Storytime! In 2001, after playing a live electronics set at Level X, a club event in Brooklyn run by a dude named Adesh and his girlfriend (anyone know them or connected with them here?), I was approached by this guy who claimed to be Marc Andreessen. Exactly, the person who developed the first ever graphical web browser. I was invited to this New York City office that looked and felt legit. They wanted fresh sounds for some web application. Something about this Marc Andreessen and his emphasis on telling me that he was indeed himself and his internet 1.0 startup pals sounded suspicious. So they hired me to play a live set at this Manhattan art joint called The Point Gallery. "Marc" and his business partners were putting together an art show. The theme was porn. Went there, played my live set – smashing beats with analog and digital equipment – never got paid (quite common back then, I did consider it an investment, though) and went home. I never heard back from those dudes, but in follow got in touch with Brett from Architecture Records and we did a 3" CD release of the live set tracks. It's been sold out for some time. It also resulted in a review in Groovesmag: "Indebted to such noise specialists as Alec Empire and Techno Animal, this EP also betrays its producer's love of drum n' bass, as the King rolls out enough tasty breakbeats to tempt jungle's most adventurous selectors" and closed with "too spectacular for his own good", whatever the heck that is supposed to mean. The original release tracks and the entire live set can be streamed at bandcamp:
Monday, September 21, 2020
When I studied architecture and found out that there was one central personality that united both disciplines within his work, I knew I needed to know more about that personality ... Iannis Xenakis. Researching him and his work revealed to me the meaning of math for that particular mix. It almost came as natural to combine all of that – music, architecture, math – within digital media art. This form of creative work also requires some explanation, hence the booklet on "Architektur Musik" from 1998.
Monday, September 14, 2020
Creating noise and writing stuff were two of my key interests from a very early age onward. Truth is that at uni teachers actually dis-encouraged me when it came to writing. As if it had ever been a good idea to talk me out of something. So here's an early text that combines nearly all of my passions: music and writing and architecture. A really early text. But it was interesting and important to me that structural approaches to composition and design transcended disciplines ...
Friday, September 11, 2020
Saturday, July 25, 2020
Beginning last year my colleague Carola Dietrich from Technische Hochschule Nürnberg - Fakultät Architektur and I embarked on an interdisciplinary cooperation on sound and space, on music and architecture and how their intersections can be explored for the purpose of experimental design projects with architecture students within a joint endeavour with the Akademie der bildenden Künste Nürnberg. We had the immense pleasure to cooperate and discuss shared interests with Jan St Werner, Michael Akstaller and the students of Dynamische Akustische Forschung, Christian Z. Müller, Sam Auinger, Louis Chude-Sokei and Niels Jonkhans. For me personally, this cooperation was an academic dream come true. Most of all, we're proud of the incredibly insightful and cool projects the students developed during the 2019/2020 winter semester. Thank you to Nadine Deusner, Phuong Hoang, Maximilian Sterner; Cléo Gehlke, Hoa-Mary Chuong; Anna Behl, Diana Schirmer, Klarissa Werner, Alexander Zips; Merve Korkmaz, Luisa Wimmer; Thomas Alexander, Antonia Friedrich, Ludwig Pallor, Burak Solmaz, Klaudius Jan Wieland; Tim Wiedenbruch; Amelie Pickl, Ina Penkert, Liene Pirtniece-Kozlovska; Max Kellermann, Philipp Oebius, Giulia Seltmann; Diana Herberger, Janine Matzke, Sonja Silano; Irene Bauer, Silvio Braun, Jule Marie Feige, Camillo Mayorga, Mareen Priebe-A.; David Honke, Max Kellermann; Vanessa van Zoest; Merve Tufan, Giulia Seltmann; Jakob Brunner, Jana Endres, Simon Gumbmann, Marielle Jopp, Christoph Kielmann.
