Mask, by DOC WÖR MIRRAN

Mask

by DOC WÖR MIRRAN

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	1.	Mask, Part 1 13:57
	2.	Mask, Part 2 15:35
	3.	Mask, Part 3 04:44
	4.	Mask, Part 4 11:52

about

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DOC WÖR MIRRAN will play on this year's edition of:
re:flexions / sound-art festival
July, 3rd 2021
www.facebook.com/events/142619527725023/

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performed and recorded by joseph .b raimond, peter schuster, stubsm knut friebel, helmut burghart and kid g.
including backing tapes by frans de waard, laurent gabiot, klaus jochim and emil b.

recorded and mixed in 1994 at "smells like fischer to me" studios, nürnberg
produced by joseph b. raimond and peter schuster.

cover art by joseph b. raimond from the "mask" series of etchings, 1997 to 1998

this is dwm release number 114
dedicated to walter störer
as always, in loving memory of frank abendroth

www.dwmirran.de/dwm.htm

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more releases by Doc Wör Mirran on attenuation circuit:

emerge.bandcamp.com/album/diaspar-parts-13-to-22
emerge.bandcamp.com/album/diaspar-parts-1-to-12
emerge.bandcamp.com/album/hominine-parts-1-to-3
emerge.bandcamp.com/album/hominine-parts-4-to-6
emerge.bandcamp.com/album/24316
emerge.bandcamp.com/album/symphony-in-a-nnoy

credits

released July 17, 2014

Doc Wör Mirran, the ensemble made up of Nuremberg-based ex-pat Californian Joseph B. Raimond and a line-up that has constantly been changing since the start of the project in around 1984, is not only one of the most prolific and versatile groups in the experimental music underground. Their chameleon-like versatility, although often rooted in extended improvisations based on a rock beat and chords, has produced way over a hundred releases that range from country ballads to the analog-noise-tinged ritual ambient quasi-techno of this previously unreleased gem recorded in 1994.

As protagonists of the DIY experimental music underground way before the internet, Doc Wör Mirran have been cultivating a tradition of including tapes sent to them by friends and overseas collaborators into their music. While other releases feature well-known figures such as Genesis P-Orridge, Asmus Tietchens, and Jello Biafra, to name but a very few, the “tape guests” here are Frans de Waard, Laurent Gabiot, Klaus Jochim, and Emil B. The fact that none of the tape parts are recognisable as stand-alone samples or solo parts is proof that the material on “Mask” was not so much improvised but skilfully crafted by this incarnation of Doc Wör Mirran (featuring Joseph B. Raimond, Peter Schuster, Stubs, Knut Friebel, Helmut Burghart, and Kid G.) around the remote collaborator’s material. The etchings used for the cover artwork display a fine example of Joe Raimond’s hallmark style as a visual artist that features on most Doc Wör Mirran covers.

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BAD ALCHEMY

DOC WÖR MIRRANs Mask (ACR 1017, CD-R) lag offenbar 18 Jahre lang in einer Schublade, um nun erstmals veröffentlicht zu werden. Neben Joseph B. Raimond hatte 1994 Peter Schuster (Tesendalo) eine Hauptrolle gespielt, dazu waren Zuspielungen von u. a. Frans de Waard und Klaus Jochim (Telepherique) zum Einsatz gekommen, lauter bad alchemystisch vertraute Namen. Statt auf daddeligen Improvisationen liegt der Akzent mehr auf dem Studio als Instrument. Die Mischung macht's. Alle Zutaten wurden integriert und verdichtet zu Art Brut mit psychedelischem und tribalem Anstrich. Ein wummernder Drone verbindet sich mit perkussiven Klängen, einem erst monotonen, dann zunehmend erhitzten Tamtam, das mit allerhand elektronischen Verzierungen die Hirnwellen und die Glieder von 'Primitiven' in Wallung versetzt, deren Kral sich im Dickicht der Städte Spießeraugen entzieht. Auch Raimonds Zeichnungen machen den Stammestanz zu etwas Urigerem als Tiki Culture. Freejazzsaxophon und Flöte mischen sich ein in den neoprimitiven, aber durch sanfte Gitarre und Bass doch auch swingenden Tanz mit den Demoiselles d'Avignon, die dabei hinter Staubwolken fast verschwinden. Gesteigerter Trommelfuror teils wie mit geklopften Eisenmatten wird durchsetzt von einem Schrillen, das ebenso gut einem Vogelschnabel wie einer Menschenkehle entstammen könnte. Im vierten Maskentanz kehrt das Saxophon wieder, jetzt mit dem zierlichen Getrippel einer Orgel zum mulmig umdröhnten Tamtam. Hinter diesen Masken verbirgt DWM ein besonders schönes Grinsen.

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