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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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EMERGE- 30 Fires (and the campfire in the Maerchenzelt) [treetrunk 353]

The installation ’30 fires’ by EMERGE is composed of 30 different fire sounds. Each fire sound has exactly the same duration and was looped 30 times in a row. Most of the sounds change their volume in steps of 0.5 decibels with each repetition. A few of the sounds were randomly placed at -20 decibels, thus interrupting the structure for seconds. Through this, the composition becomes as unpredictable to its listeners as the sounds of a ‘real’ campfire. Following the 30-minute composition, they hear an unprocessed field recording of the campfire in the Maerchenzelt (Fairy Tale Tent, a storytellers’ stage in an actual tent) on the grounds of the abraxas Arts Centre, where the sound exhibition took place. The campfire is an essential ingredient of the special atmosphere in the Maerchenzelt.

30 Fires at

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Am Eise- Transurban Loop30 Version [treetrunk 352]

For loop30, Augsburg-based sound artist Am.Eise created an installation from sounds he recorded in the city centre of Augsburg in October 2015. They were mixed, with some parts processed digitally to highlight certain sonic characteristics. Some sounds could be from almost any city, but locals will recognise some unmistakable Augsburg sounds. Among the sound sources utilised in ‘Transurban’ are trams with their passengers, buses, street noises/cars, the underground car park at Leonhardsberg, street musicians, St Anne’s Church/Martin Luther museum, fish vendors at the city market, water, abandoned buildings, shouting kids in a schoolyard, a traffic signal for the blind at Koenigsplatz square. The only sound source not recorded in Augsburg is archival footage containing the voices of US soldiers. This element references the place of the exhibition, part of a former barracks complex used by the US Army (originally built by the Nazi army and taken over by US troops in 1945).

Transurban Loop30 Version at

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Akusdix and Oda Klonk- Field Recordings by Akusdix and Oda Klonk [treetrunk 351]

The works by Akusdix and Oda Klonk you hear on this release are based on recordings made between August and October 2015 in the intercultural gardening project Grow Up! This garden, where citizens of the city of Augsburg from 14 different nations work together, is situated right next to the abraxas arts centre, where the installation version of this release was exhibited. The tracks presented here fall into the categories of field recording or phonography. Both of these terms refer to work with audio recordings of sounds from our natural and social environment. These recordings document the noise of construction machines and
cars, but by transplanting the outdoor sounds into the unusual indoor
environment of the abraxas foyer, they also open our ears to the beautiful
details we often fail to hear in everyday situations – for example when the
bells of the nearby church and the conversations of Turkish-speaking gardeners effortlessly blend into a wonderful sonic image of lived intercultural coexistence.

Field Recordings by Akusdix and Oda Klonk at

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Scott Lawlor (with mystified)- Behind The Black Industrial Curtain [treetrunk 350]

Scott Lawlor generously offered 3 great remixes of Mystified’s source piece, “Industrial Curtain” Thanks for Scott for his top notch work on these.

Behind The Black Industrial Curtain at

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Segment.fault- Industrial Curtain Reworked [treetrunk 349]

Mystified asked Segment.fault to remix his longform soundscape, “Industrial Curtain”, and he obliged with three pieces deeply exploring the sounds from the original piece, and using elements of microsound. Enjoy!

Industrial Curtain Reworked at

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Jack Hertz- Invisible [treetrunk 348]

This long form drone incorporates binaural, phasing, panning, and frequency modulation techniques to explore sound at the threshold of perception. The audio was intentionally mastered at low volume, with extremely slow changes. The listener may experience gaps in audible events, and at times may feel the sound more than hear it. The listener is invited to further modulate these effects by playing the piece at different levels, places, and times of day.

Invisible at

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