KLANG+RAUM Seminar Report
KLANG+RAUM Digital Album
Friday, July 10, 2020
The CD titled Angel Position was released by MHz Records, the label of Klangstabil 5 years ago. It was conceived and recorded under the Fragment King alias. The CD edition is sold out, but a digital edition is available at the MHz bandcamp page:
In addition, if you still don't have enough Angel Position yet, ZERO ANGEL MINUS collects recording stages prior to the album proper, including rare demo versions and outtakes not included on the album as well as live iterations of Angel Position tracks:
Wednesday, July 01, 2020
ZERO ANGEL MINUS collects all recording phases prior to ANGEL POSITION, released by MHz. This spans the original "Zero" demo tracks, some of which were used for compilations or not used for ANGEL POSITION at all, as well as "Minus" versions without electronic ambient sounds and two live versions from the Elektroanschlag Festival in Altenburg in 2007. The complete album download includes a Visual Album with liner notes and a video of Mobilize performed live during the ELEKTROANSCHLAG Festival in Altenburg. Kaiju-size thanks go out to ANTIKOERPER a.k.a. Stefan Wille-Böttjer for filming the event! ANGEL POSITION is available at mhzrecords.bandcamp.com/album/angel-position
Sunday, June 28, 2020
The Cellmaker's Sinister Jazz is an album featuring uptempo and midtempo tracks created during FK's 1999-2002 electronic sequence-and-programming-driven era. This digital version of the album includes all 12 tracks of the original 2001 CDr release plus 4 bonus tracks created within the same recording sessions.
Original liner notes:
dream flesh twitches as the bleep people manipulate their switchboards. open canals of time. a room with no interior, pictures on the wall substituting for missing objects inside. the sound of a girl laughing on tape, her image projected on the wall from a slide. now we are in dream-synch. gravity turns around, the world folds.
Eating Snow is FK's first ever official release, on the "Cities and Seasons" vinyl 12" compilation by Deiker Records in 1999. It subsequently appeared on the "Forensium" compilation released in the "Halforganic Series" as nex001 by the Nexialist Organization in 2001. This release package features the CD mastered version as well as the 1999 premaster used for the vinyl release.
Thursday, June 18, 2020
Sunday, June 14, 2020
Calling all nexialists! Finally retrieved thanks to the technological wonders of digital time travel: Lost Recordings Vol. 1 by Maxim Camera is a Nexialist project that was created in 2005 and, for some reason or the other, was never heard of or listened to beyond a circle of friends who received demos featuring the tracks included here. This album worth of Science Fiction inspired Elektro tracks is now available in its entirety. The tracks were mixed and produced while avoiding the maximizing trends prevalent during the "loudness wars", maintaining the original intended dynamics. Musical influences are Kraftwerk, AUX88 and Autechre; lyrical influences are Iain M. Banks, Alan Dean Foster and the Perry Rhodan series. Enjoy!
Saturday, June 06, 2020
Thursday, June 04, 2020
Sunday, May 31, 2020
Heaviness and brutality and destructive-creative gesture – the development of ANATOMIC MUSIC was very elaborate, beginning from electronic compositions to open-end jams that have an anti-intellectual, guttural, animal brutality to them. The mindset that inspired the songs is expressed by the original liner notes. "ANATOMIC MUSIC is a composition and recording project employing specific design strategies captured from architectural design. For one, the origin of the compositions is an exploding singular moment in time unfolding itself outside its non-topological point of origin (the human brain) into the topological space surrounding any sound projection device. In this sense, ANATOMIC MUSIC captures the idea of the "Entwurf", the design strategy as originated in thought. The idea constitutes the paradox instrument of event before motivation and thus becoming meta-motivation. The metaphoric motivation of the innards, the only space the individual truly controls, drives the digital and performative concept of the music pieces, beginning from the "written" sequencing to the "performed" session and the amalgamation of these aspects in the digital suite." The sessions comprise typological groups. Each group was created based on digital processing, followed by various steps of performative transformation with electronic and electro-acoustic instruments, field recordings, bass guitar and vocals, including the generating of new material upon each working stage. Beyond the initial electronic "sketches", the pieces can be divided into the two groups of "Depositio" (the placing of the dead body on stainless steel tables in tiled rooms, the altar slabs of now; science becomes religion) and "Forensics" (clinical observation in its totality requires a certain amount of emotional distance from the researched object; this step equals an act of self-recognition within the research process, comparable to the gesture of the "turning of the mask" as described by Vilem Flusser). Initial recording took place in 2004, the In Dub versions were created in 2009 and the Forensics continuous mix was created for this Bandcamp edition in 2020.
