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Rlw : reviews
CAPUT KAPUTT 7“, Korm Plastics 1997 (kp7297)
Die erste Scheibe in der neuen Serie "Kapotte Muziek by", in welcher Aufnahmen von K.M. von anderen Soundartisten bearbeitet werden sollen. RLW beweist hier mal wieder (die Aufnahmen stammen aus dem KM-Gig im Kramladen zu Kaiserslautern, 07.02.97) seine Sensibilität im Umgang mit fremdem Material (wie auch schon bei der Splintered – Zusammenarbeit) und reichert die ruhig-konkreten Klänge noch mit einigen weiteren Komponenten an.
Drone, Germany 1998
ORGANIZED (w/ Aube) 10“, Meeuw Muzak 1997 (MM 06)
The organisation of sound is one of RLW´s prime interests, and this new release is the result of a collaboration through mail between him and Aube. They worked on each others sound material, respectively RLW´s recordings of a church organ and Aube´s recordings of an electronic organ and bell. RLW´s side consists of sampled drones and short, interrupted sounds and builts slowly. His side has a quiet, subdued feel to it, even at the point where the sound gets loud (about 2/3 in the piece). This is a well-structured piece. Aube stays in likewise „ambient“ moods, but is more monochrome in his approach.
Vital Weekly, Holland 1997
SPLINTERED RLW CD, Black Rose 1996 (BRCD 96-1005)
Full of haunted studio space, fractured tremolo-wail and a unique understanding of the brink of chaos sound. Melody Maker, UK 1997
Äußerst dynamisch. RLW zaubert phantastische Noise-Collagen, die das Splintered-Material als Rohstoff für beunruhigende Dark-Ambient-Loop-Dekonstruktionen verwenden.
Artefakt, Germany 1997

CD, Table of the Elements 1996 (Ge 32)
Un travail qui, comme ses dernieres pieces, continue de confirmer la place centrale qu´ occupe son auteur dans le champs des musiques electroacoustiques.
Metamkine, France Dec. 1996
Ausschließlich das gesprochene oder gesungene Wort dient als Klangstoff, entweder so, daß man Caspers Prosaskizzen (mit Themen wie „Reise“, „Beziehung“und „Autos“) noch verstehen kann, oder zum bloßen Geräusch abstrahiert. Entscheidende Bedingung des Konzepts war es, daß alle Beteiligten die Texte in Deutsch abliefern mußten. Was gar nicht so einfach ist für französische, US-amerikanische oder japanische Zungen. Die im „Atmosphere“-Text eingefangene Stimmung Henscheidschen Sonntagsnachmittagsstumpfsinns, dieses Pendeln zwischen einem Abgrund an Ennui und faunischer Glückseligkeit, kommt ein bißchen dem nahe, was sich im Kopf abspielen kann, wenn man ihn in den RLWschen PULLOVER hineinsteckt.
Bad Alchemy, Germany 1996
RLW has always been creating extremely intelligent electro-acoustic works. He creates electric collage sound with extraordinary quick transformations, inserting text readings by members of Gastr Del Sol, K2 a.o. on this new release from Table of the Elements. Listening to this blend of wildness and silence on the CD I only can say „splendid“.
REMIX, Japan Dec. 1996
RLW has always been creating extremely intelligent electro-acoustic works. He creates electric collage sound with extraordinary quick transformations, inserting text readings by members of Gastr Del Sol, K2 a.o. on this new release from Table of the Elements. Listening to this blend of wildness and silence on the CD I only can say „splendid“.
REMIX, Japan Dec. 1996
Mit Pullover hat mich RLW nun endgültig verzaubert: welch eine Magie steckt hinter solch einem planvollen Umgang mit Klängen? Welche unsichtbare Hand kann Stimmen in solche Bahnen lenken, kann dichtes Geschnatter in magische Brummtöne auflösen. RLW bricht menschliche Stimmen zu neuen Geflechten zusammen, in denen man sie manchmal noch erkennt, in denen sie aber oft auch zu fremdartigen Geräuschen umgebastelt werden. Die Texte des Caspers erzählen einfach, sachlich und irgendwie morbide von befremdlichen Begegnungen und schreckhaften Gedanken. Bisher die grandioseste CD des Jahres.
