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Felix Kubin & Ensemble Integrales - Echohaus (2011)

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Felix Kubin & Ensemble Integrales - Echohaus (2011)

Felix Kubin & Ensemble Integrales - Echohaus (2011)
Release Apr/2011 | MP3 V0 Kbps | 15 tracks | 52:34 min | 84,1 MB
Genre: Ambient, Experimental | Label: Dekorder


Tracklist:
01-Kugeln [00:59]
02-Uncanny Valley [03:18]
03-Die Sanfte Welt Der Ruhestoerung [01:39]
04-Nachtschicht Fuer Russolo [04:28]
05-Zerschlage Mein Herz, Dreifaltiger Gott [03:29]
06-Die Besucher [03:22]
07-Schwarzer Fluss [09:17]
08-Nahtlos Gluecklich [03:07]
09-Fluchtweg [02:47]
10-Bande Vierge [05:50]
11-Obelisk [02:02]
12-Smiling Buddha [03:00]
13-Voegel Ohne Specht [04:42]
14-Dusty Corners [02:46]
15-Freundliche Zukunft [01:54]

This latest project by the Hamburg-based musician, composer,
and futurist, Felix Kubin, (his second release on Dekorder) is
a collaboration with the contemporary music chamber group,
ensemble Int?grales, and the reknowned German underground pop
producer and sound engineer, Tobias Levin.
Echohaus was recorded in and around Levin's Electric Avenue
studio in the basement of WESTWERK, a former squat and
cultural centre for non-commercial art and music in Hamburg.
A special recording technique was developed for the project
whereby the musicians played simultaneously in separate rooms,
connected to one and other only by headphones. This was done
in order to achieve a lively,?cinematic" sound that made use
of the particular dynamics of the rooms and amplified
mechanical details. The rooms, each of which had a different
acoustic character, were used as natural echo chambers. Kubin
and the composer Burkhard Friedrich, former member of ensemble
Int?grales, provided the musicians with simple graphic scores
or basic descriptions of the compositions; all subsequent
material was developed on the fly. Kubin was in the mixing
room giving instructions and suggestions, while the musicians
played and improvised, adding their own ideas to the project.
No artificial reverb or effects were added to the recordings.
The different types of rooms and microphones, noises inside
and outside of the studio, as well as the unusual
interrelationship between the physically isolated players
became part of the process. All the tracks were recorded in
one take without any additional layers or track-by-track
recordings. After a five-day recording session Kubin and Levin
created various mixes which Kubin then edited over a period of
several months.
The final results mark yet another radical departure from
Kubin's trademark Sci-Fi Pop sound, blending the aesthetics of
academic contemporary music, film soundtracks and improvised
music with a strong focus on room-specific natural acoustics.

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