Monday, May 25, 2020
This is without a doubt the most violent and destructive music the Nexialist Organization has to offer. Structural music as the name for this collection of pieces covers both studio and live recordings created with a method that I have termed "digiscrub". I developed this method in early 2002 as a means of real-time and live "playing" of the PC laptop as a music instrument. The highlight/loop-section of a 2-track recording is continuously changed in real-time by use of the laptop input tool. In the case of the IBM Thinkpad I was using by then, this was enabled by triggering the little red knob in the center of the keyboard very much like a joystick. In essence, this produced a jumping back-and-forth within the track, as if someone would lift the stylus of a record player up and down again and again and drop it in random positions on a vinyl record. But not only this. By zooming in scale, microscopic events within minimal time loops could be generated, creating almost microtonal "playing" of semi-melodic sound. But do not be confused by the hint of harmony: in essence, the digiscrub method results in brutally hacked sound splinters. They have their counterpart in the graphic works of Daniel Libeskind, John Zorn's approach to composition and William S. Burroughs' writing and tape experiments. The creation of a splintered soundscape that passes by incredibly fast and abruptly is more so similar to looking out of the window of a train passing Tchernobyl while on some heavy relaxant and then time-compressing the whole thing into 1/1000th of the original time. Pretty harsh, so to speak. Or more so, insanely violent. This is purely improvised music. It is a point of departure from the early sequencing driven phase of Fragment King, breaking free from the dictatorship of the "track", totally destroying linearity, leapfrogging repetitive cyclicity and jumping into the burning grey ash of the end of music – which is also a war on silence. After that, the bass-heavy Fragment King "one-man-band" emerged, the "total incarnation" of FK, where the human body takes center stage by force, yet not against the machine, but with it. The collection focuses on structural music produced for/as Fragment King. It features the original 4 structural music tracks plus 2 additional pieces, all of which were based on pre-recorded material using laptop, bass guitar, and field recordings (the screaming child is something I picked up in a social housing complex in southern Germany, on occasion, which, what a coincidence, introduces a spatial and social aspect). The live tracks cover the 2002-2004 period of FK's live performances, in which structural music played a central role in conquering the audible space of the live environment. Two of these live edits were recorded during the infamous "Nexialist Exposition" in – really – a decorated shed in an industrial park in southern Germany. The 2003 live performance was recorded at WMFU radio upon invitation from Jason Forrest aka DJ Donna Summer. Finally, the last piece of the collection is a recording from a performance at FLUC in Vienna. Structural music is confrontational, violent, destructive; a bad dentist session, a 500 pound Bill Burroughs on steroids, your girlfriend fucking everyone else except you. Structural music has it all when you need full force catharsis.
Saturday, May 23, 2020
Thursday, May 21, 2020
Monday, May 18, 2020
Welcome to FK: LIVE AT A2! This is one of the final purely electronic/digital live sets FK played and as such a "signature set" – meaning it resembles what FK was doing at the time with the best possible audio quality captured precisely on the occasion. After this, FK fully entered his GREY ALBUM phase. The LIVE AT A2 album includes otherwise unreleased tracks that could have become the successor to the nex010 release plus a continuous mixdown created for this purpose and a live video recorded on the occasion. Enjoy! FK
Recorded live on location at A2, Munich, 2004. Preceded by a lecture by Architect Peter Haimerl during an event curated by Elisabeth Hartung, the set utilized sounds recorded during a Nexialist Operation in the Mimesis artist studio designed and built by Peter Haimerl. Mastered by Mark Kammerbauer at White Furnace Lodge.
