distanz stillstand überwindung

by Bassenger Medwed Stadlmeier

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überwindung 13:18

about

The Bassenger – bass, voc
Gilbert Medwed - drums, synthesis, sound design, noise, recording, mastering
Sascha Stadlmeier – guitar, bass, objects, samples, design

live @ KunstbeTrieb, Wien, 14.05.19
thanks to Wolfgang Dokulil

photography by Dan Penschuck (feindesign.de)


thebassenger.bandcamp.com

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more releases by The Bassenger on attenuation circuit:
emerge.bandcamp.com/album/live-re-flexions-sound-art-festival-8

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more releases by Stadlmeier on attenuation circuit:
emerge.bandcamp.com/album/hominine-parts-1-to-3
emerge.bandcamp.com/album/re-encypher
immerge.bandcamp.com/album/stadlmeier-kreysing-emerge
immerge.bandcamp.com/album/zwie-licht
emerge.bandcamp.com/album/zwie-spalt
immerge.bandcamp.com/album/enchantments
immerge.bandcamp.com/album/live-the-waggon
immerge.bandcamp.com/album/transient-behavior
immerge.bandcamp.com/album/25-36-16-26

credits

released February 3, 2020

This release may well be one of the most dramatic in attenuation circuit's catalogue so far. Dramatic in two senses of the word: first because the various layers of spoken word – live on stage and from samples – give the album a certain theatrical quality, like a radio drama (but with no narrative) where you try to make out what the relationship between the speakers may be. But then dramatic is also a mark of quality, referring to the intense build-ups of suspense and tension that get released in a fury of bass-riffing,metal-banging euphoria second only to the best work of Einstürzende Neubauten.

The title translates as “distance stagnation overcoming” and describes the programme the three performers gave themselves for their 45-minute performance at KunstbeTrieb Vienna on 14 May, 2019 documented on this album. The Bassenger aka Julia Zemanek culls all sorts of droney textures from her electric bass, but also forms a hard-riffing rhythm section with Gilbert Medwed on drums in some parts. We are almost in avant rock territory here, and the Bassenger sometimes sings fragmentary improvised song to a sad, melodic bass accompaniment before switching into her sardonic spoken-word mode and Medwed switches to synthesiser and other noise-generating devices. Unlike his fellow players, Sascha Stadlmeier does not speak live, but provides samples of speech alongside his own percussive, processed treatment of an electric guitar and bass and an amplified wood-and-metal object custom-built for him by Eric Leonard. Completely improvised, but subtly structured by the premeditated dramaturgy, this album goes to show what exciting music can be created by putting together creative minds from seemingly different musical backgrounds.

File under: Free improvisation, avant rock, sound art, post-punk

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VITAL WEEKLY

When not working on releases as EMERGE for his Attenuation Circuit label, Sascha Stadlmeier can be found on many stages across Europe. Playing solo, again as EMERGE, or in various ad hoc combinations. On May 14 last year, he was at KunstbeTrieb in Vienna and playing the guitar, bass, objects and samples, along with The Bassenger (also known as Julia Zemanek; bass and vocals) and Gilbert Medwed (drums, synthesis, sound design and noise). The title can be translated as 'distance stagnation overcoming' and they played for some forty eight minutes and the result can be found on this release. This is surely a strange release, even for Stadlmeier. He's a more than an occasional member of Doc Wör Mirran and they play a sort of krautrock; this trio is also rocking; in a very peculiar way. The music is throughout improvised and very spacious. Sometimes it unfolds into a steady rock rhythm but just easily it meanders about for some time. There is sometimes spoken word, of which the meaning eludes me, yet reminded me of the first two Kluster records (of which the religious connotations also went past by me when I first heard them). The press text says it along with the best work of Einsturzende Neubauten; so, it is surely somewhere in the middle, I think. It took me a couple of rounds to enjoy this. At first, I thought it was just a bunch of free improvised music but the more I heard the more sense it made and I started to recognize patterns and underlying ideas and with every round, I enjoyed it more. Certainly, this is an oddball in his catalogue, but for anyone who follows the career of Stadlmeier certainly one to check out.

