Im Bauch der zerlegten Zeitmaschine klingt das von Steinbrüchel an die Kette gelegte Gamelan-Orchster so gut wie noch nie. Ist ja auch kein Wunder, wenn der Etagenwächter statt die Peitsche zu schwingen den Pitch-Regler kategorisch überreißt und das Kontinuum aus ADSR völlig neu ordnet. Eine große und doch unerkennbare Reise durch sonische Alltäglichkeiten, die in ihren bearbeiteten Karikaturen genau das von der Unendlichkeit zurückbekommen, was ihnen die Zivilisation einst nahm. Wenn Farbe, dann dunkelblau.
Es gibt Platten, für die muss man sich Zeit nehmen. So wie die neue EP von Steinbrüchel. A/B/C/D erschien auf dem Essener Label BineMusic. Sie enthält vier Stücke, die eigentlich eher Klanglandschaften und verträumte Collagen sind als Songs im klassischen Sinne. Beats sucht ma hier vergeblich, dafür findet man warme, organische Klänge, deren Strukturen sich erst offenbaren, wenn man ein Stück herauszoomt und die Musik in ihrer Gesamtheit betrachtet. Dann aber ergeben sich Patterns, werden Wiederholungen erkennbar. Nichts für Popfans, eher etwas für experimentelle Geister.
Apparently for this brief set of four recordings Swiss experimentalist Ralph Steinbruchel started out with simply a handful of instrumental recordings. It’s almost possible to hear it, but the burned out fingerprints of each instrument is all that remains under elongated digital drones and familiar glitches. Occasionally a hiccupping rhythm will reveal itself as a xylophone, or a drone might just for a second let its guard down and sound like a guitar, but for the most part Steinbruchel has transformed these sounds into something absolutely his own. Fans of recent Raster Noton releases (especially Alva Noto’s collaborations and experimentations) should check this without delay; Steinbruchel’s work is up there with the best of them. Recommended.
Take a break from the speed of life and relax to A\B\C\D by Steinbrüchel. Think of it as a massage for your ears, soothing, relaxing, and will take the stress right out of your day.
While most people tend to regard change as an unwelcome force in their daily lives, it is still widely considered as indispensable in the realms of creativity. In music, the better part of the former century was spent discussing the question of how much the balance between repetition and (thematic) transformation should be allowed to tilt towards the former. Technological innovations have only served to escalate these conflicts: While Schoenberg and Webern eschewed any kind of mechanical repetition, sequencers and samplers allowed for musical statement to be cloned quite literally, with each cycle constituting an exact copy of its predecessor. As acceptance of these techniques and the music resulting from their application (such as techno) grew, traditional notions of the act of composing were called into question. If there was no transformation, after all, where was the artistry? As it turned out, collecting the right materials, organising them into stimulating relationships with each other and initiating processes of interaction, which could prove engaging despite – or even, perhaps, because of them – remaining stable for an extended period of time, was a task requiring as much intuition, instinct and talent as coming up with a melody and then running it through a string of harmonic changes. And by seemingly ignoring conventional assumptions about change, new ones emerged. Some of them focused on the inner qualities of the material (as in American drone-builder Richard Lainhart's one-sound-theory), others on the human sensory apparatus (some of William Basinski's long-form pieces come to mind), yet others through astutely asymmetrical loops, in which different tracks were pitted against each other in such a way, that their contact surfaces hardly ever yielded the same results. To some, continually researching these implications and accepting their insoluble nature, has represented a life-long ambition.
German-born, Zurich-based Ralph Steinbrüchel is one of them. For him, the fascinating relativity implied by change has always presented a seminal inspiration. Almost his entire discography, in some way or the other, is based on the thought of things depending not just on their inherent faculties but on the observer's perspective and external influences as well. Or at least album titles suggest as much: While momentan_def., Perspectives and Stage dealt explicitly with the topic of development, works like Circa and Opaque hinted at the fact that, ultimately, our bodily instruments for measuring these qualities were inadequate. In realising these deficiencies, Steinbrüchel factored the listener back in to the equation. On two of his more recent works, both released on labels run by Italian micro-sound explorer David Sani aka Shinkei, the contrast was brought into sharp relief. While Sustain, a twenty two minute drone piece, seemingly entered a state of stasis, with merely the soft undulation of harmonics indicating any kind of movement, this year's paradoxically titled Non Renew renewed itself every minute, its six sixty-second miniatures constituting perfectly self-sustained sonic worlds avoiding repetition at all cost. There were no loops here, yet they were always implied as a kind of solution to the ephemeral brevity of these fragile structures, with the audience being invited to put the music on repeat to keep its flame burning.