Auf Abwegen, Germany 1997
Simply astonishing collection of digital (de)compositions from, without doubt, one of the medium´s leaders.... Listening to this work and, indeed, actually feeling the amount of effort, time & unbridled passion behind it is as rewarding an experience one could wish for if truly sharing a penchant for what can only be described as adventurous modern music.
Fourth Dimension UK 1997

MCD, Metamkine -Cinema pour l´ Oreille- 1996 (MKCD 020)
Another truly amazing work. RLW continues to inhabit an area usually owned by more „academically“ trained composers. To me, he also has a better ear and more „life“. Compares favorably to the newer releases I´ve heard on the INA/GRM label.
Swill Radio, USA 1996
RLW filtert und verdichtet hier den Saitenklang von Ulrich Philips Kontrabass, gespielt in Lachenmannscher Manier, zu elektroakustischen Abstraktionen. Die Herangehensweise ist insofern nicht filmisch, sondern ikonoklastisch. Die Konzentration gilt dem Klang als Materie und nicht einer wie auch immer gearteten Erzählung. Die Gewohnheitsehe zwischen Signifikant und Signifikat wird geschieden, das Geräusch kommt ohne seine assoziativen Pflichten zu sich selbst. RLW ist ein Webern der radikaleren Mittel.
Bad Alchemy, Germany 1996

(w/ BERNHARD GÜNTER) 3MCD, V2-Archief 1996 (V 222)
BG and RLW seem to want to tap into desire, and with no excuses. To start with the sensual experience of sound; to listen, above all with the attitude that sound, which is now replete with memory, with reference, with social significance, may tell you something no apriori rules about its place and possibilities may even get close to. To see where the sound leads, what rules it generates from its own specifity, and then use these patterns to go on, always listening to the other patterns spinning off the new sounds created from the rules of sound itself. A crystallization process, in other words, or the unfolding of a specific intensity tracking its own duration. A sound event, in which the story of its organisation will necessarily appear as a sort of delay or why not say as another sound effect. This extremely attractive perspective lies behind the triple CD UN OCEAN DE CERTITUDE. This release has quite a lot of interest vested in the question of the inevitable and the given inevitability of desire and of sound being, of course, both sublime and „oceanic“. This means, however, that „certitude“ comes at a price. For, listening to the given, to the sound that is there, and letting this sound become its own paradigm, means also accepting that which is necessarily imperfect, which necessarily breaks rules or expectations. And with every such sonic purpose there is the possibility of searching out how sound may actually escape these structures, how a real sound event may even come to rely on accidents and mistakes, on the excess that is seeping out through the cracks in the sound system. If UN OCEAN... is a sound event, it is an event that hovers on the verge of enthropy: Its sound effects are partly a story about its organization, and partly a dispersal of organization. Listening to UN OCEAN is in a sense listening to such accidents, such excess. And in a sense it is also listening to listening: an impossible state of hyper-attention, doomed to fail. There are lots of silences or near silences, where high frequencies or mere shadows of sound shimmer somewhere within the range of your attention. Listening to listening, because there is no way you can let it pass as an interesting soundscape, a cool background. Even as its many breaks and silences make it merge with your surroundings or (if you use headphones) with your body in a way few records do, there is continual triggering of expectation: What next. More, please. What are you doing to me. One could simply say that it is a very sexy record.
