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Das Tote Kapital & Gerald Fiebig

by Das Tote Kapital & Gerald Fiebig

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1.
2.
Chance 06:28
3.
Drop-out 00:42
4.
5.
Horror vacui 05:05
6.

about

Markus Joppich: guitar
Johannes Engstler: drums, dulcimer, bass, trombone, field recordings, samples
Gerald Fiebig: field recordings, samples*, electronics, amplified objects
* sounds of blank vinyl grooves by LAB BINÆR . Lab for Media Art

Recorded by Johannes Engstler at Motorische Endplatte Studio, Königheim
Mixed by Johannes Engstler & Gerald Fiebig
Photography, design & mastering by EMERGE

www.motorische-endplatte.de
www.geraldfiebig.net


this is a joint release between
attenuation circuit
gebrauchtemusik
Motorische Endplatte

attenuationcircuit.de
gebrauchtemusik.bandcamp.com
www.motorische-endplatte.de

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more releases by GERALD FIEBIG on attenuation circuit:
emerge.bandcamp.com/album/siteworks
emerge.bandcamp.com/album/fiebig-emerge-lls
emerge.bandcamp.com/album/for-the-record
emerge.bandcamp.com/album/recordings
emerge.bandcamp.com/album/pferseer-klangtrilogie
emerge.bandcamp.com/album/split-7
emerge.bandcamp.com/album/14-x-2b-4a-4b
emerge.bandcamp.com/album/compound
emerge.bandcamp.com/album/post-industrial
emerge.bandcamp.com/album/sustained-bending
emerge.bandcamp.com/album/gleaming-fluff
emerge.bandcamp.com/album/viator
emerge.bandcamp.com/album/condensed-endeavour
emerge.bandcamp.com/album/convection
emerge.bandcamp.com/album/confound
emerge.bandcamp.com/album/split-8
emerge.bandcamp.com/album/modul-3
emerge.bandcamp.com/album/raumpunkte
emerge.bandcamp.com/album/soundcycle

credits

released January 13, 2021

Johannes Engstler (drums, double bass and various other instruments) and Markus Joppich (acoustic guitar) have been active as the duo Das Tote Kapital since the early 2000s. Their widely differing backgrounds as a classically trained guitarist and composer (Joppich) and drummer of hardcore punk outfit Robotnik, self-taught multi-instrumentalist, and owner of analogue studio and DIY label Motorische Endplatte (Engstler) make for a truly genre-defying approach to free improvisation. Adding another ally to their unusual coalition, they invited radio artist and electroacoustic composer Gerald Fiebig for two collaborations. In both cases, spontaneous live improvisation is one main compositional strategy while multitracking in the studio is the other.

The first of these collaboration, recorded at Engstler's Motorische Endplatte studio over the course of three days in 2016, is “Man muss die Straße machen” (track 6). The 20-odd minute piece was broadcast as a radiophonic composition on Glasgow-based radio art station Radiophrenia in 2019. Here, it appears on fixed media for the first time. Combining anecdotal field recordings of Fiebig's journey to the recording session and sounds of Engstler's life in the converted farm house that's home to Motorische Endplatte studio (complete with tractor, wood chopping, and the family feeding their chickens) with an overdubbed trio improvisation, this long-form piece blends rather different approaches to making music in a way Luc Ferrari might have done.

The other five, much shorter pieces (tracks 1 to 5), were recorded in 2019. The basis for the five pieces is formed by Engstler and Fiebig improvising in the studio, with Fiebig on no-input mixer and samples and Engstler on a great variety of acoustic instruments ranging from drums to dulcimer. With these improvisations recorded, Joppich decided which ones to add to and overdubbed his equally improvised guitar parts. So one could say that all the pieces on this release simultaneously were and weren't created in real time – a paradox that befits the unexpected, and at times humourous, cuts and clashes found on this album.

File under: electroacoustic music, free improvisation

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DarkUndergroundMusicZine

Germany's Die Tote Kapital & Gerald Fiebig team up on this recording and bring in an improvised mixture of experimental and electroacoustic music and this is a review of their self titled 2021 album which was released by Attenuation Circuit.

