| Radikal Audio Lab. |
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| "Das Album ist eine beeindruckende Sammlung experimenteller Klanggestaltung - in höchstem Maße filmisch. Von allen Elektroalben der letzten Monate mit Abstand das interessanteste." (Harry Lachner, SWR 2, 18.11.2011) RAL 20111. Bonds Swapping Collaborative work of two composers interchanging derivated sounds. Year: 2011 Duration: 01:00 Composed by Frank Niehusmann & Clemens von Reusner |
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| 2. BRNK The acoustic nucleus this composition is based upon is a random lofi-mono-recording of 22 seconds while experimenting with Csound generated structures. This recording was made with a built-in-microphone of a notebook. Leading formal principles are: selection and design of different loops from this recording. Digital processing of these loops by an extensive use of filtering, granular synthesis, pitch and tempo variation. Construction of larger structures by varying repetitions of previously presented material. Adding of frequency modulated sounds contrasting with existing structures and changes in the acoustic space. Although different in shape and characteristic the layered compositional elements are based on the same origin. Finalist at the MUSICA NOVA 2010 competition of the Society for Electroacoustic Music of the Czech Republik. ISCM World New Music Days Zagreb 2011. Year: 2009 Duration: 04:47 Composed by: Clemens von Reusner |
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| 3. Bugs and bunnies in the reaper The subject of Bugs and bunnies in the reaper is a controversial issue. There are many factors which influenced the development of Bugs and bunnies in the reaper. While much has been written on its influence on contemporary Year: 2011 Duration: 03:00 Composed by: Frank Niehusmann & Clemens von Reusner |
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| 4. Everything under control by my nanotec swarm A nanotec swarm is a machine that follows me like my shadow. It is a swarm of virtually invisible small robots which do both: act as individuals and behave as a swarm - depending on what there is to do. Sometimes the swarm produces an atmosphere around me to survive wherever I want to go. Sometimes they simply clean my contact lenses. Nobody knows the number of members in the swarms. Indeed the number is continously increasing and decreasing: it depends. To have a swarm is like having a car, clothes, life-insurance, weapon, medicine, organizer and much more in the form of a shadow. I enjoy that my swarm makes noises - that reminds me that someone is doing something for me. This piece was composed for live-performances with a Max/MSP-patch which makes the traditional computer-keyboard playable like an organ-keyboard: a letter-key represents a sound-sample, a number-key represents a special speed and direction to play that sound. So this piece is played and recorded live by "type-writing" on the computer's keyboard to treat several prepared sounds in various speedings forward and backwards. Year: 2005 Duration: 04:44 Composed by: Frank Niehusmann |
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| 5. Gasometer Among the three sounds used for this composition the recording of the construction works inside the "Gasometer Oberhausen" is the essential: a huge space full of reverberant sounds und echoes of strokes with hammers. The "Gasometer Oberhausen" is a nearly circular, tower-like building (height 117 meters, diameter of 67 meters) from the time of heavy industry at Ruhr-area (built in 1929). The second sound in this composition is a bass tone: recorded from a computerized industrial rotary cutter at a research laboratory of medical engineers at the Ruhr-Universität Bochum. It is used for the production of top-quality custom-fit titanium-replacements for smashed cranial bones of accident victims. The third sound in this composition is a metallic and melodic rhythm - the sound of a conveyor belt in about 1000 meters depth at the coal-mine "Friedrich Heinrich" in Kamp-Lintfort. - In 2006 Gasometer was among the award winners of the competition for electro-acoustic music "Short Cuts: Beauty" - a contribution of ZKM (Center for Art and Media in Karlsruhe) to the "ISCM World New Music Festival" in Stuttgart; in the words of the jury's declaration: "Frank Niehusmann shows austere beauty: in his piece he depicts the vastness of the industrial space of the "Gasometer" and confronts it with sounds of industrial production and mining. Using these unprocessed and thus "un-alienated" he creates an intensive listening experience which affects directly." Year: 2006 Duration: 03:38 Composed by: Frank Niehusmann |
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| 6. HO HO was realized with the sound-synthesis-language Csound. Percussive islands of sound. Spatial movements, modulated noise, lingering sound in a wide space. Moving area. Deconstruction of the sound islands, variation, densification and repetition. Single steps prove the composers temporary attendance in a quietful and specific location called Ho in western Denmark. Awarded at the MUSICA NOVA 2009 competition of the Society for Electroacoustic Music of the Czech Republik. Year: 2008 Duration: 13:06 Composed by: Clemens von Reusner |
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| 7. rückbau Near the village of Wierthe, west of Brunswick at the railway Hannover-Brunswick in the northern part of Germany, the NORDZUCKER AG has operated one of the largest sugar factories in the region. Various sounds and noises deeply influenced the soundscape in the environment - not only during the annual three-month campaign. Built in 1866, the factory was dismantled after the end of production on 31.12.2005 from 2006 to 2009. On the site a solar park was built in the meantime. The composition rückbau is about these very specific sounds of demolition and dissolution. Soundscapes of abandonment as well as soundscapes of building are audible only for a limited time at a specific place, but sometimes for years. They are omnipresent parts of our industrial culture. The enormous energy that is required to build such a large factory is, conversely, also used for their dissolution. Both have a deep impact on the acoustic sphere. At the end of the composition the only sound mark of the village Wierthe returns and is to be heard in the distance. Besides the aspect of documentation the idea of deconstructing mainly influenced the formal and structural work as well. Year: 2011 Duration: 04:55 Composed by: Clemens von Reusner |
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| 8. TESA 4124 In the first part of the piece (1-cvr: 3'10 min.) Clemens von Reusner recorded, digitally processed and uploaded various operations of tearing, sticking and peeling off "TESA 4124" adhesive tape. Frank Niehusmann downloaded, remixed and then again uploaded this material (2-fn: 3'10 min.). This version was in its turn downloaded, remixed and uploaded by Clemens von Reusner (3-cvr: 1'54 min.). In this way a work was created with six consecutive parts, which depend on each other and are related to each other in their structural and proportional nature (4-fn: 1'54 min., 5-cvr: 0'56 min., 6-fn: 0'56 min.). In 2008 TESA 4124 was honored as a "finalist" for the category "Arts sonore et radiophonique" at the French competition "Phonurgia Nova Awards". Year: 2008 Duration: 11:42 Composed by: Frank Niehusmann & Clemens von Reusner |
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| 9. Top spin slices and returns This piece is about several kinds of modern sports - and it has all you need: pings and pongs, clicks'n'cuts, dc-offset, phase-vocoding, sonic mumbelizing, advanced alienizing, tube-saturation and square root distortion, added vinyl noise and high end bit reduction filters, nu-beatz and (real) off-beats, slow-motion de-reverberation and subharmonic frequency modulation, content management based batch commands, hot noise models, very slow pre-delays and high-speed post-production, it is completely re-engineered from scratch, audio-refreshed with second order neural drum processors, it has brand new transwave cycles, unanswered questions and inverse transonic jungelizings. In 2010 Top spin slices and returns was honored as a "finalist for the electro-acoustic music section" at the Italian competition "VIII International Competition for Composers Città di Udine". Year: 2010 Duration: 10:10 Composed by: Frank Niehusmann |
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