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Diaspar Parts 13 to 22

by Doc Wör Mirran feat. Schnitzler / EMERGE

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Diaspar 13 04:56
Diaspar 14 05:44
Diaspar 15 07:04
Diaspar 16 03:29
Diaspar 17 03:20
Diaspar 18 10:45
Diaspar 19 04:17
Diaspar 20 04:51
Diaspar 21 03:22
Diaspar 22 03:26


attenuation circuit ° ACU 1034 ° 2021
attenuationcircuit.de ° attenuation-circuit@web.de

Conrad Schnitzler
Sascha Stadlmeier
Joseph B. Raimond
Michael Wurzer
Stefan Schweiger
Ralf Lexis

Original recording from the
1990s, additional recording
and mixing in 2020 at
Two Car Garage Studios,
Fürth Germany.

All cover art by
Joseph B. Raimond
from the Diaspar series,
Layout by Sascha Stadlmeier

As always, in loving memory
of Frank Abendroth
and Tom Murphy.
This recording is dedicated
to Ed Asner

This is DWM release #184

Doc Wör Mirran
Spitzwiesenstr. 50
90765 Fürth



more releases by Doc Wör Mirran on attenuation circuit:



released December 19, 2021

The beautiful thing about Doc Wör Mirran is that which each new release – this is number 184 –, they can turn up in a completely different configuration: as a rock band, as quasi-jazz improvisers, as post-industrial noisesmiths, or as an electronica outfit. This release finds them squarely placed in the electronic realm, but within it, they run the gamut from ambient to trip-hop (yes, indeed: please consult track 4!) to atonal spacescapes reminiscent of radiotelescopic signals from outer space, thus fully deserving of the label Kosmische Musik.

Like its predecessor “Diaspar parts 1 to 12”, the album is based on recordings Doc Wör Mirran made in the 1990s with Conrad Schnitzler, a founding figure of said 'cosmic music' also known as krautrock due to his membership in bands such as Kluster, Harmonia, and Tangerine Dream. But the album also contains material that was recorded much later, in 2020, by the Fürth-based core group of Doc Wör Mirran with EMERGE as a guest. The composition of the album manages to skilfully fuse the older and the newer recordings, not by pasting over differences and gaps with overdubs, but by interweaving the more 'musically' developed tracks with intricate, noisy microsounds. The overall feel is of scanning the shortwave radio band for music or, at least, words in a language one can understand. And as in real life, so on this album, the spaces in-between (melodies, genres, voices, stars) are often the most interesting ones.

File under: trip-hop, sound-art, ambient, krautrock, electronica



Auf „Diaspar parts 1 to 12“ hatte DOC WÖR MIRRAN von Conrad Schnitzler contaminiertes Klangmaterial aus den 1990ern mit Aufnahmen von 2013 gemischt. Diaspar parts 13 to 22 (ACU 1034) setzt das fort mit weiteren Schnitzler-Spuren (und auch wieder von Ralf Lexis), diesmal vereint mit Stoff, den Joseph B. Raimond, Michael Wurzer & Stefan Schweiger 2020 mit Emerge generiert haben. Einmal mehr ist da das Studio zum Instrument geworden, zur Zeitmaschine und Hexenküche, in der nach Sound-Art-Rezepten mit mehr Kraut als Rock geköchelt wurde. Die plunderphonische Autophagie zeitigt unbeschreibliche Mixturen: Surreale Exotica mit fernem Kanonendonner, mit künstlichen Vogelrufen in einem summenden Aliendschungel, als orgelige Synthi-Action in schwallenden Wirbeln, Kaskaden, Schüttungen. TripHop in pianistischer, sanft beflöteter Melancholie. Knarzige, pochende Explosivität mit B-Movie-Charme. Ein langer Trip durch die Geisterbahn der Imagination, durch das Portal einer Hollywood-Schmonzette, tickelnd wie eine alte Filmspule, zischend überrauscht, mit kosmischen Schwebklängen über Psychgitarrendünen. Ein sprudeliges Schwirren, Kurven und metallisches Rucken durch eine Klangskulptur. Mehr Sonic Fiction, glissandierend und mit pulsendem Wellensalat und in Stereo lappender Brandung oder mit metalloiden und orgeligen Verwerfungen über surrendem und mahlendem Fond. Zuletzt umklammert eine verhackstückte Bahnhofsdurchsage eine Chimäre mit rockenden Tatzen und kosmischen Flügeln. Mit Spock gesagt: Faszinierend.




These days may seem to have a flurry of Doc Wör Mirran releases going on, for reasons I may not be fully aware of. Another thing I was wondering about is that sometimes these releases say 'feat Sascha Stadlmeier', and now it says 'feat EMERGE', which is the music project of Stadlmeier. Why the distinction, I wondered. From the music this may not be that clear. Working with sounds from other people, not physically present in the Two Car Garage Studios, is something Doc Wör Mirran has done for a long time, and sounds are recycled all the time. So to see them release something with music provided by Conrad Schnitzler, who passed away ten years ago, is not a strange thing. The rest of the cast is small. Founder Joseph B. Raimond is, as always, present, and Michael Wurzer, Stefan Schweiger and Ralf Lexis. The latter being a trio of keyboards, drums and guitar (if I remember correctly from that one afternoon in the Garage). This new album one can see as the extension/recycling of 'Diasper Part 1 To 12' (Vital Weekly 1293), using the old material, adding and substracting sounds, making new configurations. The music has a more electronic feeling than some other music by this hybrid band. Still, there is quite an amount of variation within that massive realm of electronics to be noted. From the light sounding opening piece to the dark closing piece, the mood keeps changing here all around, dark and minimalist to abundant, trippy, at times slightly over the top. All of the latter in good krautrock spirit, of course. I enjoyed the previous release a lot. This new one is, quality-wise, on par with that one.




