Поиск:robert lippok

with »redsuperstructure«, robert lippok created a new foundation for his musical endeavors. now - 7 years later - this system properly comes to life on »applied autonomy«. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks.
»applied autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible.
layers are key when it comes to understanding »applied autonomy«. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the EMS studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is »samtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots Lippok had already defined as »applied autonomy«.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

glow-in-the-dark clear vinyl

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label raster-noton. »Open Close Open« was released in 2001 and marked the beginning of Lippok's solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider).

The title of the EP is a linguistic reference to the instructions found on everyday objects. In fact, the sound of birds or a closing door can be heard. Besides field recordings, cultural fragments were used – including the sample of the famous Adagietto from Gustav Mahler's Symphony. No. 5. – and integrated into three loop-based pieces, that have been praised by Fact Magazine as »a masterclass in collage, looping and tactile processing.«

The source material for »Open Close Open« initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called »Licht.«

In 1998, Carsten Nicolai, also known as Alva Noto, visited a sound installation created by Robert Lippok for a group exhibition in Weimar, Germany. Soon after, he invited Lippok to release music on his label raster-noton. "Open Close Open" was released in 2001 and marked the beginning of Lippok"s solo career. Before, Lippok had already played in Ornament und Verbrechen (with his brother Ronald Lippok) and To Rococo Rot (with Ronald Lippok and Stefan Schneider). The source material for "Open Close Open" initially served as a soundtrack for a video by Takehito Koganezawa, a visual artist from Japan. For this remastered vinyl reissue, Lippok revisited the original sound material and produced a new track called "Licht."

»What is Dance?« contains two pieces originally conceived in 2017 for a performance/sound installation of the same name at Meinblau Projektraum (Berlin), as part of the series singuhr_projekte. Drawing inspiration from the works of American sound artist Joe Jones and his »Music Machines«, Robert Lippok (Ornament und Verbrechen, To Rococo Rot) arranged various sound objects (pieces of wood, cymbals, rotating plastic film), that were played mechanically. The sound piece—designed for a 4-channel system and condensed into a loop, that clocked in at around 20 minute—is his interpretation of three dances from the opera »The Fairy Queen« by Baroque composer Henry Purcell.

From this source material, Robert Lippok has now extracted and rearranged two pieces for »What is Dance?.« The result is music of its own right: Dense, but permeable drones are central, but complemented by harmoniously matching and gently pulsating sounds.

Six artists remix the rich sound material from Sven Kacirek's LP 'Scarlet Pitch Dreams' (Pingipung 32, April 2012). Sven's original percussion recordings and his densely layered melodies invite for a rework which fo-cuses on the single elements.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio

tapetopia 006 In 1983, some more subdued sounds began to waft from the GDR punk underground into the second half of the ’80s. At five to the end of time, it was perpetually striking midnight and the occasional punk band would mix a little laudanum into their potential for aggression. Portents in this vein preceded a dark wave whose foamy crest would break on fog walls of dry ice. Especially in Leipzig and East Berlin, a chain-rattling zeitgeist produced bands that drew from a dark well. Many of these bands arose from the still hot or already cold ashes of punk. The two founding fathers of Neuntage Alt, René Glofke and Taymur Streng (nicknamed “Strangler”), knew each other from the East Berlin punk scene. The third man aboard, Mike Sauer, played drums in the early 1980s for Sendeschluß, a punk band that, lost in thought somewhere in the no-man’s land between punk and post-punk, faded away in 1984. Punk was no longer the order of the day, but it was a form of expression among many and easy to combine. Glofke and Streng found common ground in experimental set-ups with such otherworldly names as Medusa Brahma or Die zeitweilige Erscheinung.
From this far-flung point of departure, a short tunnel led straight into the black light of Neuntage Alt, the coldest star in the low-hanging sky above East Berlin. Neuntage Alt appeared at the end of 1986, during the last blackout phase of the GDR, on the threshold between the underground and the so-called “other bands” – a scene that used the non-socio-critical approach of German Wutwave (“anger wave”) in order to be allowed to perform publicly. In the context of this scene, Neuntage Alt did not belong to the inner circle. Moreover, the band’s subcultural base was initially in Mahlsdorf, on the south-eastern edge of East Berlin. This was where the DIY sound studio of amplitude apostle and great modulator Taymur Streng was situated. Strangler held the position of house electrician and keyboard god in various projects. One of them had the bland alias Mahlsdorfer Wohnstuben Orchester, behind which the avant-garde court chapel of the bungalow studio was concealed. There Taymur also conspired with the East Berlin underground band Ornament & Verbrechen (tapetopia #001). Ronald Lippok of Ornament & Verbrechen remembers how once, at the opening of a joint session, he and his brother Robert attended Taymur’s engaging slide show of his collection of test patterns. Afterwards, they created a piece with the psychedelic title “Das sentimentale UfO”, which sheds an iridescent light on the bizarre atmosphere in the studio. Taymur’s obsession with technology was legendary. The home studio was also his living space; a circuit, a machine park of screwed and soldered equipment, a single keyboard orgy. His own creations were also based on circuit diagrams found in the radio amateur magazine “Funkamateur”. Its somewhat clueless subtitle “Praktische Elektronik Für Alle” (Practical Electronics for All)

