attenuation circuit ° ACU 1054 ° 2023
attenuationcircuit.de ° email@example.com
Sascha Stadlmeier – voice, noises, effects, cover photography
Gerald Fiebig – samples, effects
Joseph B. Raimond – guitar, bass, cover painting
Michael Wurzer – keyboards
Adrian Gormley – saxophone, effects, label painting
Stefan Schweiger – theremin
Recorded June 5th, 2019 at Two Car Garage Studios, Fürth Germany,
except Stefan’s theremin, which was recorded a month later.
As always, in loving memory of Frank Abendroth and Tom Murphy
Dedicated to D.H. Peligro
This is DWM release # 208
Front cover “The Happy Eggs”, Joseph Raimond 2021.
Inside artwork “Nothing Is Really Something #23”,
Joseph Raimond & Adrian Gormley 2022.
90765 Fürth, Germany
released April 15, 2023
Doc Wör Mirran releases have been a constant presence on attenuation circuit since the label’s beginnings in the early 2010s. With a long-time friendly contact established, label head Sascha Stadlmeier and his touring companion Gerald Fiebig stopped at the Doc Wör Mirran headquarters in Fürth, Germany, for two recording sessions during their 2019 tour. The two sessions, improvised live in the studio (with Stefan Schweiger’s theremin overdubbed later), form the two tracks of this album.
Amazonas, largest river in the world. Spelled Spanish so as to avoid confusion with Amazon, late capitalism’s empire of dirt. Like that mighty stream, the music on part two is a seemlingly endless flow of drones, layers, and harmonies. As this river of sound flows along, tributaries enter its bed, adding more sounds and textures. A serene, uninterrupted flow towards the Nirvana of the ocean? You wish. But we all now what goes on in the basin of the Amazonas. Rainforests chopped down and burned to farm more cattle. Indigenous peoples deported and killed if they stand in the way. The whole world’s lungs ripped out to feed the global proletariat with cheap meat. You can even buy canned beef on Amazon. Cheap nature, cheap food, cheap labour. A whole planet flowing down the drain. No man can can step into the same river twice, but what if the river Amazonas itself could change its flow, stop flowing towards the sea, spill out from its bed, flood the pastures, then flow back towards its source, becoming Sanozama? Such sorties (like that of the weeds breaking through concrete on the back cover photo), eruptions, ruptures, breaks, clashes, and catastrophes could be imagined in part two, as the laminar flows of electronic sound often break on noisy, abrasive lumps of sonic material, and the emerging uneasy rhythms subvert the certainty that this stream, any stream, any thing could really flow on forever, grow on forever, go on forever.
File under: ambient, drone, improvisation, psychedelic