Drums and electronic music sounds start off the album while the music also gets very experimental ad avant garde sounding at times. All of the music is also improvised along with some field recordings and acoustic style instruments also being added into some parts of the recording and most of the tracks are instrumental.

A couple of the songs are also very long and epic in length while each track also sounds very different from each other which in return makes the recording more diverse sounding. Some songs also add in some amplified objects and samples along with some touches of avant jazz and early 20th century music and as the album progresses a brief use of spoken word parts can also be heard.

Die Tote Kapital & Gerlald Fiebig plays a musical style that takes avant garde, experimental and electroacoustic music and mixes them together to create a sound of their own as well as keeping everything improvised and instrumental while the production also sounds very dark.

In my opinion this is a very great sounding collaboration between Das Tote Kapital and Gerald Fiebig and if you are a fan of avant garde, experimental and electroacoustic music , you should check out this album. RECOMMENDED TRACKS INCLUDE "Chance" and "Horror Vacui". 8 out of 10.

hatredmeanswarzine.blogspot.com/2021/01/das-tote-kapitalgerald-fiebigself.html

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BAD ALCHEMY

Das Tote Kapital & Gerald Fiebig (ACU 1025 / Gebrauchtemusik, gm035, CDr) entstand bei Besuchen von GERALD FIEBIG in Königheim, 6 km westlich von TBB, im Motorische Endplatte Studio von Johannes Engstler, als Drummer des Darmstädter Hardcoretrios Robotnik der punkige Akzent in Das Tote Kapital. Hier spielt er neben Schlagzeug, Bass, Hackbrett und Posaune und, wie sein Besucher, mit Field Recordings & Sampler. So entstanden 2019 fünf Klangbilder, die dem 'Horror Vacui' eine 'Chance' einräumen, und auch, dass sich Markus Joppich als der klassisch ausgebildete andere Kapitalist mit der Gitarre improvisierend dazu mischt. Klopfklopfklopf, furz, pfeif, flimmer, Engstler poltert und pocht auf Groove, Fiebig knurscht mit Vinyl, die Gitarre prickelt und gibt sich träumerisch, die Posaune lernt von einer Schmeißfliege das Brummen, Fiebig betont den Krachfaktor. Einer rappelt, einer trötet, einer harft an Draht, etwas flattert, Joppich schreckt vor Schönheit nicht zurück und bringt so Art brut und Poesie unter einen Hut. Eine Maschine mahlt, der Bass unkt, die Gitarre loopt, und Radio 'Universelles Leben' lobt, mit unfreiwillig zugezwickter Nase, das odelwürzige Leben, wie Gott, der alte Schuft, es schuf. 'Man muss die Straße machen', 22-min. und von eher radiophonem Charakter, entstand bereits 2016. Mit Luc Ferrari als Vorbild für eine ländliche Promenade, mit pfutzendem Traktor, klapperndem Gestänge, noch mehr Geklapper, Stimmen beim Einkaufen, Kindergebabbel, Pfiffen, Holzhacken, Hühnergegacker, Regen, verbunden durch Hantieren mit Krimskrams, sparsam Drums und zärtlich befingerten Gitarrensaiten. Junge Bauernweisheit: Tja, on ä Dorf ohne Gråshopfer un Spinner, konn si kaum ener mehr erinner.

badalchemy.de

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VITAL WEEKLY

Gerald Fiebig is one of the few people behind the label, and he works as a composer of electro-acoustic music and here he teams up with Das Tote Kapital, a duo of Johannes Engstler (drums, dulcimer, bass, trombone, field recordings and samples) and Markus Jippich (acoustic guitar). They have a background in punk and classical music. The three of them worked together for the first time in 2016, which is the sixth and longest piece here, while the other five were recorded in 2019. This started with Fiebig and Engstler improvising and Joppich later adding his guitar through overdubs. These five pieces are half the release, which is forty-three minutes in total. I quite enjoyed these first five pieces, which were rather brief and to the point, with an absolutely curious mixture of instruments in a rather free mode and a whole mix of electronics and field recordings. Think of this as recordings from P16.D4 before they ended up in a cut 'n paste montage technique. The element of free improvisation is very much a presence on these recordings. The last piece, 'Man Muss Die Strasse Machen' was fine, but it loses its focus here and there and the editing is missed here, something which made the other five so nice. It is not a bad piece, but it could have been better, I guess.

