contact klanggold c/o Andreas Usenbenz Eichenhang 73 89075 Ulm Germany www.klanggold.net touch [at] klanggold [dot] net (c) 2000-2008 version.2008.07.007		Hi friends of experimental & unadjusted sounds. we´re down temporally, but we´re working on our new website. To get an overview about klanggold, we´ve just provide some informations here.... come back soon..... It is the quest of klanggold to bring back the focus of music fans to the inspiration of the moment, to all the small details that reveal the love and inspiration that has gone into a composition and presenting the highest musical quality. Klanggold has all the potential to develop into a small-scale treasure chest for fans of unadjusted sounds. The artists on klanggold label all care just as much for "progress" as they do for a naive and completely open form of experimentation, which knows no borders but the ones it decides to set itself. You can always hear the love that's gone into klanggold. latest release: out now ! in Stores from January 20th 2008: Viirus_The Virus Album (cdr/mp3) Daniel Älgå: Saxophones (Tenor, Soprano and Midisaxophone), Nord Modular, NoiceSwash and Laptop Pontus Torstensson: Drums, Cymbals, Percussion, Voice and Line6 DL4 Viirus is the collaboration between Daniel Älgå and Pontus Torstensson. They met in 2001 and for a couple of years while living together in the city of Arvika in Sweden they developed the music later to be unleashed as Viirus in 2004. This, their debut album on Klanggold is recorded live in studio on three different locations in two different cities (Stockholm and Arvika) over the last three years. Their intention of this music is to combine the electronics with the acoustics into a homogenic and continuously evolving soundscape. The Clavia Nord Modular (Daniel's sound companion over the last six years) stands as sound foundation for Pontus' vivid acoustic drums/cymbals/percussion-kit processed through the Line6 DL-4 ( which Pontus is using extensively) and Daniel's sometimes chaotic sometimes melodic saxophone shoutouts. Laptop and homemade electronics extends the Viirus circuit both in studio and in live situations. www.myspace.com/viirusmusik listen here (kg_cdr_005 Viirus- The Virus Album) Review February 200 Viirus: The Virus Album Though a relatively young label, Klanggold has to date issued challenging material and Viirus's The Virus Album is no exception. On the forty-four minute collection's thirteen pieces, Daniel Älgå (saxophones, clarinet, melodica, Nord Modular, NoiceSwash, electronics) and Pontus Torstensson (drums, percussion, electronics) succinctly fuse jazz with electronics in bold and experimental fashion. A grab bag of improvs and more carefully structured pieces (“Paramyxo”), a typical Viirus piece features spirited, free drum and sax playing accompanied by atmospheric electronic effects and patterns. Ruminative (“Picoma”), rambunctious (“Filo”), and even raucous (“Flavi”), Viirus proves itself capable of navigating multiple stylistic contexts (including gamelan in “Papova”). Memorable pieces like “Arbo” place Älgå's soprano sax front and center (multi-tracked in “Calici,” he sounds like the World Saxophone Quartet with a laptop improviser sitting in) though the album's spaciest moments arrive during the haunted “Ortomyxo” where high-pitched scrapes rub shoulders with a ghostly saxophone as an electronic corpse is dragged across the floor. At day's end, however, “Adeno,” a standout ballad setting for tenor sax, percussion, and electronics, shows that restraint can be just as effective a strategy. (http://www.textura.org/reviews/viirus.htm) still hot: kg005/ Viirus- The Virus Album (file under: experimental, Jazz, free jazz, soundscapes) Daniel Älgå: Saxophones (Tenor, Soprano and Midisaxophone), Nord Modular, NoiceSwash and Laptop Pontus Torstensson: Drums, Cymbals, Percussion, Voice and Line6 DL4 Viirus is the collaboration between Daniel Älgå and Pontus Torstensson. They met in 2001 and for a couple of years while living together in the city of Arvika in Sweden they developed the music later to be unleashed as Viirus in 2004. This, their debut album on Klanggold is recorded live in studio on three different locations in two different cities (Stockholm and Arvika) over the last three years. Their intention of this music is to combine the electronics with the acoustics into a homogenic and continuously evolving soundscape. The Clavia Nord Modular (Daniel's sound companion over the last six years) stands as sound foundation for Pontus' vivid acoustic drums/cymbals/percussion-kit processed through the Line6 DL-4 ( which Pontus is using extensively) and Daniel's sometimes chaotic sometimes melodic saxophone shoutouts. Laptop and homemade electronics extends the Viirus circuit both in studio and in live situations. (mcdr) klangware | the jazz loft | Ear/rational music !  | A-Musik | Staalplaat (digital) buy via finetunes | iTunes | Deutschload | dogsonacid | trackitdown | Kompakt kg004/ Jens Döring & Ulrich Troyer- 20050429 (file under: experimental, noise, improvisation) Well known e:gum , hp.stonji & e.stonji member Jens Döring is working together with Ulrich Troyer (mego) in a really innovative, improvised session where digital and analog devices meet together to forge themselves new. This cd contains very expanded audio in a really exciting way. A fine mixture between laptop improvisation, guitar feedback, Idm and Postrock-noise (mcdr) klangware | the jazz loft | Ear/rational music !  | A-Musik | Staalplaat (digital) buy via finetunes | iTunes | Deutschload | dogsonacid | trackitdown | Kompakt kg003/ 3Banditos- Sympathy For The Donkey (file under: experimental, noise, improvisation) Intro/ Heimspiel>>> Vielleicht sind die drei Banditos ein Gegenentwurf zu den drei Amigos Steve Martin, Chevy Chase und Martin Short, die in einem der schlechteren John-Landis-Filme durch Mexiko stolpern. Raum für solch haarsträubende Assoziationen lässt ihre Musik auf jeden Fall. Nur als eins vermag sie in all ihrer Offenheit dann doch nicht zu dienen: als Soundtrack zu einem Film, der - so schreibt es der abgedroschene Textbaustein vor - noch gedreht werden muss. Denn hier wird nicht einfach so in langsam aufeinanderfolgenden Moll-Harmonien geschwelgt, hier schichtet sich auch nichts zu pathetischen Krach-Kaskaden auf, wie es bei Instrumentalmusik so gern gemacht wird. 3Banditos gehen feiner zu Werke. "Sympathy For The Donkey" ist eine Ambientplatte, ohne dass von vornherein festgelegt wäre, um welches Ambiente es sich handeln würde. Das liegt einerseits an den stilistisch weit auseinanderliegenden Stücken, andererseits daran, dass sich die Stücke als solche in steter Veränderung befinden. Es gibt kaum Wiederholungen, eine Stimmung fließt in die andere. Wo eben noch das Zirpen des Rechners eine abendliche Sommerwiese vor dem inneren Auge hat entstehen lassen, tanzen plötzlich Roboter in Formation bei der Eröffnung der Fußball-WM 2070. Die Musik hat den Raum für all das. Die drei Musiker, Jair-Rohm Parker Wells, Tobias Schmitt und Tomislav Bucalic, sind sich eher zufällig über den Weg gelaufen und einfach mal miteinander ins Studio gegangen. Dabei haben sie dann alle Sounds eingespielt, die ihnen gerade eingefallen sind. Ob Bass, Schlagzeug, Rhodes oder Laptop - alles geht, sollte jedoch am liebsten nicht mehr erkennbar sein. Diese entspannte Arbeitsweise hat sicher geholfen, dem Album seine schöne, freie Form zu geben. (Print, Mick Schulz, 08.2007) Intro/ Heimspiel / Web>>> Musik als Experimentierfeld: Auf ihrem Album 'Sympathy For The Donkey' (Klanggold) gehen die 3Banditos dem finsteren Ufer von Ambient nach. Gerade noch so an der Grenze des Hörbaren grüßen Metal und Jazz in die düsteren Räume, die sie mit ihrer Musik aufmachen und durch die die Spannung fallstrickgleich in Bodennähe zickzackt. Man muss sich einlassen und gut hinhören bei dieser Platte, die einen dafür auf den Ball mitnimmt, der in diesen Räumen stattfindet und auf dem die Roboter nicht nur bergauf gehen, sondern auch paarweise durch die Fallstricke manövrieren. Wie das klingt, kann man bei 3Banditos hören. TOKAFI>>> Astounding: Stammering syllabels uttered by an aluminum spoon orchestra with lingual titubation. Jair-Röhm Parker Wells’ mighty “AMDG” was a collossal and colourful work, which seemed to tap the potential of its defining parameters to the full and nevertheless could still have gone on after the last note had died down. Now, in a sense, it has. The Wild-West pseudonym of „3banditos“ delicately covers up the name of Wells and two of his spiritual compatriots:,Tobias Schmitt and Tommi Bucalic, both