Ina Blom, Siksi, Norway 1997
Bernhard Günter's and Ralf Wehowsky's cooperation began in 1990 on an informal basis. In mid 1992, Wehowsky having finished the recording of his CD RLW:ACHT, they decided to begin a closer collaboration project. The idea for Un Ocean De Certitude was born. First results were presented at the Festival Experimenteller Musik in Koblenz, Mutter Beethove Haus December 1992. This CD-set follows the structure of that presentation (and later concerts): one part is a collaborative work and two parts are solo works by Wehowsky and Günter, Results and side effects of the collaboration can not only be found on these CD's but also on the other releases from 1992 on (Günter's Un peu De Neige Salie (1993) and '...' (1994), Wehowsky's RLW:14 (1993) and ...Freezing Air... (1994)).
Untitled Triptych's three wings reach back to the beginnings of the collaboration: Part 1 (Wehowsky with Günter) was conceived in July 1992, part 2 (Wehowsky) in Janurary 1992, part 3 (Günter with Wehowsky) in June 1993. All were reworked and remixed in August 1994. The basic idea was not only an exchange of sound materials (as it was established in the 80's) but also of the composition (sequence) as material for further compositional transformations. Ralf Wehowsky's Maze was recorded in June (I Am Sitting In A Maze) and July (Still In A Maze) 1994. The basic work for Sitting Amazed dates back to the beginnings of the collaboration (August 1992), it was completely reworked to become an integrated part of Maze in July 1994. Every part of Maze has some special relation to Bernhard Günter: the first quotes some typical compositional methods, the second includes a recording of Günter 'playing' a newspaper and his dog barking, the third consists of samples taken from pieces which later made their way to the Un Peu... CD.
Bernhard Günter's Deceptive Likeness (a phrase originally coined by the late Morton Feldman, pointing to the 'instrumental image' interfering with the actual perception of sound) was recorded in July 1994. By blending passages of 'instrumental' character with more abstract ones, this piece is sometimes similar to something one would rather expect to come from Wehowsky, referring to the on-going discussion between the composers on the issue of 'abstractness' in sound (number one favorite obsession) as well. Under the working title 'Details Agrandis' two passages of the piece have been developed by Günter, resulting in an over 21 minutes long composition Stone Circles (For Richard Long) found on his second solo CD '...'.
Absurd, Greece 1996
... est un disque qui comme son titre l´indique seme le doute le plus complet, et ces deux compositeurs à la demarche déjà bien mysterieuse, jettent la un trouble encore plus grand. L´ interêt magistral de leur travail se situe au niveau de cette remise en cause de nos habitues de perception. Leur musique est d´une telle complexite que jamais on ne peut prevoir ce qui va se passer, même apres plusieurs écoutes; elle nous replace en permanent etat d´alerte. Les sons qui la composent sont soit presque reconnaissables, quoique... soit carrement inouis, dans le sens ou „on n´a jamais entendu ca de cette manière“. Ce qui nous amène à un exercice actif de la perception sonore, plutot que de la laisser ramper comme un outil inutile dans la simple reconnaissance semiotique: „oui, je sais que j´entends tel son“ ou „oui, je sais, que la c'est de la musique“. Alors que non, là, nous ne savons pas. Pas plus d´ailleurs que nous savons ce qu´est la musique. La perception sonore reste quelque chose d´étrange en ce qu´elle agit sur notre mémoire et notre pensée, d´autant pour la plupart de nous qui ne sommes pas aveugles et qui n´avons jamais appris vraiment à douter. Et de même de ce disque, nous ne saurons pas qui y fait quoi et comment, il n´y aura que le choix à faire de se laisser porter par la poésie qu´il contient. Cette reflexion sur le trouble et la non-certitude est aussi radicalement politique, a l´encontre exacte de notre civilisation qui s´imagine „savoir“ et „connaitre“ comme des actes d´ultime possession, pour mieux assoir sa suprématie totalisante. „Supposons cette question: Est-il vraiment correct de nous fier au temoignage de notre mémoire (ou de nos ses) comme nous le faisons? „ Wittgenstein in „De la Certitude“. RLW et BG me semblent offrir avec leurs disques de très belles réponses. Fascinant.
Revue Et Corrigee, France 1996


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