Ambient, drone, experimental, classical

Sascha Rosemarie Höfer — telomer[e]

Höfer uses different sound sources and recording processes. One of his focus points is the collection of sounds and noises, which he predominantly records analogue and very rudimentary on tape, various voice recorders and microphones he holds dear. Höfer is collecting sounds indoors or in the field. Usually en passant.

“I like to listen if something interesting catches my ear, but not obsessively. I collect sounds, when I feel like it, not because a certain sound may be extraordinarily exquisite, making me want to trace it. I would regard that as a disruption of the moment, something I generally want to avoid.” says Höfer.
Sascha Rosemarie Höfer’s album telomere[e] breaks with his works of previous years. It took longer to complete, is devoid of conceptual and artistically developed ideas. Rather, it presents the process of metamorphosis: dieback, segmentation, recombination, exploration, ageing and rejuvenation, thus mimicking the language of biology.

telomer[e] took three years to complete, a time during which the different pieces underwent various ecdyses, during which ideas developed and unravelled, explored different stylistic directions and once again dissolved, until first fusions emerged  more


released February 22, 2019

Written and produced by srh. Recorded, arranged and mixed by srh.
Instruments: piano, modulated guitars, drones, fieldrecordings, dictaphones, glockenspiel, analogue synths, digital and analogue processing.
Trumpet on “TTACCC” arranged by srh, played by Marco Stubbemann; voicesample on “TAAACC” and clattering on various tracks by Mathilde Schoenmakers.
Cover photography by Melanie Schoenmakers; design: Andreas Usenbenz; mastered by Fabian Tormin [plätlin mastering].
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Toneshift Review

The new release from artist srh (Sascha Rosemarie Höfer) offers burrowing rhythms and soft edges that seem to dangle and then drift to the far corners of the room. The balance of piano and variegated cacophony seems a challenge he’s worth taking – even though either could spoil the soup. Instead the blend is stringently delicate, even complex. One could be enjoying an unfolding recital at one moment, only to be interrupted by the unexpected tumble of darker atmospherics.

Aside from playing piano, guitars,  dictaphones, glockenspiel, and synths/processing Höfer has also employed the help of Marco Stubbemann as well as Melanie and Mathilde Schoenmakers (trumpet and voices). The quietest pockets bloom into swirling effects and sudden deep breaths, yet the focus is on the ivories, the harmony moving on despite the doctored corrosion and ellipses of streaky distortion. And though an equal weight is given to the intrusion of harmonic focus, all the static and burnishing of frayed tapeloops cannot deter the central player. There’s this undeterred yin/yang relationship in this din of iniquity.


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