A/B/C/D, another pronouncedly concise release ahead of an upcoming new full-length on Room40 – pressed as a twelve inch intended to be played at 45rpm, it contains just four tracks of almost exactly five and a half minutes each – continues this train of thought, while presenting its case in the most sultry, sweet and sensual form imaginable. As so often with Steinbrüchel, acoustic instruments with bell-like timbres, most likely including glockenspiel, xylophone, a gong and prayer bowls, are used to create short melodic statements rarely exceeding three or four notes. These, in turn, are then juxtaposed with outwardly unrelated, similarly short themes to create chains of related motives, who, although objectively consisting of entirely disparate parts, seem to magically respond and react to each other. Although there is quite clearly quite a bit of effect processing going on, with a fine layer of gentle hiss, crisp crackles or even an featherweight rhythmical pattern accompanying them, the resulting textures feel astoundingly organic and warm, taking on an endearing rather than an alienating feel. By arranging these elements into loops, Steinbrüchel is creating the dreamiest minimalism imaginable, a tender and romantic kind of beat-less techno.
Left spinning in the background, nothing much seems to be happening here, the music pulsating peacefully, like foam floating in a bath tub. The closer one looks, however, the more there seems to be continuous evolution everywhere: Structures are gradually growing more dense, then, suddenly, disintegrating again. Melodies are interlocking into coherent statements, then drifting apart and turning asynchronous. Deep swells appear, then wither away. And no matter how often one listens to the record, there doesn't seem to be a way of definitely deciding upon what constitutes the foreground and what is merely part of a fluent and unified sonic texture. This is, because the two are effectively one and the same here. It is an at first confounding realisation, leading to a kind of sweet dizziness and stupor. All the same, it is also a deeply comforting one, eliminating the need for upfront, concentrating listening. Just lying there with both eyes closed, allowing your thoughts to wander and taking in the music almost casually, as though it were part of the room's ambient sound, is perfectly enough.This, meanwhile, presents a paradox: If there is no center against which to measure it, there can be no such thing as change. And yet, things are undeniably shifting and morphing all the time. The conclusion is anything but complex: Steinbrüchel is pursuing a strategy of delicate transitions, of all but imperceptible variations, which, in due course, are taking a track to a new and unpredictable destination. It is a process spread out across all elements of a piece here, which consequently feel almost liquid rather than taking on a definitive form. In a way, one could say they are never really there at all.
In terms of the polarity between change and repetition, therefore, A/B/C/D is taking on something of a mediating position, because none of the two are actually present in their purest form here. Perhaps Steinbrüchel, after years of subjecting himself to the same philosophical and artistic questions, has arrived at an age-old wisdom: The more things change, the more they stay the same.
By Tobias Fischer
Static Sound (UK)
Ralph Steinbrüchel is a German musician and graphic designer living in Zurich, Switzerland. He has released music for the past 14 years on labels such as 12k, Line, and Room40, and presents here a 4-track 12″ EP on BineMusic. It is quite clear from the opener A, that this record is less about narrative than it is about states and structures. Throughout this EP, Steinbrüchel suggests patterns, motifs and melodies but make them quite ungraspable. Fragments of micro-rhythms are alluded but very often vanish and echo the crackle of the needle on the vinyl surface. Short melodic phrases are repeated like mantras, often oscillate and slowly mutate. It reminds at times of Aleph-1 by Carsten Nicolai, but where Nicolai sticks to a rigid metronomic grid, Steinbrüchel give each sonic element its own life and pace. Upon casual listening, very little appears to be going on. Bell-like instruments ebb and flow on the smooth surface of quiet darker undercurrents, forming a pulsating sonic mass that radiate tranquility and meditation. Their identity is skillfully blurred to leave only a raw aural skeleton. At times, like in B, this miniature orchestra can be dissonant but never fatiguing. Each sound has a specific weight that is purposefully balanced, like in a delicate edifice that could collapse at any time. In D, a fragile sine wave comes to the surface and ask to listen closer. Elsewhere, like in C, it is difficult to distinguish Steinbrüchel’s clicks and crackles from the surface noise of the vinyl. Those micro-events give a great coherence and sense of focus, even though it is impossible to define any of the four pieces in terms of melodic or rhythmic signatures, as everything is masterfully blurred, making each listen an altogether different aural experience.
