Edition Telemark Vinyl, CD & Tape 10 Artikel

"Radiophonic minutes of the search for a probably lost tape piece, and a reconstruction thereof with real instruments." Produced by Hessischer Rundfunk (Hessian Broadcasting Corporation), Germany, in 2015.

Hans W. Koch (b. 1962) is a Cologne-based composer, performer, and sound artist. His work encompasses pieces for chamber and large orchestra, experimental scores for instruments, computers and everyday objects, sound installations, electronic music, etc. He summarizes his art as being about sculpting thoughts in diverse material and prefers conceptual approaches: "more thought, less material". Koch studied composition with Johannes Fritsch and currently is professor for sound at the Academy of Media Arts Cologne.

Edition Telemark's vinyl reissue of another rare Solar Music recording by Joe Jones. Originally self-released in 1982 in an edition of 10 cassettes.

After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934–2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 – until 1991 mostly together with Johan Goedhart –, each installation made specifically for the site where it was displayed.

Thomas Müller (b. 1970 in Munich) is a Berlin-based video artist, experimental musician, painter, and photographer. For an exhibition in 2005, he burned three of his oil paintings and displayed the resulting pile of ashes as a sculpture entitled "three of my favourite pictures". These particular ashes were reused in new paintings, some of which have again been burned to produce further ashes for further paintings. Thus began a cycle of ash-based works entitled "not a bird", ranging from large canvas paintings to postcards, sometimes enriched with pigment. The paintings were used as source material for video installations and exhibitions, or simply burned to produce more ashes. Müller considers the process of burning and the resulting ashes as a means of transcendence and purification. For this reason, he only uses the ashes of objects related to himself.This LP brings together "not a bird" and Müller's long-time preoccupation with Richard Wagner's Rheingold. The piece, originally conceived as a video, consists of countless layers of Rheingold recordings, with side A using the beginning of each recording and side B using the end of each. Side A plays outside-in, side B plays inside-out. The outer and inner sleeves show slightly enlarged facsimiles of four ash-painted postcards.Regular edition of 250.

The trio Argo was formed in Darmstadt in 1985 by Hans Essel (violin), Marit Hoffmann (viola), and Thomas Stett (clarinet). It existed until 2016 when it was forced to an end by the untimely death of Stett. Argo set out to explore new ways of free collective improvisation that were aimed neither at personal expressivity nor at the evocation of a certain mood or atmosphere. Eschewing any compositional agreements, they experimented with musical forms and processes that emerged spontaneously between the poles of the players' individual lines of improvisation.They played with fleeting objects of sound and transformations, inflections, and disruptions of those objects. Unexpected noises that could arise at any time required and provoked fast reactions of the players. Argo utilized three classical instruments without any preparations but over time developed an augmented range of sound generation techniques on these instruments. Their playing bears almost no traces of tonality, harmony, or rhythm. The title of this edition, "Flüchtige Musik", translates as "fleeting music" or "transient music".The double LP collects recordings made mostly live between 1987 and 2013. The first recording still shows traces of classical sound material but also includes other sound generators like styrofoam and cardboard that were left out later. Already in 1991, Argo had settled on using the three instruments exclusively but with a new range of sounds that can be heard throughout the subsequent recordings. On a few occasions, Argo transferred their concept to experiments with their own speaking voices This led to "Flüchtige Wörter" ("fleeting words"), one recording of which is also included.Edition of 300.