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Mutatis Mobilis


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former also available as CD-R / SOLD OUT !
former also available as cassette (ltd.ed. 15 copies) / SOLD OUT !

image by Michael Herbst

This music can be enjoyed either as a release by itself,
being two tracks of equal length, or you can open this
music in a multi-track audio-programme and play them
simultanously and regard each layer,
track one/left channel, track one/right channel,
track two/left channel, track two/right channel,
as an independent sound source, and create your own mix.
The source material here is from Aalfang Mit Pferdekopf's
'Mutatis Mutandis' and Freiband's 'And a 1, 2, 3, 4 go',
all reworked using these sources on cassette and played
back on two four track cassette machines. September 2012
at Geluidwerkplaats Extrapool. Nijmegen.



more releases bei Frans de Waard on attenuation circuit:






released August 10, 2017


Mutatis Mobilis (ATC 1017, Cass. / ACR 1028, CD-R) von FREIBAND gibt es bewusst auch in einer Cassetten-Version. Schließlich feiert Frans de Waard da die Wunderwelt, die ein 8-Spur-Tonband einem kreativen Kopf in den 80ern bescherte. Dazu gehörte auch das MailArt- und Kollaborationsfieber der DIY-Genossenschaft, dem Freiband dadurch Referenz erweist, dass neben eigenen Klangresourcen auch Material von Aalfang mit Pferdekopfs Mutatis Mutandis wiederkehrt, das selbst wiederum Klangquellen von de Waard mitverarbeitet hatte. Mit dem Tauschprinzip korrespondieren auch offene Werk- und Formvorstellungen, dergestalt, dass die A- und BSeite, die beiden gleichlangen Tracks, zeitgleich gehört oder sonstwie gemixt werden können. Sowieso bieten sich diese Dröhnscapes an als Projektionsfläche für adäquate Imaginationen - als industriale Szenerie mit surrender Turbine, menschenleer, nur von Meeresbrandung beleckt und vom Wind gestreichelt. Oder auch nur als postindustriales Mantra, als ein sublimes Pulsieren und Sich-Wellen der Welt und der Zeit. Die B-Seite kommt schnarrender, mit der Anmutung eines Sprachflusses zu Beginn, wechselt dann aber ebenfalls zu einer sanft sirrenden, wie 'geblasenen' Entgrenztheit. Zu einem synästhetischen 'Schimmern', ätherischen 'Atemzügen', einem feinstofflichen Weben. Wie nicht von dieser Welt. Sirrend, rieselnd, in ruhigen, langen Schüben, mit dem vagen Eindruck von fernem Glockenläuten, oder einfach nur einem metalloiden Beigeschmack.




Mutatis Mobilis (ATTENUATION CIRCUIT ACR 1028) is a fine item by the great Freiband (i.e. Frans de Waard), sent to us in May 2013 from this Germal label who do package their droney output in some fine tactile plastic lunchboxes for our delectation. I suppose there are two main characteristics to note with Mutatis Mobilis – its interactiveness, and its extremely recycled nature. As to the interactive dimension, Frans has timed and edited these two suites of ultra-processed drone so that they last precisely the same length; the listener is invited to open both tracks on the computer, using a suitable audio program, so that they can be played back and listened to simultaneously. And even remixed in real time, if the user entertains such proclivities. I haven’t yet tried it myself, but I expect Audacity would do the job effectively, and it’s an open source program which I recommend. However, with this release De Waard is trying to move away from strictly “digital” methods and is harking back to the 1980s when TEAC four-track machines enabled the bold experimenter to do amazing things on cassette tapes with overdubs, mixage, and bouncing-down. Matter of fact the label also released this album as a cassette (15 copies only, though) in hopes that owners of original Portastudios could get stuck in. As to the recycling element, Mutatis Mobilis uses source material created by Freiband blended with other source material from the album Mutatis Mutandis by Aalfang mit Pferdekopf, which itself was created out of sound samples provided by Freiband. This collaborative “reprocess my stuff, dude” spirit seems to be one of the mainstays of 1980s experimentation (I was just mentioning it the other day in reference to P16.D4), and Freiband are clearly steeped in that work ethic. With the multiple configurations and reconfigurations of material that are taking place here, further compounded by the possibilities that we might introduce if we open up this CD in Audacity, Mutatis Mobilis is clearly a work that is never actually “completed” in the ordinary sense of the term.

Ed Pinsent




attenuation circuit Augsburg, Germany

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