With A\B\C\D, Steinbrüchel has created a work of awkward and immense beauty that cannot be easily defined or grasped, but that is nonetheless wonderful and essential.
Late 2010 a new EP by Ralph Steinbrüchel was released through Bine Music (distributed by Kompakt and A-Musik). The 12″ vinyl release is called A\B\C\D which stands for Acoustic\Balance\Contour\Design. Steinbrüchel, who is well-known for his work on various labels like 12k, room40, Line, and/OAR and his own Synchron, again delivers a perfect experimental EP.
A\B\C\D sits perfectly on the 12″ format. This experimental work is based on acoustic micro loops which Steinbrüchel layers in different combinations. He sometimes seems to use the clicks & cuts method which also creates the well-placed crackles without disturbing the crystal clear sound of his alienated acoustic sources. The widest range of frequencies seems to be produced in the final track which also comes up with the most melodic parts and a straight rhythmic fundament. It definitely stands out a bit on this record. During the 22:04 minutes of the EP Steinbrüchel shows his competences of sound design at the highest level and with A\B\C\D he created one of the most interesting and outstanding EPs in 2010.
To stream the EP in its entirety just open the wonderful Kompakt Player. But don’t forget to purchase your 12″, it’s a limited vinyl release. And you won’t regret adding this thing of beauty to your record collection.
Vital Weekly (NL)
Quite a surprise here. Firstly because we haven't seen much Steinbruchel on vinyl lately and secondly its on Bine Music, a label which we know for some rhythmic inspired music and that is not always the case with Steinbruchel (well, not anymore that is). Perhaps the third surprise is the fact that is a 12", so perhaps its aimed at the 'dance market' anyway? Ralph Steinbruchel's music may not move many feet but I must say that these four tunes are nicely lightweight chapters from the big book of ambient glitch. Piano like sounds, glitchy, repeating but not always sequential loops, and mild laptop processing bringing in that low end bass sound. In some way it seems to me that these four pieces are extensions of each other, one going in the next, further expanding on the theme, rather than bringing four very distinct different pieces. Breezy summer tunes on a winter's day - well, the sun is shining, and spring should be coming. Think a bit of Taylor Deupree from some years ago, when things were a bit more poppy. Steinbruchel puts the winter aside and a big smile on my face. (FdW)
During June and July, "Skizzen" will be presented as an installation in "PROGR BERN"'s stairwell. 12 speakers are positioned all across the stairwell, playing the "Skizzen" CD in shuffle and repeat mode from six different stereos, thus layering all the different tracks and creating new combinations and loops of sound... more information at www.leerraum.ch.
Vital Weekly (NL)
The press message says something about this being the second full length solo album Steinbrüchel. I find that hard to believe, since I would have thought there would be more music by Ralph Steinbrüchel. No doubt the blurb is right. 'Skizzen' is the German word for sketches and the thirty pieces on this disc are surely sketches. However I must say that I also think that the word sketches is not a good one. If I hear the word Sketches it sounds like 'throwaway', something that is not very serious, scribbled on a piece of paper, not worth of releasing. And all of these qualifications are not the case with the thirty pieces by Steinbrüchel. They are carefully constructed small pieces of laptop electronica. Each one carries his own signature, setting themselves aside from the others. The smallest particles made audible, soft crackles and a deep end bass sound. The sounds that Steinbrüchel uses may not be the newest around as this is high glitch land territory here, but over the years he has developped enough skills to make small, interesting pieces of music which don't deserve the name sketches. (FdW)
From the excellent Bine label, a sometime Raster-Noton affiliated imprint, comes this follow up to one of our stealth discoveries of last year, the wonderful Benjamin Brunn CD. ‘Skizzen’ is a more self conscious, ‘difficult’ affair, but when has this ever deterred us! Divided into almost random series of numbers and letters, the tracks range from short to interlude in length, making for a beguiling patchwork of sound and textures. The tunes seem to work on the mind exactlky because of this minute process of accretion. Reference points would certainly include Raster, as well as the discerning minimalism of Taylor Deupree and Richard Chartier, somewhere between the more contemplative moments of 12k and the noisier end of the Line imprint.
