{"id":1409,"date":"2024-09-18T09:48:57","date_gmt":"2024-09-18T07:48:57","guid":{"rendered":"https:\/\/www.talmusic.com\/?p=1409"},"modified":"2024-09-18T09:51:04","modified_gmt":"2024-09-18T07:51:04","slug":"tal-36-katharina-grosse-permanent-parts","status":"publish","type":"post","link":"https:\/\/www.talmusic.com\/?p=1409","title":{"rendered":"TAL 36 \/ KATHARINA GROSSE \/ PERMANENT PARTS"},"content":{"rendered":"\n
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TAL 36
PERMANENT PARTS
Grosse \/ Khorkhordina \/ Patrone
Roisz \/ Schneider

LP plus free DL

Release: 20. September 2024<\/p>\n\n\n\n

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Buy <\/a><\/div>\n\n\n\n
bandcamp<\/a><\/div>\n<\/div>\n\n\n\n

Worldwide distribution:
MORR
Forced Exposure
Bommkat<\/p>\n<\/div>\n<\/div>\n\n\n\n

Katharina Grosse: synthesizer
Carina Khorkhordina: trumpet
Tintin Patrone : trombone, electronics
Billy Roisz: noise generator, piezo, mini cymbal
Stefan Schneider: synthesizer<\/p>\n\n\n\n

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A \u2014 PERMANENT PART 3 <\/p>\n\n\n\n

B \u2014 PERMANENT PART 1 <\/p>\n\n\n\n

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All music written and performed by the artists. Recorded, 29.4.2023 at Galerie Max Hetzler, Berlin at \u00bbSpectrum without Traces\u00ab exhibition by Katharina Grosse. Recording by Marco Paschke. Edits and Mixing by Stefan Schneider. Mastering by Detlef Funder at Paraschall, Du\u0308sseldorf. Vinylcut by Anne Taegert at Dubplates & Mastering, Berlin. Front cover photograph by Lorena Carr\u00e0s. Inner sleeve photograph by Frank Vetter & Alexis Oikonomides. Design by Christa Marek. Thank you: Max Hetzler, Kim Klehmet, Maximiliane Kolle, Marco Paschke, Anne Rybka, Ivonne Schwarz, Wunderblock Foundation<\/p>\n\n\n\n

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Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot, Mapstation). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music \u2013 Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.<\/p>\n\n\n\n

This capacity to work within liminal zones makes perfect sense when thinking about both Grosse\u2019s and Schneider\u2019s prior work, whether the energetic diffusions and spatial explorations of Grosse\u2019s artistic practice, or the slippery texturology of Schneider\u2019s recent work with electronics. Khorkhordina, Patrone and Roisz all find their own ways into this dynamic, too, and Permanent Parts feels like an equal exchange of presence and contribution; there are no hierarchies here. This might explain the music\u2019s curious sense of development, where several elements are allowed to exist alongside each other, not in direct contact but in a mode that\u2019s somewhere between carefree layering and unconscious juxtaposition. The musicians are listening, but not just with their ears \u2013 their skin, their bodies are hearing, too.<\/p>\n\n\n\n

When talking about Permanent Parts, Schneider is careful to place it within contexts that are specific, to some degree, but which allow for difference to blossom. \u201cAlthough it was recorded live, it somehow was not meant to be a documentation of a live event in the first place. The five piece line up that appears on the record had met for the first time only a few hours before the concert took place.\u201d While it might take a leap of faith for all parties to walk together, and so willingly, into a place of such freedom, of such risk, there is clear sympathy here between the musicians, and a shared appreciation of the immediacies of the situation.<\/p>\n\n\n\n

It also throws some of our preconceptions about this music out of the window. \u201cThe record does not feel like a document of a performance as the music was not pre-composed and there was no reference,\u201d Schneider continues. \u201cPerhaps it was not even an improvisation?\u201d For Grosse, her musical relationship with Schneider similarly shakes free from expectation: \u201cMy sound does not exist without Stefan\u2019s. It is neither written down nor is it improvised. It is instantaneous.\u201d When thinking about the five-piece exploration on Permanent Parts and asked to expand on what each musician brings to the table, she continues, \u201cWe all love the thrill of an unknown encounter and we seem to have a need for building connections through the thicket of our voices.\u201d<\/p>\n\n\n\n

There\u2019s a curious phrase on the back cover of the album, before the artists are listed: \u201cWir sind eine Batterie \/ We are a battery.\u201d This sums up the spirit of Permanent Parts. Schneider recalls that Grosse said this phrase to the musicians at the start of the performance. Grosse explains further, \u201cThe figure of the battery referred to our placement in the space building out a small circle facing one another from where the sound could spill into the impressive volume of the gallery.\u201d The battery as an arrangement of similar devices; but I also think of charge, and the conversion of chemical energy, and of fortification. It\u2019s a poetic metaphor that sums up much of the febrile pleasure of the music contained on these Permanent Parts.<\/p>\n\n\n\n

\u2013 Jon Dale, Melbourne<\/p>\n\n\n\n

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TAL 36PERMANENT PARTSGrosse \/ Khorkhordina \/ Patrone Roisz \/ Schneider LP plus free DL Release: 20. September 2024 Worldwide distribution: MORRForced ExposureBommkat Katharina Grosse: synthesizerCarina Khorkhordina: trumpetTintin Patrone : trombone, electronicsBilly Roisz: noise generator, piezo, mini cymbalStefan Schneider: synthesizer A \u2014 PERMANENT PART 3 B \u2014 PERMANENT PART 1 All music written and performed by […]<\/p>\n","protected":false},"author":1,"featured_media":1415,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,18],"tags":[],"class_list":["post-1409","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-release"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/1409","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1409"}],"version-history":[{"count":4,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/1409\/revisions"}],"predecessor-version":[{"id":1419,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/posts\/1409\/revisions\/1419"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=\/wp\/v2\/media\/1415"}],"wp:attachment":[{"href":"https:\/\/www.talmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.talmusic.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}