From what I gather this is the second such collection of collaborations originally recorded in the 1990s before being then subjected to more work a year or so ago. Sound sources were provided by the late Conrad Schnitzler, Attenuation Circuit’s own Sascha Stadlmeier (a.k.a. Emerge), Michael Wurzer, Stefan Schweiger and Ralf Lexis. DWM’s own Joseph B. Raimond then arranged everything for the ten tracks assembled here, each one simply called ‘Diaspar’ and numbered accordingly. If already familiar with DWM, you’ll know that you can be taken anywhere within a roughly hewn electronic landscape of unevenly chiselled synth shards, ’50s sci-fi film noodling, found dialogue, chirps, miasmic psychedelic undertow and broken industrial weirdness of the kind Nurse With Wound were kings at back in the day. Along the way, everything is sometimes loosely held together by a rhythmic interlude or a series of crackles, whirrs and wheezes that look like they were placed into a semblance of order, but mostly this is typical bizarro DWM fare and, frankly, every bit as good as it can be because of that. I don’t often turn to my DWM releases but when I do I always thoroughly enjoy them. I get the impression Joseph B. Raimond always kinda liked his firm ‘outsider’ status, hence not actively pursuing much beyond, but a lot of his music certainly warrants far more attention than it’s ever been accorded. Of course, on this CD the distinct presence of Schnitzler can also be felt (and anybody with a keen interest in abstract electronic music should already have at least a few of his solo records!), but I’m sure all the other sound sources have played an equally significant role. It’s a great collection of pieces, anyway. Just wish I had the first disc now.




Het Duitse Doc Wör Mirran kwam hier eerder uitgebreid voorbij, aan de hand van ‘Hominine part 1-3’ en ‘4-6’. Inmiddels ligt er weer nieuw werk. Vorig jaar zomer verscheen ‘Diaspar Parts 1-12’ en december jongstleden werd daar ‘Diaspar Parts 13-22’ aan toegevoegd. Het betreft in beide gevallen opnames ergens uit de jaren ’90 van de vorige eeuw die in 2013, de delen 1-12 en 2020, de delen 13-22, nog eens met een kritische blik zijn bekeken en aangevuld en dus nu uitgebracht zijn op Cd. We horen de groep in de uitgebreide versie, aangevuld met de inmiddels legendarische Conrad Schnitzler en op de tweede schijf Emerge, ofwel Sascha Stadlmeider, de man die ook de eigenaar is van het label waar al dit moois weer verscheen: Attenuation Circuit.

Adrian Gormley mag beginnen, een jazzy saxofoonsolo, omgeven door wolken onbestemde en soms wat verontrustende elektronische klanken. De duisternis breidt zich in het tweede deel uit, donkere wolken pakken zich samen boven een winters landschap. Zoals vaker op dit soort albums komen we er ook hier weer niet achter wie nu precies een bepaald instrument bespeelt en dus blijft het gissen naar de man achter die staccato pianopartijen in het derde deel, net als dat niet duidelijk wordt wie die kakofonie op de achtergrond in gang zet. Wakker kan ik er niet van liggen. Het vierde stuk is goed te defeniëren als typische elektronica, vanwege het gebruik van synthesizers en de daarmee gemaakte lang aangehouden klanken. Die eerste vier nummers maken duidelijk dat dit twee bijzonder afwisselende albums zijn waarop de band zich zowel van akoestische instrumenten bedient als van elektronische en waarop een boeiende mix wordt gecreëerd van jazz, hedendaags gecomponeerd, experimentele elektronica en noise.

En dan zijn we er nog niet, aan het begin van het vijfde deel staat ineens alles te trillen vanwege de loodzware bas, de spanning van deel twee is weer terug, in het zesde horen we ongetwijfeld stemkunstenaar Jello Biafra de duistere klanken aanvullen en in het tiende deel weet de groep te overtuigen met stomende, industriële klanken. Dit kan zo als soundtrack voor een thriller fungeren. Na de sterk industriële delen elf en twaalf schakelen we naadloos over naar het tweede album, deel dertien is al net zo disruptief. Veldopnames kwamen nog niet aan bod, al zijn ook die te horen. Maar nergens zo mooi als in deel veertien, geflankeerd door een zware drone. En dit album is wat zonniger en minder zwaar op de hand. Zo klinkt deel zestien zelfs melodieus en benaderen we hier de popmuziek. Toch treffen we ook op dit album een aantal bijzonder spannende stukken aan, deel twintig bijvoorbeeld met al die aan de synthesizers ontlokte space-achtige geluiden.





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