After collaborating on a couple of sublime works for 12k and List with Frank Bretschneider and Guenter Mueller I thought it might be nice to reintroduce you to this superb work on the excellent Bine label. A wonderful example of his deeply excellent minimalist, digital Electronica, it features challenging, textural, micro sounds and fragments coupled with high frequencies and subtle drones that you can really get your teeth into. But there's melody as well, as you'd expect, although it's not always to be found in the most obvious places! Fans of Raster, Line etc. should thoroughly enjoy this. Recommended.
Anyone who knows a bit about Steinbrüchel also knows that he's all about drones - digital drones within a self-willed density that crawl along your ear to bite them a little. "Skizzen" comes with 30 short tracks, making it an outstanding album, not only giving an insight into how Steinbrüchel "works", but preventing you from losing yourself in it as well. Finest sound miniatures that always catch you without warning.
These are indeed sketches ("Skizzen") only, since during the 30 short tracks, many ideas are introduced only briefly, fixed and layed down for further processing. The domicil artist thereby creates some fascinating miniature universes of discrete clicks and floating drones, whose strictness and limitation create unknown heights. It's hard to just daddle in those sounds, as too much of the energic depths and merciless beauty would get lost, and the mind would not be free enough to play along the tones. And that's just what makes the charm of this release - you can listen to Steinrüchel's "Skizzen" as a suggestion and let your own music come into existence in your head.
More heading towards freedom is Zürich artist Steinbrüchel, who created 30 ambient atmospheres on his second lp, most fittingly entitled "Skizzen" (scetches; on Bine Kompakt/A-Musik), oscillating between density and wideness.
Lecker Elektro (DE)
30 tracks, each around two minutes, are gathered on Steinbrüchel's second album. Sound scapes in minor, atmospherically glimmering and making a perfect soundtrack for a nice comfortable walk along the forest. No beats, no nervous convulsions, everything flows nicely and minimal. Cool for the open-minded, all others please have a listen first.
Created between 2001 and 2004. Warm and comfortable sound scapes! Inconspicuous background stands against conspicuous foreground. Harmonic as, but more quiet than, "pop ambient"...
Touching Extremes (Blog)
Ralph Steinbrüchel's latest is not only a confirmation of his talents as a sound carver but also a perfect introduction to his work for people who are not familiar with his aesthetics. In an imaginary translucent folder lay these short "Sketches", computer-generated pinholes through which iridescences and glowing flashes become a weightless, unburdened fusion of polychromatic axioms flitting around and generating an offspring of hissing hums, repetitive structures and crackling drops of bionic dew. Though the pieces are on the short side, there's a perfect sense of continuity along them; the music sounds like a pictorial history of a yet-to-flourish strange plant, whose sinuosity is contrasted by the rigid scheme of the small corner where it has been put to grow. These elements of counterpoise make "Skizzen" an ever-so-balanced listening, certainly Steinbrüchel's best proposition until this very moment, surely a prelude to even better things to come.
Blow Up (UK)
No, here's not the upteenth microsound record we review for a mere review sake. In fact the second full length album by swiss Steinbrüchel is the confirmation of a mature composer, with a great thickness and a capacity to not be boring in a field that has been widely dissected. Thirty miniatures, more or less two minutes each, and the usual habit for simmetry and numerical-literal calembours (all the titles are alphabet letters in chronological order, except for the multiples of three, marked by increasing numbers with alternatively positive and negative signs), minute and gentle glitches as from an agonizing hard disc, intense swarmings diluted in china ink with a strong narrative sense and a precious and transient beauty which looks like to crumble in your hands, as frail as some butterfly wings.