Frieder Butzmann is a veteran of the Berlin underground, a former member of DAF, and Din A Testbild alongside Gudrun Gut, and collaborator with Genesis P. Orridge, Thomas Kapielski and Wolfgang Müller.
'Wie Zeit Vergeht' is his contribution to Pan's increasingly essential canon of experimental material, following incredible releases by Keith Fullerton Whitman, Evan Parker, and Joseph Hammer, among others. Influenced by aspects of Stockhausen's work and the influence of dadaist avant-garde composition which he first encountered nearly 40 years ago, Butzmann manipulates sounds created using the infamous 'Black Box' modular system made at STEIM in Amsterdam in 1995, together with cut-up and dismantled lyrics excerpted from Stockhausen's 'Telemusik' and 'Kurzweien' to create an intuitive and naively raw collage of acousmatic sound, electronics and vocals.
His work eschews technical finesse in favour of articulating his ideas through eccentric sounds. Both sides travel a diverse topography of cut-up concrete sounds, noise blurts and disorientating acoustics conducted with a knowingly unhinged aesthetic. Utterly unmissable.
View more
Frieder Butzmann is a veteran of the Berlin underground, a former member of DAF, and Din A Testbild alongside Gudrun Gut, and collaborator with Genesis P. Orridge, Thomas Kapielski and Wolfgang Müller.
'Wie Zeit Vergeht' is his contribution to Pan's increasingly essential canon of experimental material, following incredible releases by Keith Fullerton Whitman, Evan Parker, and Joseph Hammer, among others. Influenced by aspects of Stockhausen's work and the influence of dadaist avant-garde composition which he first encountered nearly 40 years ago, Butzmann manipulates sounds created using the infamous 'Black Box' modular system made at STEIM in Amsterdam in 1995, together with cut-up and dismantled lyrics excerpted from Stockhausen's 'Telemusik' and 'Kurzweien' to create an intuitive and naively raw collage of acousmatic sound, electronics and vocals.
His work eschews technical finesse in favour of articulating his ideas through eccentric sounds. Both sides travel a diverse topography of cut-up concrete sounds, noise blurts and disorientating acoustics conducted with a knowingly unhinged aesthetic. Utterly unmissable.
Frieder Butzmann is a veteran of the Berlin underground, a former member of DAF, and Din A Testbild alongside Gudrun Gut, and collaborator with Genesis P. Orridge, Thomas Kapielski and Wolfgang Müller.
'Wie Zeit Vergeht' is his contribution to Pan's increasingly essential canon of experimental material, following incredible releases by Keith Fullerton Whitman, Evan Parker, and Joseph Hammer, among others. Influenced by aspects of Stockhausen's work and the influence of dadaist avant-garde composition which he first encountered nearly 40 years ago, Butzmann manipulates sounds created using the infamous 'Black Box' modular system made at STEIM in Amsterdam in 1995, together with cut-up and dismantled lyrics excerpted from Stockhausen's 'Telemusik' and 'Kurzweien' to create an intuitive and naively raw collage of acousmatic sound, electronics and vocals.
His work eschews technical finesse in favour of articulating his ideas through eccentric sounds. Both sides travel a diverse topography of cut-up concrete sounds, noise blurts and disorientating acoustics conducted with a knowingly unhinged aesthetic. Utterly unmissable.
In Stock (Ready To Ship)
Back in stock - 140g vinyl LP housed in silk-screened PVC sleeve.
Frieder Butzmann is a veteran of the Berlin underground, a former member of DAF, and Din A Testbild alongside Gudrun Gut, and collaborator with Genesis P. Orridge, Thomas Kapielski and Wolfgang Müller.
'Wie Zeit Vergeht' is his contribution to Pan's increasingly essential canon of experimental material, following incredible releases by Keith Fullerton Whitman, Evan Parker, and Joseph Hammer, among others. Influenced by aspects of Stockhausen's work and the influence of dadaist avant-garde composition which he first encountered nearly 40 years ago, Butzmann manipulates sounds created using the infamous 'Black Box' modular system made at STEIM in Amsterdam in 1995, together with cut-up and dismantled lyrics excerpted from Stockhausen's 'Telemusik' and 'Kurzweien' to create an intuitive and naively raw collage of acousmatic sound, electronics and vocals.
His work eschews technical finesse in favour of articulating his ideas through eccentric sounds. Both sides travel a diverse topography of cut-up concrete sounds, noise blurts and disorientating acoustics conducted with a knowingly unhinged aesthetic. Utterly unmissable.