Diaspar Parts 1 to 12

by Doc Wör Mirran feat. Schnitzler

“Look at this! A taperecorder. It's running,” says the voice on part 11. This self-reflexive joke elegantly sums up practically every record ever made, but this is most certainly the only record on which you will ever hear voice-generated noises from Jello Biafra, the founding member of Dead Kennedys, the godfather of politicised punk rock, the High Priest of Spoken Word Harmful matter, alongside the late Conrad Schnitzler, alumnus of krautrock bands Kluster, Harmonia, and Tangerine Dream, and the man that gave Kraftwerk their first synthesizers.

Bringing these two wildly different musicians into contact on one album – not physically, but thanks to – wait for it! ­– a taperecorder” and overdubbing is a feat that probably only Doc Wör Mirran could pull off. Centred around the core group based in Germany, Joseph B. Raimond, Ralf Lexis, Stefan Schweiger, and Michael Wurzer, their community of collaborators reaches as far as the US West Coast, where Biafra is based, and – on this album – also includes Adrian Gormley and Ron Lessard, in addition to Schnitzler of course. Based on recordings from the 1990s, and then enhanced and mixed in 2013, this palimpsest shows that Doc Wör Mirran are absolute masters at using controlled improvisation in the studio as a compositional tool. The stylistic breadth of this album, which features krautrock flavours as well as echoes of Aphex Twin, deep ambient dronescapes as well as exciting early musique concrète style tape collages, is thoroughly stunning, yet still the album feels completely integrated.


File under: free improvisation, sound-art, ambient, krautrock

ACU 1033

factory-produced CDr in cardboard sleeve

Released in 2021

limited to 100 copies

price: 7.00 EUR (excl. postage)

Personnel:

Conrad Schnitzler, Adrian Gormley, Joseph B. Raimond, Ralf Lexis, Stefan Schweiger, Michael Wurzer, Jello Biafra, Ron Lessard

Original recording from the 1990s, additional recording and mixing in 2013 at Two Car Garage Studios, Fürth Germany.

All cover art by Joseph B. Raimond from the Diaspar series, 2020
Layout Sascha Stadlmeier

As always, in loving memory of Frank Abendroth and Tom Murphy.
This recording is dedicated to Elliot Mazer

This is DWM release #180

Doc wör Mirran
Spitzwiesenstr. 50
90765 Fürth
Germany

www.dwmirran.de
empty@empty.de

Also available here: http://www.discogs.com/seller/dependenz?sort=price&sort_order=asc&q=attenuation+circuit&st