Sunday, May 17, 2020
Friday, May 15, 2020
Wednesday, May 13, 2020
Sunday, May 10, 2020
NEXICON was essentially Lee Bartow, Tim Spann and I together in a room full of analog and digital music equipment. We recorded numerous sessions that ranged from ambient bliss to grindcrushing blast furnace. During this time, we structured some of the material for a handful of live shows. After my departure from the US, I worked on the recordings further and edited an entire album worth of material that became LIFE EMITTING DIODE. However, there was still plenty of recorded audio worth dealing with. Some session material found its way into the recordings of NAVICON TORTURE TECHNOLOGIES. I struggled with the remaining material as not all of it permitted formatting it into "tracks". A version of an album surfaced in 2010 titled OFFAL. It was intended as a gapless album to capture some of the encapsulated insanity of our sessions. Sometimes it takes a while to reconsider the approach to one's own source material. OFFAL-NACHLESE therefore features a selection of isolated tracks as they were, in addition to a compressed session-composition that reflects how we worked at the time: in anarchic mode, triggered by sample cues, always layering, overloading, drifting outward. Take RAVEN TRESSED CONQUEROR: there were numerous attempts at recreating this track, yet I eventually returned to the initial session recording. Further, there is a live recording from a show we played as a trio and eventually expanded to a quintet with the support of our friends EDGEY and REPOLOGEN. The two NEXICON tracks released on the SIMPLE THINGS ARE OFTEN MONSTROUS 12" vinyl record are included here as well.
Saturday, May 09, 2020
Way back in the dark mists of time, or 2005 to us mere mortals, a festival of noisy and generally obnoxious musical mavericks were invited to play at Resistance festival at the Slimelight in London. Among these misfits were Fragment King (Mark Kammerbauer) and Hyperdriver (Steve Munslow), and the tow of them were also invited to play live sets on Resonance FM to promote the festival. They decided that rather than play individual short sets they would “tag team” and play alternately for the allotted time. This is the resulting recording. Enjoy. Or not. Love and Peace. Steve and Mark
Credits: released April 1, 2020
Mastering: Hyperdriver (Steve Munslow)
Wednesday, April 22, 2020
MONOMER TV Episode 2 - 4/20/2020 from Lee Bartow on Vimeo.
Doc Monomer TV
Monday, March 23, 2020
For Grey Lodge, Mark Kammerbauer collaborated with Markus Stenger of s2lab for an ambient sound art installation for House Pfettrachgasse in Landshut. The historic 15th century house is currently under restoration and historic preservation under the direction of Markus Stenger of s2lab. For the public presentation of the house on 14 March 2020 the Grey Lodge recording served as acoustic background comprising an half-hour "artificial" digital audio wallpaper in juxtaposition to the "natural" materials of the historic building. Grey Lodge is an exclusive continuous (re)mix of recordings that were produced and released in various formats between 2000 and 2010 under the aliases of Fragment King, Torso and Nexicon (with Lee Bartow and Tim Spann).
Vivisections – Live at The Point Gallery by Fragment King Storytime! In 2001, after playing a live electronics set at Level X, a club event ...
The Nexialist Operation “Mimesis” is an experiment in using architecture as a music instrument. The object used was a particularly suitable...
“Hyperintimacy as ambience” - The Fleshsounds were created in 2002 for the Halforganic Series, the Fleshfilm was produced in 2005 as a live...
The Xenakis-Emulator is an audiovisual adaptation of two key works of architect/composer Iannis Xenakis - the composition “Metastasseis” a...