ALL DER GUTEN DINGE DREI

by BU.D.D.A.

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about

BUND DES DRITTEN AUGES ARE:
SASCHA STADLMEIER - ELECTRONICS, SAMPLES, VOICE
CHRIS SIGDELL - ELECTRONICS, SAMPLES, GUITAR

GUEST: DIETER MAUSON - ELECTRONICS

RECORDED AT MÀGIA ROJA, BARCELONA 2018
FINAL EDIT AND MASTERING AT THE LOFT 2019
DESIGN BY CHRIS SIGDELL

WE WOULD LIKE TO THANK MÀGIA ROJA

www.facebook.com/BuddA-108237677237015/

credits

released September 19, 2019

Bu.d.d.A. - „Bund des dritten Auges“ is a fairly new project involving experimental musicians Sascha Stadlmeier (EMERGE, attenuation circuit Records) and Chris Sigdell (Leaden Fumes (ex-Phased), b°tong) and which plays meditative ambient drones. Sometimes they play with a guest musician, and sometimes not. For those who need names, it may sound like Troum meets Earth together with Eno… but in reality Bu.d.d.A. builds on the legacy of German industrial band NID (1995-2005), who Chris was a member of, and which released a post-humous CD on Auf Abwegen (Asmus Tietchens, etc.).

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Chris Sigdell aka B°tong (electronics, samples, guitar) and Sascha Stadlmeier aka EMERGE (electronics, samples, voice), two of the most prolific exponents of the European post-industrial underground scene, have teamed up to form a new project which is destined to include varying guests. The punning project name, which pokes fun at the more esoteric tendencies in the scene (“Bund des dritten Auges” translates as “League of the third eye”), already hints at the fact that there is a third party involved. On this first release, which came out of a 2018 recording session at Màgia Roja in Barcelona, the third member is Dieter Mauson (electronics).

Both Sigdell and Stadlmeier have long been known as exponents of “dark” ambient, and in this collaborative project, they are both at the height of their game as far as deep, brooding textures and reverberating metallic clangs are concerned. The immersive soundscapes, abstract yet cinematic in their ominously sustained (dis-) harmonies, are punctuated, however, by subliminally throbbing microrhythms. Analogue and digital sounds interweave, and while the oceanic drones clearly pay tribute to the “industrial” legacy of acts such as Lustmord and Zoviet France, the occasional digital glitch connects the sound to the present era, where even “industrial” production is no longer only about “metal on metal,” but has become increasingly digital in itself. However, Bu.d.d.A. are clearly less interested in social commentary or the rhetoric of transgression that underpins so much “industrial music,” but rather in the fascination of the sound-in-itself. This is made pretty clear not only by the jokey project name, but also by the mock-provocative, absurdist track titles strongly reminiscent of their peers Feine Trinker bei Pinkels daheim (with members of which Sigdell used to play in Niđ): “Trommelfellatio” (phonetic pun, something like “Ear-drum-sticky blow job”), “Magischer Rochentanz” (Magic [Manta] Ray Dance), and “Menopausenmassaker” (Menopausal massacre).


File under: dark ambient, post-industrial

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VITAL WEEKLY

Here's a new thing from two men who seem to play concerts all the time, and quite often they tour together. A musical meeting is something that was to be expected. I am speaking of Sascha Stadlmeier, better known as Emerge (samples, electronics, voice) and Chris Sigdell, better known as a member of NID (1995-2005) and solo active as B*tong (electronics, samples and guitar). In 2018 they recorded music in Barcelona, with guest musician Dieter Mauson (electronics) of Nostalgie Eternelle fame. I don't remember NID that well from before, but in the information, it is said that we could see Bu.d.d.a. as the extension of that group; also mentioned is that it may sound like "Troum meets Earth together with Eno". Both men are known for their love of all matter dark (or should that be all dark matter?) and this new endeavour is along those lines. The music is ambient and atmospheric, as well as experimental. It is drone-based, maybe also has field recordings and in the opening piece has a slow cadence that reminded me of Lustmord. The third one, Mauson, adds to the proceedings and blends in a natural way in. He is the third party announced in the title (all good things come in three). The opening piece, 'Trommelfellatio' (all track titles are silly wordplays, hard to translate. It shows they are not always that serious), is a dark and steady affair, but 'Magischer Rochentanz' is a more open affair with piercing tones, humming voices, the rattling of metallic percussion and quite experimental. The final and shortest piece, 'Menopausenmassaker' has a faster, steady pulse going with some Emerge's trademark samples going and slowly the others take over with a swarm of drones. It is all quite spooky stuff, perhaps not as 'new', but it is very well made. Now we should catch them on tour again and see how it works out in a concert situation. (FdW)

vitalweekly.net/1203.html

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BAD ALCHEMY

BU.D.D.A. ODER DER BUND DES DRITTEN AUGES All der guten Dinge drei (Attenuation Circuit, ACU 1016): Ein Zusammenklang von Chris Sigdell (B°tong) und Sascha Stadlmeier (Emerge) 2018 in Barcelona, mit Electronics & Samples, der eine noch mit Gitarre, der andere mit Vokalisation. Und zudem mit einem Gast, Dieter Mauson an Electronics. Der ironische Projektname hat neben seiner Spitze gegen die esoterischen Tendenzen in der 'Szene' insofern noch diesen anderen Grund. Die Ironie und Feuer-Pfeife-Stanwell-Lakonie hallt auch wider in der Dreifaltigkeit von 'Trommelfellatio' - 'Magischer Rochentanz' - 'Menopausenmassaker', was Darkness und Deepness deswegen nicht ausschließt. Dennoch stellt sich der Bund dezidiert abseits der finsteren und transgressiven Tendenzen der 'Industrial'-Tradition, der Tongue-in- cheekness und vexierenden Uneindeutigkeit von etwa Feine Trinkers Bei Pinkels Daheim, Cranioclast, irr. app. (ext.) etc. weit zugeneigter als dem In-yer-face von etwa Der Blutharsch, Genocide Organ... Die Distanzierung betrifft den Überbau und das plakative sich Gerieren als Part maudit, denn klanglich geht es sehr wohl hinein und hinab in dunkle und auratische, dröhnend gewölbte, dark ambiente Zonen. Dunkle, nicht finstere. Wobei - sind die Übergänge nicht fließend, hat ein schwarzes Schaf wie Lustmord nicht mit Robert Rich gegrast? Deep Listening also, ein Pilgern zu "The Throne of Drones", sogar mit der Anmutung von Mönchsgesang. Sombiente Immersion in die Wasser über und die Wasser unter der Erde, mit, wenn nicht dem Spirit von Steve Roach, Lull, Biosphere..., so doch mit ähnlich sonoren Dröhnwellen. Beim 'Rochentanz' dann mit sirrendem Puls und fein klackenden, spitz wooshenden Akzenten sublimer und lichter, bis auch da die dunkle Dröhnung anschwillt. Auch das dritte Ding hebt pulsend an zu dunkelster Brandung, dunklem Rauschen des Oceans of Sound. Aber wieder auch feinen Pixeln im Mikrobereich. Werder Bremen und den FCA trennen drei Punkte, den Bu.d.d.A. von Bremer Drone-Musikanten nicht einmal eine Tordifferenz.

[BA 104 rbd]
badalchemy.de

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