www.vitalweekly.net/1225.html

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BAD ALCHEMY

Live @ KunstbeTrieb Wien, 14.05.19. Wien? Ich dachte Wien ist tot? Ja mei, dann muss man's halt improvisieren: SASCHA STADLMEIER mit Gitarre, Bass, Samples, Holz & Draht, am E-Bass THE BASSENGER, das ist Julia Zemánek, DJ Lady M, die bei Phal:Angst und an "Planzengenitalien" rumgespielt hat und 2018 auch schon beim Re:Flexions Sound-Art Festival in Augsburg. Der dritte Mann bei Distanz Stillstand Überwindung (ACU 1019) ist GILBERT «Killbird» MEDWED, der etwa bei Lovejunkie und Kill The Dead trommelt und bei den Unknown Lovers auch schon mit Zemánek. Er generiert dazu noch Synthienoise, beide Wiener sprechen, Stadlmeier spielt weitere Stimmen zu. Heulenden Noiselinien durchstoßen kaskadierende Basswellen, monoton bepocht und durchloopt von wieder¬holtem "Du rutscht mir durch die Finger... ist schon gar nicht mehr wahr". Das steigert sich in rockige Aufwallung, fällt aber zurück in das träumerische Selbstgespräch. Gefolgt von fragilem Klingklang auf schnarrenden und vibrierenden Impulsen, von erst kreisendem Automatenbeat, dann rockigem Drumming auf dumpfstem Subwooving. Medwed spricht von unaussprechbarem Sinn in ameisenhaftem Stimmengewimmel und von der Anflutung einer Zeitwelle von 1923 her. Die, dunkel angerockt, in Stimmengewirr mit Zemánek widerhallt. Unscharfe Impulse und dröhnend 'atmende' Wellen operieren als psyche-delischer Funktor und trüben das Bewusstsein, der träumerische Bass umspielt emsig wichsende Schabgeräusche. Bis wieder dunkle Brandung aufwallt von unter Strom stehen¬den Saiten und das Schaben zu grooven beginnt, aber die drei doch den Beinahestillstand vorziehen. In Wiener Dialekt ist die Rede von kannibalisch brutalen Märchen, von der Vielfalt der Bewegung, der Spannung von Ding und Denken, der Verquickung zur Viel¬dimensionalität. Oder alles nur Makulatur? Psychotrone Stagnation wird überwunden durch Detonationen von Bass und Gitarre. Aber gleich wieder kleine Gesten, Poch- und Schabgeräusche zu welligem Auf und Ab. 60 Strohmänner landen so im Feuer der Alten. Nur die Bohne überlebt, wenn auch mit schwarzer Naht.

badalchemy.de

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NIEUWE NOTEN

‘Distanz Stillstand Überwindung’ dat Stadlmeier, voor de verandering eens niet werkend onder zijn alias, maakte samen met percussionist Gilbert Medwed en bassiste Julia Zemanek, bijgenaamd The Bassenger, is qua sfeer goed te beschouwen als een voortzetting van ‘Steps’. We horen Stadlmeier hier op gitaar en bas en alle drie de musici bedienen zich daarnaast van een breed spectrum aan elektronica en in het geval van Zemanek van de menselijke stem. De muziek in het eerste deel van ‘Distanz Stillstand’ klinkt kaal, koud en intens, nog versterkt door het repetitieve karakter. Daar verandert Zemaneks stem niets aan, sterker nog, die voegt er eerder een extra dramatische laag aan toe. In het tweede deel neemt de variatie toe en horen we Medwed uitgebreid op zwaar dreunend en ritmisch slagwerk, terwijl Stadlmeier en The Bassenger een duistere drone neerleggen. In het derde deel horen we net als in ‘Steps’ de wind, maar nu guur razend over de vlakte. Tot slot klinkt ‘Überwindung’. Hier staat de spraak centraal, is dit Medwed, of Stadlmeier? Of zijn het opnames? Het staat nergens aangegeven. In ieder geval gaat het vergezeld van traag stromende, onbestemde klanken. Tot aan het einde het ritme weer zijn intrede doet.

www.nieuwenoten.nl?p=9240

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