Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created. While working as a scientist in the pharmaceuticals sector, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version (LP/digital) to mark the label’s tenth anniversary. The new version also includes four bonus tracks that were previously only available on a vinyl 7" single (Ursula Bogner: Pluto hat einen Mond, Maas Media Verlag 2010).
From the reviews of Recordings 1969-1988 in 2008:
pitchfork.com Most of Recordings 1969-1988 sounds simultaneously like pop and art. Bogner's M.O. is to take a few simple loops - rumbling bass, watery plops, chirping squalls, laserlike blasts - and overlap them, producing songs so sweet they'll make you laugh (the elephant-march opener "Begleitung für Tuba"), so repetitive they'll hypnotize you (the swinging "Inversion"), and so inventive they sound alien (the robotic "2 Ton").
The Wire Magazine Despite Bogner's status as a bona fide outsider artist, her music opens up a surprising number of connections. It's terse, yet playful; cosmic in reach, yet human in scale. Much of the strange, laconic material collected here would fit seamlessly alonside the recent anthology of work by the BBC Radiophonic Workshop's John Baker - and there are occasional, skewed parallels with the gentle pulsations of Cluster and Harmonia.
residentadvisor.net Recordings 1969-1988 collects 16 of these early electronic collages, many of which clock under two minutes, and presents them as a crate-digging, proto-techno discovery along the lines of BBC Radiophonic Workshop alumni such as Daphne Oram and Delia Derbyshire. Raymond Scott comes to mind as well. Bogner's work exhibit....... more
Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created. While working as a scientist in the pharmaceuticals sector, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version (LP/digital) to mark the label’s tenth anniversary. The new version also includes four bonus tracks that were previously only available on a vinyl 7" single (Ursula Bogner: Pluto hat einen Mond, Maas Media Verlag 2010).
From the reviews of Recordings 1969-1988 in 2008:
pitchfork.com Most of Recordings 1969-1988 sounds simultaneously like pop and art. Bogner's M.O. is to take a few simple loops - rumbling bass, watery plops, chirping squalls, laserlike blasts - and overlap them, producing songs so sweet they'll make you laugh (the elephant-march opener "Begleitung für Tuba"), so repetitive they'll hypnotize you (the swinging "Inversion"), and so inventive they sound alien (the robotic "2 Ton").
The Wire Magazine Despite Bogner's status as a bona fide outsider artist, her music opens up a surprising number of connections. It's terse, yet playful; cosmic in reach, yet human in scale. Much of the strange, laconic material collected here would fit seamlessly alonside the recent anthology of work by the BBC Radiophonic Workshop's John Baker - and there are occasional, skewed parallels with the gentle pulsations of Cluster and Harmonia.
residentadvisor.net Recordings 1969-1988 collects 16 of these early electronic collages, many of which clock under two minutes, and presents them as a crate-digging, proto-techno discovery along the lines of BBC Radiophonic Workshop alumni such as Daphne Oram and Delia Derbyshire. Raymond Scott comes to mind as well. Bogner's work exhibit....... more
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