Walküren am Dornenbaum (E83), by KORBER/WEHOWSKY

Walküren am Dornenbaum (E83)

by KORBER/WEHOWSKY

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	1.	Falsa Demonstratio 12:06
	2.	Auf Dem Trottoir Die Rosa Gestalt Der Alten Dame 09:06
	3.	Leben In Roter Landschaft #4 03:49
	4.	Lead Deal 07:40
	5.	Abstieg Der Geisterseher 11:22
	6.	Leben In Roter Landschaft #2 01:15

about

This three year-long collaboration begun in 2006
when Korber and Wehowsky embarked on intense
recording sessions in Eggenstein, where the latter
resides, lasting several days. The output from these
sessions forms the basis of this work, augmented
by additional field recordings and various electronic
manipulations. Korber and Wehowsky used the
same software which allowed them to exchange
the pieces at any stage of the compositional
process, so that every detail of the music could be
shaped in a truly collaborative manner. The result
obliterates the borders between improvisation and
composition, spontaneity and careful planning.

Tomas Korber (Zurich, 1979) received a basic
training in clarinet and music theory alongside
guitar lessons. He discontinued these studies
after five years, shortly thereafter teaching
himself to play electric guitar and use the
computer and other electronic devices for music
making. Korber has written compositions and
played improvised music since the early 1990s.
He is a prolific solo artist and performer; his work
includes film scores and music for dance and
theatre, as well as numerous collaborations.
In 2009 he was awarded an artist residency in
New York City by the Department of Cultural
Affairs of the City of Zurich.

Ralf Wehowsky founded the group P.D.
(later renamed P16.D4) in 1981 and the label
Wahrnehmungen in 1980, which was renamed
Selektion in 1982. P16.D4 was a highly influential
and experimental group. Their concept of
materialaustausch (material exchange) was
developed long before the term ‘remix’ was
coined. They performed at punk and No Wave
festivals as well as at the bastions of academic
avant garde such as Ferientage Neuer Musik
in Darmstadt. In the early 1990s Wehowsky
adopted his RLW moniker. His quiet, highly
complex style of composition is based on
artifacts of instrumental and electronic
lateral noises.

credits

released June 26, 2020

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