For the Record

by Gerald Fiebig

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JOHN GRADY
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1.
05:54
2.
06:50
3.
01:57
4.
09:37
5.
01:32
6.
08:32
7.
03:31
8.
07:29
9.
04:55
10.
01:00
11.
04:19
12.
15:16
13.
02:42
14.
02:55
15.
03:41

about

1 Improvised live in concert at Ganze Bäckerei, Augsburg, 2 April 2016, at a concert in the „echokammer“ series (co-hosted by attenuation circuit).
2 This piece uses various sound sources, including samples from a harmonium.
3 Based on samples from streetcars supplied by www.strassenbahnfreunde.de.
4 This piece is a multi-track composition of sounds that were created by rolling a plastic ball around in a plastic (or, more precisely, a PET) bottle.
5 This piece features Jaromir the cat, recorded by his owner, Martyn Schmidt.
6 An attempt to apply the lessons learned from Einstürzende Neubauten and John Cage to an ironing board, which I recorded with contact microphones.
7 The piece utilises a field recording by Luc Ferrari, “004 _ 1993 - Portugal - chant de messe via haut-parleur” (used by kind permission of Association Presque Rien autour des amis de Luc Ferrari) and some field recordings of prayer calls I made in Istanbul in 2007.
8 This piece is based on the same set of recordings of prayer calls from Istanbul as track 6, plus recordings of church bells from the Azorean islands (the easternmost and westernmost parts of Europe).
9 Dedicated to Carl E. Ricé, with thanks for reminding me of the inspiring lessons of Pink Floyd, and for letting me use a recording of his alarm clock.
10 The bicycle bell sounds are courtesy of Bikekitchen Augsburg (www.bikekitchen-augsburg.de) and were recorded at their premises.
11 Based on sounds generated from the stone sculpture “Hommage à Hans Kayser” by Elmar Daucher (1983), on display at the city library of Neu-Ulm, Germany. The sculpture is made from serpentine and weighs about 3 tons.
12 Thanks to Martyn Schmidt for the inspiration for the title and hence, the concept of the piece (en.wikipedia.org/wiki/Bambini-Code).
13 This piece uses various sound sources, including samples from a harmonium.
14 For this piece, the toggle switches of two (bass and guitar) amplifiers were recorded with an induction coil microphone.
15 Originally released in 2004 by Dhyana Records on the compilation “Fluffituhsi” (www.discogs.com/de/Various-Fluffituhsi-Compilation/release/320157).

Cover design: EMERGE
Photograph: Gerald Fiebig

www.geraldfiebig.net
www.facebook.com/GeraldFiebigAudioArt
www.soundcloud.com/gerald-fiebig | www.gebrauchtemusik.bandcamp.com

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more releases by GERALD FIEBIG on attenuation circuit:
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

as SUSTAINED EVELOPMENT:
emerge.bandcamp.com/album/sustained-development
emerge.bandcamp.com/album/water
emerge.bandcamp.com/album/water-remix
emerge.bandcamp.com/album/crossgrained
emerge.bandcamp.com/album/split

as ORIENTALISM:
emerge.bandcamp.com/album/alis-riot-men

as JESUS JACKSON UND DIE GRENZLANDREITER:
emerge.bandcamp.com/album/kohlenstoff-und-aspirin
emerge.bandcamp.com/album/zumauern
emerge.bandcamp.com/album/wall-of-sound

as DER BAYER:
emerge.bandcamp.com/album/sommerloch

credits

released October 28, 2018

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attenuation circuit Augsburg, Germany

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