hailing from Frankfurt, Germany. Their spontaneous trialogues on “sympathy for the donkey” not only rely on the same instrumentation as well as on improvisation as the main creative mode, but also result in quite astoundingly similar structures – a remarkable achievement considering the unique status “AMDG” has in my record collection. The easiest explanation would naturally be to award Jair-Röhm the status of the pivotal force behind the new album. That, however, would be an overly simplifying conclusion, led by the wrong assumption that the end result of an artistic process must, of necessity, tell us something about its genesis – a train of thought championed even by experienced music journalist, which unfortunately does not make it any better. In fact, in this particular case, the jazzy bass lines and tender touches of fender rhodes keys played with mufflers come courtesy of Bucalic and it is therefore him, if anyone at all, who put his stamp on the record. It is the surprising and unexpected moments that a sustained seventh comes in or a soulfully streetwise lick runs through the brushwood of criss-crossing effects, spluttering and stammering syllabels uttered by an aluminum spoon orchestra with lingual titubation as well as fields of delay and supercollider breakdowns. Bukalic seems to bring order to the creative process, while his fellows take their electronic devices into a mode of permanent errors. Naturally, that, too, is a misconception. The 3banditos were born on stage, as a live project which saw the physical/digital medium as a mere opportunity for communicating with those unable to attend a concert in person. Even though “sympathy for the donkey” was recorded in a studio, this must be attributed to the forces of chance rather than a cognitive plan or a subliminal message, and at its core lie no abstractions (as its sound material may suggest), but a continuing fascination for the possibilities of the jam: You can hear the fun that has gone into this record, the playful interaction between the actors and the way they wander through fields of incoherence in search for that one note which will suddenly bind everything together. On many occasions, they find it with astounding precision. Much more than on “AMDG”, which came across more as a “fixed” opus, this album invites the listener to enjoy the process of converging and diverging, of feeling one’s way towards someone else, who in turn may be feeling his way towards something entirely different. Naturally, this may be confusing at times, especially since there are no liner notes to tell us about the individual motivations and possible agreements between the musicians at the outset. That, on the other hand, will only make you look deeper into the heart of “sympathy for the donkey”, tracing all of the intricate details which turn it into something entirely it’s own, instead of a mere copy. (Tobias Fischer/ TOKAFI ) (cdr) klangware | the jazz loft | Ear/rational music !  | A-Musik | Staalplaat digital) buy via finetunes | iTunes | Deutschload | dogsonacid | trackitdown | Kompakt kg002/ Jair Rohm Parker Wells- AMDG (file under: experimental, noise, jazz) This latest release from bassist Jair-Rohm Parker Wells is a milestone in electro-acoustic experimental music. This one hour long collection of tracks features subtle improvisations contrasted and/or processed by well structured electronic manipulations. The many voices and characters of Parker Wells' basses are combined with treatments done in software synthesis as well as hardware based modular synthesis. AMDG was recorded entirely at Parker Wells' Stockholm based personal studio The Sun Room during the Spring of this year. Basses used were the Fichter electric upright bass and Hohner HAB-1 acoustic bass guitar. Synthesis and effects were done both in hardware and software. Everything was tracked and mixed on the Akai DPS 12i. Mastering was done using various hardware and software among them the Behringer ULTRA-DYNE PRO DSP9024 and a Macintosh. (cdr) klangware | the jazz loft | Ear/rational music !  | A-Musik | Staalplaat (digital) buy via finetunes | iTunes | Deutschload | dogsonacid | trackitdown | Kompakt kg001/ Nobile- Pelktron (file under: experimental, ambient, noise, new music) The first release on klanggold comes from laptop improviser Andreas Usenbenz. It was concerned with reinterpreting elements known as classical music. A sapid ramble across the musical genres of improvisation, new music and electronic deconstruction. This record holds the promise of great things to come and delivers on some of them right away. On a purely managerial level, it is not always clear whether a musician is the right person to run a label. From an artistic point of view, however, it is highly commendable. What could, after all, be better to get your creative intent across than actually releasing albums with the music of your choice yourself? Andreas Usenbenz has been active under a plethora of different monikers and already released a digital 3’’ with the tonatom netimprint. “pelktron”, however, is not only just his latest offering but also the first business card of his fledgling record company klanggold. Let’s consider this as a summarised mission statement, then. As such, it holds the promise of great things to come and delivers on some of them right away. Usenbenz has always been interested in the way a composition can be organised on an atomic level, taking on manifold meanings as one changes the lense’s focus. “mikroogranisation” is the German term for this phenomenon (which we don’t believe needs any translation) as well as the title of the last track on the album, albeit not the only one to feature this principle. Already opener “bahnhof” (“trainstation”, a word full of “points of departure”) takes a similar path, with crackling static and bleeping morse code running over subtle electric discharges, while various overblown recorder motives circle each other in unexpected dissonant harmony. There is a development in each thematic line, enabling the listener to observe either a single one or different sets of combinations and to thus engage in an active dialogue with the work. This openness to various interpretations is a pleasant surprise and signifies a distance from hermetically sealed academic approaches – despite all of the seriousness this music posseses. The virtual (and, when presented on stage, very real) handshake between artificial and natural source material, as well as the equality of spontaneous live improvisation and post-production techniques is a second feature of Nobile and marks this as an always searching, yet warmly organic style with references ranging from jazz (the bouncing bass pluckings of “durch”) to industrial (the deep miniature power plant hummings of “tagtraum”). Never nervous, yet brimming with action and creativity, the pieces glide by in an unhurried fashion, never too abstract too dispell mental pictures and never too concrete to pin everything down. Compared to other players from the genre, “pelktron” has decidedly more headroom. While each track is full of discoveries, it is probably “renoise” who stands out from the fold, sinply for being different in its linear development and concentration on a single pattern: For over eight minutes, a flangeing choral drone rotates backwards and forwards like a sugar-coated DNA helix against a fairy tale night sky. It is here that the message of klanggold defies being a dogma and turns into a vision which others can fill with their music. Or Usenbenz himself, on a hopefully soon to be released follow-up. By Tobias Fischer / tokafi ...durchweg reife Sprache. Hier dominiert das Soundscape, seltener werden Instrumente laut, wie auf 'Bahnhof'. Ein elektronisches Stottern und Zirpen schleicht sich durch die Tracks, die von onomatopoetischer Kraft getragen einen hypnotischen Sog erzeugen. Nach eigener Aussage beschäftigt sich die CD mit klassischer Musik und deren Aneignung. Da bleibt unter dem Strich: die Klassik wurde so stark angeeignet, dass man sie nicht wieder erkennt. Das soll aber keineswegs abwertend gemeint sein, damit man sich richtig versteht. 'Pelktron' hat Relevanz, etwas, was dem Großteil der heutigen Klassik abgesprochen werden muss. Intro. (cdr)klangware | the jazz loft | Ear/rational music !  | A-Musik | Staalplaat (digital) buy via finetunes | Deutschload | Kompakt forthcoming releases: Nobile- Mariella (digital) & special limited live cdr version (file under: experimental, piano music, ambient, improvisation) KlanQ- Pinien (digital) (file under: techno, idm, jazz, electronica)