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about

attenuation circuit ° ACU 1054 ° 2023
attenuationcircuit.de ° attenuation-circuit@web.de

Sascha Stadlmeier – voice, noises, effects, cover photography
Gerald Fiebig - samples, effects
Joseph B. Raimond – guitar, bass, cover painting
Michael Wurzer – keyboards
Adrian Gormley – saxophone, effects, label painting
Stefan Schweiger - theramin

Recorded June 5th, 2019 at Two Car Garage Studios, Fürth Germany,
except Stefan’s theremin, which was recorded a month later.

As always, in loving memory of Frank Abendroth and Tom Murphy
Dedicated to D.H. Peligro

This is DWM release # 208

Front cover “The Happy Eggs”, Joseph Raimond 2021.
Inside artwork “Nothing Is Really Something #23”,
Joseph Raimond & Adrian Gormley 2022.

Spitzwiesenstr. 50
90765 Fürth, Germany
www.dwmirran.de empty@empty.de

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more releases by Doc Wör Mirran on attenuation circuit:

emerge.bandcamp.com/album/split-21
emerge.bandcamp.com/album/oval-eclipse-live
emerge.bandcamp.com/album/diaspar-parts-13-to-22
emerge.bandcamp.com/album/diaspar-parts-1-to-12
emerge.bandcamp.com/album/hominine-parts-1-to-3
emerge.bandcamp.com/album/hominine-parts-4-to-6
emerge.bandcamp.com/album/24316
emerge.bandcamp.com/album/symphony-in-a-nnoy
emerge.bandcamp.com/album/mask

credits

released April 15, 2023

Doc Wör Mirran releases have been a constant presence on attenuation circuit since the label's beginnings in the early 2010s. With a long-time friendly contact established, label head Sascha Stadlmeier and his touring companion Gerald Fiebig stopped at the Doc Wör Mirran headquarters in Fürth, Germany, for two recording sessions during their 2019 tour. The two sessions, improvised live in the studio (with Stefan Schweiger's theremin overdubbed later), form the two tracks of this album.

Amazonas, largest river in the world. Spelled Spanish so as to avoid confusion with Amazon, late capitalism's empire of dirt. Like that mighty stream, the music on part two is a seemlingly endless flow of drones, layers, and harmonies. As this river of sound flows along, tributaries enter its bed, adding more sounds and textures. A serene, uninterrupted flow towards the Nirvana of the ocean? You wish. But we all now what goes on in the basin of the Amazonas. Rainforests chopped down and burned to farm more cattle. Indigenous peoples deported and killed if they stand in the way. The whole world's lungs ripped out to feed the global proletariat with cheap meat. You can even buy canned beef on Amazon. Cheap nature, cheap food, cheap labour. A whole planet flowing down the drain. No man can can step into the same river twice, but what if the river Amazonas itself could change its flow, stop flowing towards the sea, spill out from its bed, flood the pastures, then flow back towards its source, becoming Sanozama? Such sorties (like that of the weeds breaking through concrete on the back cover photo), eruptions, ruptures, breaks, clashes, and catastrophes could be imagined in part two, as the laminar flows of electronic sound often break on noisy, abrasive lumps of sonic material, and the emerging uneasy rhythms subvert the certainty that this stream, any stream, any thing could really flow on forever, grow on forever, go on forever.

File under: ambient, drone, improvisation, psychedelic

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BAD ALCHEMY

Sascha STADLMEIER (noises, effects, voice) und Gerald FIEBIG (samples, effects) waren im Juni 2019 on the road und machten dabei Station in Fürth, um in den Two Car Garage Studios die Freundschaft mit ➞DOC WÖR MIRRAN zu vertiefen. In einer Session mit Joseph B. Raimond (guitar, bass), Michael Wurzer (keyboards) und Adrian Gormley (saxophone, effects) – das Theremin von Stefan Schweiger ist von Geisterhand hinzugemischt. So entstand mit Sanozama (ACU 1054) der 208. Release von DWM, gewidmet dem 'King of Afropunk' und Drummer der Dead Kennedys D.H. Peligro. Um den Augiasstall des Spätkapitalismus auszumisten und das 'Empire of Dirt' mitsamt Amazon & Co. als dessen 'Kronjuwelen' wegzuspülen, wird der Amazonas rückwärts gestaut. Der Widernatürlichkeit der Profiteure, die für hirnlose Fresser aus dem Amazonasgebiet Hackfleisch machen und den Regenwald veraasen für Plantagen, steht die Vision entgegen, dass die Natür ihrem natürlichen Bedürfnis nachkommt und auf die Menschheit scheißt. Ein elektroakustischer Flow pfeift mit stechenden Frequenzen, dröhnenden Wellen und liquider Fluktuation auf das verbohrte Cheap Cheap Cheap und Mehr Mehr Mehr. Grollende Tieftöne unterminieren das zwanghafte Immersoweiter, 'Der Schrecken vom Amazonas' ist längst mutiert zum Hoffnungsträger eines Chthulhuzän. Sirrende und surrende Strömungen versumpfen in brütender, kleinlauter, schwammiger Stagnation, auch das sind Hoffnungszeichen, nicht weniger wie die aus Steinfugen aufblühenden Wildblumen, die Sascha fotografierte, oder Raimonds farbenfrohes Coverpainting 'The Happy Eggs'. Aus gutem Grund ist die Hoffnung eine gedämpfte, ein von Melancholie verschatterer Substream, denn die Rodungsmaschinen fressen sich mit eisernem Biss ständig weiter voran. Doch auch die Gitarre hält am silbernen Faden, der Bass am trotzigen Widerstand fest. Stadlmeier loopt einen Klageton, Eisen stürzt, Kaskaden brodeln und pfeifen, ein harkendes Geräusch kreist, Wellen branden, Schritte knurschen, aber auch das aggressive Sirren lässt nicht nach. Wer das als ambient goutiert, schluckt einige Widerhaken mit.

badalchemy.de

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VITAL WEEKLY

Here's a true story: these three Doc Wör Mirran releases arrived on the same day; two directly from the band and one from Attenuation Circuit. Before I started playing with these, I carefully inspected the covers. One of these seems to be a solo release by founding father Joseph B. Raimond; one is an older work from Raimond and Peter Schuster (also known a Tesendalo) from 1998, and a collaborative effort with Sascha Stadlmeiner (voice, noises, effects) and Gerald Fiebig (samples, effects) as guests. Next to the guests are Raimond (guitar, bass), Michael Wurzer (keyboards), Stefan Schweiger (theramin [sic]) and Adrian Gormley (saxophone, effects). It's here where I started because I suspected this would see the group in their current sound; spacious free rock music with a leading role for the saxophone. I was wrong. Perhaps Gormely uses way more sound effects than we are used from him, but the sound of the sax is not omnipresent. Instead, the six players have a more electro-acoustic approach to their music. A sort of early Kluster (sans the biblical narrative), meeting with MEV and free improvisation. It has a neat krauty and cosmic sound, and yet nothing all too tightly arranged. Like a fine jazz combo, each player gives way to other players and takes up a role in the overall proceedings. Sometimes, perhaps, a bit too loosely orchestrated, but I think that is part of the charm. It has very much the idea of a concert recording.

www.vitalweekly.net/1384.html

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attenuation circuit Augsburg, Germany

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