimes it is .
. employed as a solo instrument; elsewhere it adds a few .
. timbres; and still elsewhere it provides a fundament of .
. sound for a piece. Barbara Buchholz enables her .
. instrument to achieve normality. Her theremin is ôjustö a .
. theremin. .
. .
. The sound language she has chosen for this historical .
. step is, not coincidentally, anchored in Norwegian music. .
. She almost merges into a unity with the trumpeter Arve .
. Henriksen. Her vibrato-less playing seems to be linked .
. with the trumpeterÆs sound without any welding joints. .
. ôWhat impresses me about Arve Henriksen,ö says Barbara .
. Buchholz, ôis this trumpet sound that does not even sound .
. like a trumpet but recalls instead a sakuhachi flute. He .
. was preoccupied with a long time with the sound of the .
. latter and transferred its subtleties to the trumpet as a .
. way to find an outlet for his inner voice. I too allow .
. myself to be inspired by other instruments, like horn or .
. flute, and come up with sounds that are rather unusual .
. for the theremin. For example, the vibrato-less entry of .
. the theremin. In the pieces with Arve, I could try out .
. how similar the trumpet and theremin could sound, and .
. whether there can even be pieces in which they fuse.ö .
. .
. Another important source of inspiration and one of the .
. components of the albumÆs sound was Susanna & The Magical .
. Orchestra, who are also from Norway. ôI met Susanna & the .
. Magical Orchestra in 2006 at the Moers Festival. I was .
. very touched to hear how the band made silence visible. .
. They enjoy the silence so completely that sometimes you .
. hold your breath and think the music is standing still. .
. Reflecting on silence was a core idea that carried me .
. through the whole production. Dealing with silence rather .
. than dealing with sound.ö .
. .
. But the Berliner does not just play with Norwegians. The .
. Kammerflimmer Kollektief fascinates her for its ôcontrast .
. of improvised noise, beautiful melodies, and electronic .
. ambient influences. It is a very lyrical music, which is .
. optimally suited to theremin. It reminds me of the .
. figures of Niki de Saint Phalle and Jean Tinguely. Those .
. colorful, happy figures and the rusty, wobbly, squeaking .
. equipment that breaks up that beauty. Both together they .
. produce the perfect work of art. I hear this fissure in .
. the Kammerflimmer Kollektief too. It inspires me to .
. ignore questions of style and instead to bring together .
. what doesnÆt seem to belong together.ö .
. .
. Ulrike Haage is familiar from the Rainbirds, the band .
. Stein she founded with Phil Minton and FM Einheit, and .
. from other projects and countless radio plays. The piece .
. ôEvocationö was created with her; it ôis really about how .
. the morning sun gradually sends its rays through the .
. clouds and asserts itself. Her emphatic rhythm is .
. accompanied by this totally delicate theremin, as fragile .
. as the rays that shine through.ö Other guests included .
. the Norwegian keyboarder Jan Bang, the Berlin saxophonist .
. Tilmann Dehnhart, bassist and programmer Jan Krause, and .
. the Uruguayan composer Alejandro Govea Zappino, whom she .
. met through MySpace. They have all not simply left their .
. own timbres on the CD but fundamentally influenced the .
. shape of the music. Barbara Buchholz does more than .
. simply create a new sound context for her instrument; she .
. also achieves a kind of unconventional collective network .
. in which the theremin can be continuously redefined. .
. .
. The musical statements on the disk range from .
. sacred-sounding music by way of ambient music to .
. electronic music. For all the differences among the .
. individual pieces, a boreal arc connects them. The .
. selection of her collaborators was anything but arbitrary .
. nor was it due to a momentary whim. According to Barbara .
. Buchholz, all of the musicians share a combination of .
. abstract and emotional sound. Another bond among the .
. pieces is the protagonistÆs composure. Never before has .
. the theremin gotten by with such as small dose of pathos .
. as it has on this CD. .
. .
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| !:. | 01 02:49 Sixeight | .:! |
| !:. | 02 01:38 Alles Glⁿhen | .:! |
| !:. | 03 03:47 Stein | .:! |
| !:. | 04 06:43 Moonstruck | .:! |
| !:. | 05 02:04 Moss II | .:! |
| !:. | 06 05:26 When I'm Laid | .:! |
| !:. | 07 03:33 Evocation | .:! |
| !:. | 08 04:50 Surfing & Waving | .:! |
| !:. | 09 02:36 ╓d | .:! |
| !:. | 10 04:01 Moss I | .:! |
| !:. | 11 02:22 Rindenblinde | .:! |
| !:. | 12 02:10 Dune | .:! |
| !:. | 13 04:12 Little Liar | .:! |
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| !:. | . We are dudes and dudettes who prefer to keep a family vibe . | .:! |
| !:. | within our group. Music love and friendship are the key | .:! |
| !:. | values that keep us together. | .:! |
| !:. | If you look at the definition of KINKY - it means | .:! |
| !:. | something new, unusual and also showing or appealing to | .:! |
| !:. | bizarre or deviant tastes. Now apply that definition to | .:! |
| !:. | our family and you get a pretty vivid description of our | .:! |
| !:. | modus operandi - delivering a variety of electronic music | .:! |
| !:. | styles which cater to our eccentric palette. | .:! |
| !:. | Of course we also have an affinity towards good beer and | .:! |
| !:. | cute girls (oh yeah, our girls prefer men). We have an | .:! |
| !:. | email where you can contact us if you'd like to spice up | .:! |
| !:. | your life. | .:! |
| !:. | | .:! |
| !:. | Disclaimer: | .:! |
| !:. | Don't spread our stuff on any public sources like p2p. It | .:! |
| !:. | also applies to public dupechecks. It won't hurt your | .:! |
| !:. | ego-meter too much. Please respect our decision, we do NOT | .:! |
| !:. | want our releases to appear there! | .:! |
| ::. | | .:: |
: . _| Contact: kinkygirl [at] hush.com |_ . :
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| !:. | BCC BEX BOSS CMC dh DPS DRUM EMP gEm kW mbs MPX PsyCZ sb | .:! |
| ::. | | .:: |
: . _| soup TR tronik TrT UPE |_ . :
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| |__ our friends and fans | |
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by H7/dS! 13/02/2005