Constructive is pleased to announce, 'Utopia or Oblivion', a new compilation featuring ten artists inspired by the pioneering work of R. Buckminster Fuller, with each track inspired and in response to Fuller's work specifically Utopia or Oblivion', first published in 1963.

From the irregular glitch pop scintillation of 'How Would I Be? What Would I Do' by German artist & founding member of To Rococo Rot, Robert Lippok, to the heartfelt ambient and seraphic voices of 'Afterimage' by Japanese artist Tujiko Noriko (Editions Mego, PAN, Room40), through to the tensile, eruptive, dub-contoured emittances of 'Tensegrity Rhythms' by Peruvian experimental composer Ale Hop (Karlrecords).

Elsewhere, there are appearances from the Bafta-nominated composer Adam Janota Bjowski (Saint Maud OST), musician & Constructive co-founder Adrian Corker, London-based experimentalist No Home, Italian artist & NTS Radio resident Silvia Kastel (Blackest Ever Black, Palto Flats, Youth), British sound artist David Prior, and a unique collaboration between the British DIY experimental musician Richard Skelton & Corey Fuller, a descendant of R. Buckminster Fuller.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio Vinyl published by Henryk Gericke Texts and liner notes by Henryk Gericke Remastered by Calyx/ Bo Kondren Digital distribution via aufnahmeundwiedergabe.de

Eine neue Sammlung von Liedern, persönlich ausgewählt vom weltgrößten ”klassischen Künstler” - Ludovico Einaudi - aus mehr als 25 Jahren Musikschaffen.

Dieses neu gemasterte Doppelalbum erkundet Musik aus dem gesamten Katalog von Einaudi und bringt verborgene Edelsteine aus über 9 Alben ans Tageslicht. Es enthält Tracks aus seinen zahlreichen Kooperationsprojekten wie Taranta, Diaro Mali & Cloudland, die Soloalben Eden Roc, I Giorni & Una Mattina, Live-Auftritte aus Berlin & La Scala, Mailand, eine Gesangsversion seines beliebtesten Titels Nuvole Bianche, mehrere Titel, die nie vollständig veröffentlicht wurden, und einen bisher unveröffentlichten Titel.

MIEKO SHIMIZU is a London based Japanese singer, songwriter, composer
and producer. She first erupted onto the scene as Apache 61, fusing layers
of cross-woven breaks and battling shards of sub-bass within stateless
melodies drawn from the fringes of the avant-garde.
Mieko has produced scores for contemporary dance company Phoenix Dance
Theatre as well as the Ballet ‘The Red Balloon’ at the Royal Opera House’s
Linbury Theatre. She was made an ‘Emerging Artist in Residence’ at London’s
Southbank Centre where she collaborated with the London Philharmonic Orchestra on her own compositions.
ROAD OF SHELLS was originally released back in 1990 and now being released
for the very first time on vinyl. Recored at Wold Studios in London, the record
features an array of talented musicians from Claude Deppa on trumpet and
guitar from Dominique Brethes. ‘Blue Dancer’ and ‘In The Garden’ features
Mieko’s brother Yasuaki Shimizu on saxophone.
20 years on from Road Of Shells original release date the record has now has
be released for the very first time on Vinyl in Japan and available in the UK
and worldwide.
Mieko has worked with David Cunningham from The Flying Lizards, Robert
Lippok of To Rococo Rot and re-mixed the likes of Coldcut. Haruomi Hosono
of the cult electro-pop act ‘Yellow Magic Orchestra’, signed Mieko to his label
‘Daisy World’.
Mieko has performed at Sonar, alongside Kraftwerk and supported Massive
Attack at their Melt Down Festival.