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RLW/PAAK: Zur Arbeit (Augsburger Gerberei) – [treetrunk 361]

For several years now, sound artists RLW and PAAK have been collaborating on concept albums about subjects such as religion, food, and work. Their album “Zur Arbeit I” was released in 2016 on the attenuation circuit label. It uses quasi-industrial sounds, electronics, and voice to make a point about the status of work in the 21st century. After decades of relatively good social security for working people, Europe now experiences a backlash, with an increasing number of working poor and social stigmatization of people who cannot find jobs. In 2016, there was a heated debate in the local media as home-owners in the neighborhood of the abraxas arts center protested against rent-controlled housing (for unemployed people, among others) being built next to their houses. As a statement against this kind of discrimination, the loop30 sound gallery exhibited an excerpt from RLW/PAAK’s album at the center. On the opening night, PAAK did an original live performance on the same subject that utilizes some of the sound sources of the album. Excerpts of this live performance on November 26, 2016 at the abraxas arts center are documented in this release.

Zur Arbeit at

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Luciftias- Amorphous Architectural Abstraction [treetrunk 360]

‘This piece began as an improvised guitar drone that had been laying dormant on my hard drive for a few years. I often revisit such recordings, massaging and shaping them into something new. I like the way this one turned out because it works as an ambient piece, subtly blending in like wallpaper, while rewarding the active listener with a droning textural undercurrent. Enjoy!’– Luciftias, 2017

Amorphous Architectural Abstraction at

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Netlabel Interview Project

Keith Helt has interviewed Thomas Park regarding Treetrunk Records, for Mr. Helt’s “Netlabel Interview Project”:

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Now Unavailable

Why are some Treetrunk releases no longer available at Mystified has chosen to reduce his web presence, and has “Made Dark” several dozens of releases. If you are a fan, don’t worry. Plenty more is still available, and lots can be streamed at his YouTube station:

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Mystified (with Hertz and Frore)- Salvation Army [treetrunk 359]

Soldiers of Undeclared Wars. Veterans of Asphalt and Broken Glass. Field Nurses from North of Page. An album done, essentially, in the “New Industrial” style ,excepting the synthesizers in Frore’s piece and a drone texture in the final piece. Thanks to Jack Hertz for the sounds on “Untitled” and Frore for his work on the Third Track.

Salvation Army at

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Mystified- Mystified Drone Station [treetrunk 358]

Jack Hertz has coded a nice MP3 player, with instructions on board, where you can play various mp3 samples by mystified and create your own unique live-streaming piece.

Mystified Drone Station at

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Thomas Park- Everywhere Drone [treetrunk 357]

In light of the transatlantic history of the building (which was used by the U.S. Army before it became a community arts centre in 1995), loop30 – the listening room at the abraxas arts centre, is happy to present its first exhibition of sound art works by an artist from the U.S. With his musical projects Mystified and Mister Vapor, as well as his label Treetrunk Records, Thomas Jackson Park from St. Louis, Missouri, has been a prolific presence on the international experimental music scene for many years. Completing the transatlantic feedback loop is the fact that Treetrunk Records has released, and will continue to release, all original sound work created for loop30 as free download albums.

Everywhere Drone at

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Mister Vapor- Beyond The Black Vapor [treetrunk 356]

A spectral dark drone track composed using only processed NASA sounds. A song about space made with sounds from space.

Beyond The Black Vapor at

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Oda Klonk- Ein Haus Das Klingt [treetrunk 355]

For her piece ‚Ein Haus, das klingt’ (‚A sounding house’), sound artist Oda Klonk aka Tine Klink recorded the diverse everyday activities at the abraxas arts centre and composed them into a sound walk through the house from the basement to the attic. These are the sound sources/recording locations she used in the order in which they are heard in the piece:
1. Moussong Theater mit Figuren (puppet theatre performance for children)
2. The corridor of the Musikwerkstatt music school
3. Theater Fritz und Freunde (theatre performance for children)
4. Corridor between band rehearsal rooms in the basement
5. Refrigerator in the small foyer
6. Stairwell
7. Visual arts gallery (large hall)
8. Front door
9. Thumb piano played in the so-called ‚Ballet Room’ (actually a theatre foyer and gallery)
10. Artist Iris Eckhardt hanging up her paintings for an exhibition in the Ballet Room
11. Children’s voices in the small foyer and Ballet Room
12. Moussong Theater mit Figuren (puppet theatre performance for children)
13. Theater Fritz und Freunde (theatre performance for children)
14. (Basement) Door
15. In the theatre after the end of the show
16. Stairwell
17. Upstairs corridor in front of the management offices
19. Conversation with restorer Dagmar Bodirsky in her studio
20. Outside walk from the main building to the Musikwerkstatt music school in the north wing
21. Corridor in the Musikwerkstatt music school (with Buddy Brudzinski, Walter Bittner, and Robert Vogg teaching guitar, drums, and saxophone respectively)
22. Attic (chopsticks on chimney, thumb piano, metal chime, processed after recording), quiet sounds from the street outside

Ein Haus Das Klingt at

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Satie/Oettle- Vexations [treetrunk 354]

17 May 2016 was the 150th birthday of French composer Erik Satie. From today’s perspective, Satie can be seen as the predecessor of a concept of sound art that goes beyond (concert) music. Satie’s idea of ‘musique d’ameublement,’ or ‘furniture music’ embedded in everyday life and its sounds, is particularly relevant here as it anticipated both ambient music and sound installations. The ‘loop30’ sound art gallery celebrated Satie’s birthday by paying homage to this concept with a version of his piece ‘Vexations,’ a short piano melody that is supposed to be repeated 840 times. For ‘loop30,’ Wolfram Oettl played the melody on the piano in the Reesegarden Restaurant right next to the sound art gallery in the abraxas arts centre. Between repetitions of the piano melody we hear the ambient sounds of the restaurant. Music and ambient sounds were combined to form a 51-minute loop which, repeated 840 times, filled up the whole month of Satie’s birthday.
Vexations at

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