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\___ / .\ / K I N K Y C R E W
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| XXX | ...:.: R E L E A S E I N F O :.:... | XXX |
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| !:. | . album : Nonplace 10th Anniversary Edition . | .:! |
| ::. | artist : Various | .:: |
| !:. | | .:! |
| !:. | label : Nonplace (Groove Attack) | .:! |
| !:. | cat.nr. : non28 | .:! |
| !:. | | .:! |
| !:. | year : 2010 genre : Lo-Fi | .:! |
| ::. | source : CDDA quality : VBRk HQ Joint-Stereo | .:: |
: . _| |_ . :
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| : R E L E A S E N O T E S : |
: . . :
. .
. Milk Factory Review .
. .
. .
. press info .
. .
. With this Anniversary Edition featuring fourteen .
. exclusive tracks, Nonplace celebrates ten years of .
. labeldom. Ever since Burnt Friedman shortened his .
. pseudonym Nonplace Urban Field to Nonplace back in 2000, .
. the title has provided an ideal formula for music that .
. soars upward with no intention of being pinned down. In .
. sociological terms, Nonplace Urban Field refers to the .
. fragmentation of American cities whose commercial zones .
. moved out to the suburbs, the evolution of .
. post-industrial container deserts devoid of centre. .
. .
. Nonplace can be grasped as the antithesis of commonplace .
. or also in terms of quantum theory. The whole is always .
. more than the sum of its parts. Quantum physics, that .
. most exact of sciences, considers not just the particles .
. but also their interrelationships. When Nonplace music is .
. coming into being, the smallest, even most random event .
. influences the work. Nonplace is a formula for high .
. improbability, since the sounds happen more on the .
. fringes. In this respect, Nonplace is the .
. counter-programme to the ubiquitous striving for higher .
. redundancy (simplification by digitalization, coding, .
. standardization). Details and rhythms are the agents that .
. de-core the songs and potentially transform them into .
. further versions. The attention shifts away from the .
. individual contribution of any one instrument or player, .
. away from the defining hook and towards the .
. micro-elements of the groove with its patterns of linkage .
. that inhabit the musical forms. In music of this kind, .
. the role played by subjects and grand gestures is no .
. longer central. .
. .
. That ties in with FriedmannÆs notion of dub: ôDub is a .
. method! It allows me to obtain constantly different .
. results on the basis of the same material. The more .
. pronounced the level of improvisation during the mix, the .
. more the raw material, the original, is forced into the .
. background, sometimes even maltreated to the point of .
. being unrecognizable. The procedure allows me to .
. highlight certain musical features of a song while wholly .
. ignoring other ingredients û most likely foreground .
. components such as vocals or instrumental solos. The .
. resultant numbers (tracks) come closer to my own .
. perspective: theyÆre de-cored, so to speak, no longer .
. have a centre. From this point of view neither jazz nor .
. dub are styles. They are tags made up to avoid the .
. artistÆs name, to give them a commonplace, as opposed to .
. a Nonplace!" Accordingly, FriedmannÆs music and the .
. process of its creation reveal no explicit place that .
. might aid orientation, no genre codes or recipes. .
. .
. The best-known label project is FriedmannÆs collaboration .
. with Jaki Liebezeit. They joined forces in order to .
. quietly transgress musical idioms without demonstrative .
. gestures of destruction and deconstruction. With .
. breathtaking precision, their cyclical, uneven rhythms .
. intermesh the played with the programmed: sequences, .
. drums, synthesizers. In spite of rules and binding .
. expressive forms, the strangely abstract, improvised .
. ritual music that results falls somewhere between trance, .
. dub, differentiation and reflection. Nonplace has existed .
. as long as theyÆve worked together. .
. .
. Since Hayden Chisholm (wind instruments) and Joseph Suchy .
. (electric guitar) began working with Nonplace about seven .
. years ago, they have made their mark on numerous label .
. releases. Moving steadily away from jazz into unknown .
. territory, Chisholm authors The Embassadors and pops up .
. on numerous other Nonplace tracks. Listen without .
. preconceptions, become a medium, risk playing a game with .
. no rules: the subconscious reactions associated with .
. blind spots in causal history equally hold true for the .
. playing of Joseph Suchy. .
. .
. The compilation also features five tracks by Flanger. .
. This cooperation between AtomÖ and Friedmann began in .
. Chile in 1996 with Atari computers, samplers, and Akai .
. MPC 3000, and resulted in three programmed post-jazz .
. album releases on Ninja Tune. Since 2005, Flanger has .
. been publishing on Nonplace. Rashad Becker, the labelÆs .
. resident mastering engineer, not only mastered the .
. anniversary CD but re-mixed three back-catalogue tracks .
. at the same time. In addition, Mark Ernestus (rhythm & .
. sound) mixed and co-produced a previously unreleased .
. Embassadors title. .
. .
. . . : _____ : . . .
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| !:. | 01 04:25 The Librarian (Remix) | .:! |
| !:. | 02 05:29 Flow (Friedmann Remix) | .:! |
| !:. | 03 05:31 Iboga Dreamtime (Medium) | .:! |
| !:. | 04 03:44 Makena (Mark Ernestus Mix) | .:! |
| !:. | 05 03:46 Where Should I Go? (Instrumental) | .:! |
| !:. | 06 05:16 Automation | .:! |
| !:. | 07 02:38 Funeral March (Remix) | .:! |
| !:. | 08 02:55 Nightbeat (Flanger Remix) | .:! |
| !:. | 09 03:42 Crime Int He Pale Moonlight (Remix) | .:! |
| !:. | 10 04:10 Crime In The Pale ... (Rasha Becker Remix) | .:! |
| !:. | 11 01:32 Peninsula (2010 License Version) | .:! |
| !:. | 12 06:13 The Sticks (Rashad Becker Mix) | .:! |
| !:. | 13 02:33 Dream Sequence (Soundtrack) | .:! |
| !:. | 14 04:50 Gruppenreise (Rashad Becker Remix) | .:! |
| !:. | 15 03:25 Wirklich (Friedman Remix) | .:! |
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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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logos & layout last update
by H7/dS! 13/02/2005