SYMPHONY IN A (nnoy)

by DOC WÖR MIRRAN

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about

available as CD-R (ltd.ed. 50 copies)

Recorded 1987 to 1993.
dwmirran.de
empty@empty.de

Joseph B. Raimond, Bernard H. Worrick, Ralf Lexis, Adrian Gormley, Frank Abendroth, Michael Wurzer, Eric Hysteric, Peter Schuster, Namm, Jeannette Gustavus, Jeandra Raimond, Frans De Waard, Ron Lessard, Ski-King

As always in loving memory of Frank Abendroth
Dedicated to Alan Turing

This is DWM release # 135

credits

released November 29, 2015

Doc Wör Mirran, the ensemble made up of Nuremberg-based ex-pat Californian Joseph B. Raimond and a line-up that has constantly been changing since the start of the project in around 1984, is not only one of the most prolific and versatile groups in the experimental music underground. Their chameleon-like versatility, although often rooted in extended improvisations based on a rock beat and chords, has produced 135 releases so far (including this, their second on attenuation circuit).

Culled from sessions between 1987 to 1993, the 12 tracks are arranged into a very homogeneous ensemble, which very much validates the claim of the title that this is actually one long-form composition rather than an anthology of archival material. Electronic drones, whirrs, textures and pulsations dominate – no punk/rock beats here this time, thank you very much, and no vocals either. The atmosphere is pretty gloomy throughout, but it is not only the atmosphere, but also the timbres and structures of the music itself that evoke some memories of Suicide, Tuxedomoon, or other experimental electronic bands of the post-punk years. Sometimes reverberated samples of voices or odd instrumental fragments drift in and out the field of listening, too, tipping the head to the collage aesthetic so typical of other Doc Wör Mirran material and generally the 80s/90s tape underground, until eventually the “Symphony” concludes in a surprisingly un-electronic final piece.

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VITAL WEEKLY:

DOC WÖR MIRRAN - SYMPHONY IN A(NNOY) (CDR by Attenuation Circuit)

As much as I love to see my name as being part of Doc Wör Mirran releases, I can't remember, for the love of god, as they say if you don't believe in such a deity (not even at Christmas), recall when or what I ever contributed to their music. I am sure it was a long time ago, and the twelve pieces on 'Symphony In A(nnoy)' were recorded between 1987 and 1993, so surely it must have been in those days. Anyway hardly of importance this, as the cast of members is again large, besides the usual Joseph B. Raimond, Bernard H. Worrick, Ralf Lexis and Peter Schuster (also of Tesendalo) it also includes Michael Wurzer (then of Clockwork Tapes), Eric Hysteric, Ron Lessard (of RRRecords) and Namm; and more! As you obviously know by now, Doc Wör Mirran is a band that has many musical tastes; there is always something to be enjoyed for everyone. Now I don't like all their guises, but the sheer fact that they operate in so many musical genres makes that every new release is real surprise (name included or otherwise), which can't be said of many other musicians. In these twelve songs Doc Wör Mirran sound lovingly electronic, with sequences, synthesizers and guitars,
almost like an alternative 80s pop band; Attenuation Circuit may link it to Suicide and TuxedoMoon, but I think that's all a bit too far. With Doc Wör Mirran's music being all-instrumental, it is also a bit more avant-garde than those two bands. It shares with them a love of all things a bit darker and doomier, but hey, this was the 80s/early 90s, things were a bit darker then (or so popular belief wants of course). Doc Wör Mirran taps as easily out of the cosmic music textbook to create this music, but then, as we could expect from them, a more daring cosmic textbook it is. It bounces and collides; it is a adrift all the time, but it's not a safe ride, this trip. Voices and guitars are reversed, sounds drop in and out of the mix, all along while the synthesizer keeps playing. This is the kind of Doc Wör Mirran I like very much: playful, experimental, offering quite a variety of sounds.
(FdW)

www.vitalweekly.net/1014.html

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BAD ALCHEMY

DOC WÖR MIRRAN hatte wohl nie das, was man bei Schriftstellern Schreibhemmung nennt. Im Gegenteil, die Unmasse der Einfälle und die entsprechende Materialfülle überstieg das Maß des Publizierbaren. So gehen auch die Aufnahmen zu Symphony In A(nnoy) (ACR 1018, CD-R) zurück auf die Jahre 1987 - 93 und das Kollektiv der üblichen Verdächtigen, die sich, leiblich oder als Tonspurlieferanten, um Joe Raimond geschart hatten. So hört man also auch auf der 135. Version DWMscher Kreativität wieder Worrick, Lexis, Gormley, Abendroth, Wurzer, Schuster, de Waard und sogar Eric Hysteric, der in den 80ern als Der Durstige Mann sich zurück in die Steinzeit saufen wollte. Die Stücke hier sind elektronisch, mal psychedelisch, mal noisig, immer so mixadelisch, dass alles Individuelle verdichtet ist zu - wie soll ich's nennen? - zu Zeitgeist? Gesungen wird allenfalls indirekt, wenn bei 'The Marriage' z. B. eine japanische Frauenstimme aus dem Rahmen fällt. 'I Dreamt I Caught Jeannette Eating A Big Mac At McDonald's' mischt eine pulsierende Welle mit Besenwischern und Gitarre als rockiger Gegenspur. Vogelwilde Gitarre und ein Elektropuls prägen auch 'Bernard Vs. The Slash Club', anfangs zusammen mit Stimme rückwärts. 'Ipso Fatso' kommt mit Ölfassgetrommel, das hieß damals 'rituell' und signalisierte eine gewisse Mad Max-Fitness, falls es wirklich zu einer neuen Steinzeit kommen sollte. Aber noch waren Monster ein Kinderspiel, noch gab es Zwitschermaschinen und feine Mundharmonika und das Tamtam lud zur Oben-ohne-Party in den Jurassic Park zu sonor röhrenden und zu Pflanzenkost neigenden Dickhäutern. Nach einer letzten Dosis Synthiegedudel überrascht 'More Slow' als improvisierte Klimperei für Daumenklavier, die sich, durchsetzt mit Wooshes und allmählich sanft überdröhnt, zu einer Serenade in Afrolook von mehr als einer Viertelstunde auswächst.

www.badalchemy.de

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