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JAN St. WERNER
MISCONTINUUM ALBUM

elektronika
Thrill Jockey, 2015

Średnia ocena klientów: -    oceń

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CD : 49,90 zł
W magazynie: BRAK
Szac. dostępność:
Tydzień ?
Nr kat.: THRILL385
EAN: 790377038521
format : CD
liczba nośników : 1
winyl : 89,90 zł
W magazynie: BRAK
Szac. dostępność:
Tydzień ?
Nr kat.: THRILL 385 A/B LP
format : 2x12"LP
liczba nośników : 2
 


nr tytuł play mp3
1 Intro
2 Cervo
3 Scene 1
4 Repedron
5 Demonos
6 Scene 2
7 Molono
8 Scene 3
9 Schwazade
10 Outro
11 Amazonas
bonus (vinyl only):
12 Nebula
13 Syno
14 Amazonas Elegy


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Miscontinuum Album is the third installment in Jan St. Werner's Fiepblatter Catalogue series and features contributions from Dylan Carlson (Earth), Markus Popp (Oval), Kathy Alberici, and Taigen Kawabe (Bo Ningen)

CD version packaged in a 4 panel mini-LP style gatefold package. Deluxe 2xLP version features expanded artwork with each LP in its own jacket. In addition the vinyl version includes three bonus tracks not on the CD edition.

Miscontinuum Album documents an impressive new work by seminal electronic musician Jan St. Werner, whose innovations with Mouse on Mars and Microstoria are well documented. Over a period of approximately four years Miscontinuum has been developed and refined as an operatic live performance in Munich, as well as a radio play. This recorded incarnation of the work is the third entry in Werner’s lauded Fiepblatter series, and features contributions by Dylan Carlson (Earth), Markus Popp (Oval), Kathy Alberici, and Taigen Kawabe (Bo Ningen). It is a challenging listen not compromised for casual music consumption habits, but with time and close listening it yields vast rewards. Miscontinuum Album is a radical convergence of sound exploration and storytelling that has few precedents.

The central concept of Miscontinuum explores misconceptions of time and memory, inspired by unique acoustic phenomena derived digital phasing and musical time stretching techniques. There is an aura of doom that pervades the work. Much of the album’s evocative nature comes from the interplay of Werner’s electronics with Alberici and Kawabe’s voices and the contrast between those organic and inorganic elements. Popp, a longtime collaborator with Werner in Microstoria, wrote the libretti, which is presented in five distinct scenes and recited redolently by Carlson. The surreal plot involves a progressive distinction of time as a force rather than a structuring system, and an individual who can shi
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