Review

BAD ALCHEMY

Es gibt bei DOC WÖR MIRRAN zuverlässig zwei Konstanten: Ein nostalgisches Erinnern ans Goldene Zeitalter des Rock, mit immer wieder dankbarem Gedenken an dessen dahingehende Heroen - Jerry Garcia, Woody Guthrie, Ray Manzarek, David Bowie, John Wetton, Keith Emerson, Jaki Liebezeit... diesmal an Elliot Mazer (1941-2021), Studiowizard für Neil Young, Janis Joplin, Bob Dylan und Linda Ronstadt. Und der synchrone Schulterschluss mit Gesinnungsgenossen wie Frans de Waard, Paul Lemos, Jad Fair... als Spätlinge in der immerhin noch silbernen Postpunk-Postmoderne. Wobei Diaspar parts 1 to 12 (ACU 1033, CDr) nun sogar beides vereint, den Silberklang von Ron Lessard (Emil Beaulieau, RRR) und Jello Biafra (Dead Kennedys) mit Conrad Schnitzlers goldenem Glanz von Tangerine Dream und Kluster her und als Con-tinuum bis 2011. Wenn auch 'nur' virtuell mit Bändern aus den 90ern und Studiowizardry à la Mazer und Macero. Dass Biafra vor 20 Jahren mit Lard "70's Rock Must Die" gebollert hat, well, das fällt unter 'rau, aber herzlich'. 'Diaspar' führt ins Golden Age of Science Fiction, in die von agoraphoben, einem Zentralcomputer total hörigen Unsterblichen bewohnte Kuppelstadt von Arthur C. Clarkes "Against the Fall of Night" (1948) / "The City and the Stars" (1956), der auf einer vor Jahrmillionen - sprich: demnächst - verwüsteten Zukunftswelt nur noch Lys als grüne Oase sterblicher Telepathen entgegensteht. Clarkes - wohl von DWM geteilter - Skepsis vor transhumanen Ambitionen zufolge resultiert das aus den Versuchen, eine perfekte KI zu erschaffen, die aber nur etwas Irres (the Mad Mind) oder Naives (Vanamonde) hervorbrachten. Beschallt wird das in einem wie der Tierkreis 12-teiligen Zyklus mit aus Sounds von Joseph B. Raimond, Ralf Lexis, Stefan Schweiger und Michael Wurzer kreierter und von Adrian Gormleys Saxofon überblasener Synth-Noise Psychedelik, (2.) aus Tape- und Doom-Wellen gewobenem Dark Ambient, (3.) Pianogehämmer und schweinisch kirrendem Noise, (4.) brummigen Drones, (5.) zischenden und glissandierenden, perkussiv markierten Schüben, (6.) alarmierten, von Stöhnen durchsetzten Kaskaden, (7.) verrauschter, nachtvogelig durchflöteter Träumerei, (8.) quecksilbrigen und unruhig gewellten Verwerfungen, (9.) kurvenden Dehnungen und stehenden Luftlöchern, (10.) verunklartem rhythmischem Pulsieren und verhallenden Silberspuren, mit (11.) Look at this! A taperecorder als V-Effekt in einem knirschenden, impulsiv drangsalierten Selbstbezug sowie (12.) als zuletzt wüst verrauschter Loop mit kreisendem Nein!... Nein!... Nein!?

http://badalchemy.de/

Review

VITAL WEEKLY

Next month marks the tenth anniversary of Conrad Schnitzler's passing, but the legend lives on. His taped contributions to the musical output of Doc Wör Mirran are recycled and presented anew. Schnitzler mailed various cassettes of music in the 1990s and since then find a place in DWM's music. This time we have the core members of Joseph B. Raimon, Ralf Lexis, Stefan Schweiger and Michael Wurzer at home in the Two Car Garage Studios (and I checked, it could fit two cars and is a typical Bavarian garage) while from a distance (and I assume from a distant past) tapes are used by Jello Biafra and Ron Lessard. At the foundation of this, we find the members improvising in the studio, blending in the taped contributions. In 'Diaspar Part 3', we have Schnitzler's computerized piano playing, along with a more bruitist approach by the group, whereas Gormley and his saxophone take control of 'Diaspar Part 1', and bring out a more jazzy feel. Some pieces seem entirely electronic, dark, drone-based and moody ('Diaspar Part 5'), while others have a not too outgoing rhythm, reminding me of the early days of ambient house, but, more likely, Schnitzler's mid-70s music. It is the variety of the sources, I guess, which makes this a varied album, but part of that variation is also in the way the core group responds to the material. It is just as imaginative as the taped contributions (and again I am assuming that the majority is from Schnitzler, seeing how this is credited on the front cover), taking the music in many different directions and yet still manage to come up with some very coherent release. For Doc Wör Mirran this is release number 180 (!) and the quality is, as ever, pretty high standard. I didn't expect anything less.

http://www.vitalweekly.net/1293.html

Doc Wör Mirran feat. Schnitzler Diaspar Parts 1 to 12 cover front
Doc Wör Mirran feat. Schnitzler Diaspar Parts 1 to 12 cover back
Doc Wör Mirran feat. Schnitzler Diaspar Parts 1 to 12 InlayDoc Wör Mirran feat. Schnitzler Diaspar Parts 1 to 12 Inlay
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