www.vitalweekly.net/1270.html

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a3KULTUR

Johannes Engstler und Markus Joppich, seit den frühen 2000ern als Das Tote Kapital aktiv, haben extrem unterschiedliche musikalische Hintergründe: Joppich ist klassisch ausgebildeter Gitarrist und Komponist, Engstler Drummer der Hardcore-Punkband Robotnik. Wie der Titel ihres neuen Releases, »Das Tote Kapital & Gerald Fiebig« (Digitalalbum | CD) verrät, hat sich das Duo hier mit dem Augsburger Soundartist Gerald Fiebig zusammengetan. Ein 2016erStück von Engstler und Joppich wird ergänzt mit fünf Tracks musikalischer Impro Kooperationen. No-Input-Mixer und Samples treffen auf Schlagzeug, Hackbrett, Gitarre. Live- und Studio-Improvisationen überdecken sich dabei, das Ergebnis ist zwischen Cage und Dada, zwischen Zen und Knarz.

a3kultur.de

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NIEUWE NOTEN

De eerste keer dat Fiebig samenwerkte met Das Tote Kapital, oftewel gitarist Markus Joppich en multi-instrumentalist Johannes Engstler (te horen op drums, dulcimer, bas, trombone en elektronica) was in 2016. Het kwam op dit naamloze debuut, uitgebracht door Attenuation circuit in samenwerking met Gebrauchtemusik en
Motorische Endplatte, terecht onder de titel ‘Man muss die Straße machen’. De vijf overige, beduidend kortere stukken, nam dit trio op in 2019. Dat eerste stuk, ruim tweeëntwintig minuten durend, is een prachtig collage van allerhande geluiden en middels veldopnames verkregen kwebbelgesprekjes. Het heeft allemaal iets terloops, wat overigens niet wil zeggen dat er in dit stuk geen samenhang zit, het is met name Engstler die hier met zijn drumstel wel degelijk zorg voor draagt. De vijf overige stukken kennen al even groot toevalselement, speelsheid zo u wilt. Verder valt me de samenhang op tussen de instrumenten en de elektronica, één die opvallend natuurlijk aandoet.

www.nieuwenoten.nl?p=11872

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freiStil

Treffen sich drei musikalische Herkünfte, sagen alle drei: Machen wir doch eine famose Symbiose! Die Mischung macht's, die Mischung macht's persönlich. Markus Joppich kommt von der klassischen Gitarre und Komposition, Johannes Engstler vom Hau-drauf der Darmstädter Hardcore-Punkband Robotnik und betreibt das Analogstudio und DIY-Label Motorische Endplatte – und Gerald Fiebig hat sich Meriten in der Radiokunst, der elek[t]roakustischen Komposition und in der originellen Verarbeitung von field recordings erworben. Diese extrem heterogene Allianz, die sich zusätzlich noch die Kulturtechnik der Improvisation aneignet, erklettert assoziative Niveaus, von denen homogene Ensembles nur träumen können. Ausgangspunkt dieser (t)raumgreifenden Kooperation ist Fiebigs Radiophonie unter dem Titel Man muss die Straße machen. Hier dauert das gute Stück 29 Minuten und wurde auf Engstlers zum Studio umgebauten Bauernhof eingespielt. Da fährt Luc den Ferrari, wenn ein Traktor ebenso ertönt wie Landbevölkerung beim Hühnerfüttern. Darüber wird improvisiert, dass es der Sau graust und dem Menschen gefällt. Engstler & Fiebig hatten das Klangmaterial gesammelt und gesamplet, Joppich hat i[m] Nachhinein wahlweise eingegriffen oder eben nicht. Klangpartikel, transplantiert in andere Zusammenhänge: ein Verfahren, mit dem der gute alte Brecht seine Freude gehabt hätte. Wo der Bertl den Most holt – das Tote Kapital & Gerald Fiebig wissen davon ein Lied zu improvisieren. Gebrauchsmusik, die so heißt, weil sie dringend gebraucht wird!

freistil.klingt.org

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