SELEKTION -label

[FreakAnimalFinland]

Was going through various artists: SELEKTION - Compromize CD Published back in 1992.
Contains 13 tracks representing the state of things in SELEKTION's audio production in 1991 / 92 and the diverse approaches to sound organization by the SELEKTION members at that time.  A. Wollscheid, EWW, Stefan Schmidt, Simelock, Spin, Markus Caspers, etc... and perhaps most notably P16.D4's last and RLW's first recording! RLW here rules.

In my life, I have probably never quote Freddie Mercury, lets do it here: "We are in a golden age of music. There will be a time when technology becomes so advanced that we'll rely on it to make music rather than raw talent...and music will lose its soul." Probably, if mr. Mercury would have heard some of the SELEKTION labels music, he would have probably listened in horror how all this technology destroyed all that was good in music. But perhaps merely matter of perspective!

If think this material, as opposed to "harsh noise app", pre-computer era of electro-acoustic sound experiments benefitted from the technological challenges. You can basically take ANY of the songs, and it's somehow shines of raw talent and painful process of search, trial and error. And something slightly unfinished.

Like noise, where all frequencies are not on -0dB digital distortion, so it actually feels like involving some specific character or specific realm of the sound. It's possible some artists already use computer, though. Despite I don't hate or dislike computer, there are extreme befits from compositions or sound created without it.

With works of these guys, it becomes clear that sound is not just a side thing, when putting non-musical ideas to reality. Conceptual audio junk, what may work or not. Or some racket behind screaming obscenities, may work or not. But to fully commit on excellency of sound, that another thing. P16.D4 comments that "Although the audience's demand seemed to suggest theatrical accompaniement, P16 refrained from it, because such action would have perhaps illustrated but not integrally supported the sonic part."

Perhaps this is one key element how listening the compilation or older SELEKTION works is satisfying. Technologically in nice era (where easyness wouldn't be element to rely on) combined with focused commitment to sonic art. Perhaps it resulted timeless nature of stuff.

Selektion label preferences, recommendations, etc? Probably have to get some Achim Wollscheid CD's to playlist of tomorrow...

Decent info site still exists:
http://www.selektion.com/

[acsenger]

I listened to the P16.D4/S.B.O.T.H.I. Nichts Niemand Nirgends Nie! double LP (from 1986) the other day. It was what I expected: pre-computer, non-academic electroacoustic music with some noisy elements.
While they were not released by Selektion, two early S.B.O.T.H.I. tapes I also listened to recently deserve a mention (since Selektion released a lot of his stuff): Brakes 'N' Mistakes and Material 1. They're pure cut-up electroacoustic/noise releases. Brakes 'N' Mistakes was probably a C45, and it was way too one-dimensional to hold my attention for that long, but Material 1 is only about 20 minutes long, and for that length it works quite well (perhaps it's stronger musically too).

These releases all come from a time when this kind of experimenting was still quite fresh and therefore historically they're certainly interesting documents of their time. Musically I didn't find them very exciting (and that long tape was simply too long), but I didn't dislike them either. I generally like more aggressive sounds than they use and/or more unusual track structures, but these releases work well as background music.

I wonder if those S.B.O.T.H.I. LPs are more refined and accomplished than the tapes. As for P16.D4, I'll probably borrow the Passagen discography box from a friend at one point.

[Zeno Marx]

I'm least familiar with Achim Wollscheid's solo work.  Anyone read his book?  Opinion?  I don't think you can go wrong with anything on Selektion, really.  I've never heard a bad Wehowsky release.  He's always interesting and pushing technology through his unique filter.  When I think of Selektion, I think of him more than Wollscheid, though that probably isn't fair.  I didn't realize Iancu Dumitrescu had a split label release on Selektion.  Interesting.  It's a good one, too.  I've found their compilations to be particularly interesting and influential.  Masse Mensch was pivotal in my listening history.

[acsenger]

I'm least familiar with Achim Wollscheid's solo work.  Anyone read his book?  Opinion?

I tried to read one of them; I think he has written several and I don't remember which one it was. What I do remember is that it was the kind of meaningless text pretending to be very serious that is sometimes (often?) found in modern art and that I seriously doubt anyone understands (probably not even its author).