moozak.org/releases/mzk003


MZK#003

BERNHARD LOIBNER - UNIDENTIFIED MUSICAL SUBJECT
MZK#003
CD 500 copies, DIGISLEEVE / LP 100 COPIES, COLOURED VINYL
release date: 12/05/10

MEDIA TYPE

PRICE INCLUDES SHIPPING


With his new album "Unidentified Musical Subject" Bernhard Loibner fuses the world of experimental electronic music with the human directness of acoustic instruments. Strongly connected to the event-like aesthetics of contemporary experimental electronic music, Loibner manages to enrich the acoustic spectrum through the use of carefully treated instrumental elements. No sequencers or drum machines were used during the production process in order to reach a balanced sound impression - similar to human dynamics - shifting between ease and motion. The instrumental recordings were processed through self- built digital synthesis processes, which gives the album a certain glitchy flavor as well.

Loibner succeeds in creating his own magic vision of organic electro-acoustic compositions and manages to balance moments of great intensity and power against subtler movements, without ever becoming superficially harsh. His pieces are vital statements of a musicianʼs and sound artistʼs universe, which is characterized by an audible need for harmony and a warm sound-picture.

Most of the pieces developed from improvised themes and elements of live concerts and were later refined in the studio, trying to maintain a certain spontaneity. As discrete sonorous events are in the foreground, the listener is tended to a deep listening process where earlier experienced sound patterns are carried on. The (relatively) open and harmonic structure ensures constant movement of sounds in the listener's brain. From the darker realms of "delta-6", where modulated bass pulses provide the solid grounding, to the kraut- like piece "accum", "Unidentified Musical Subjects" contains unsolved sonic mysteries as well as concrete song structures.

"poem" (as well as "follow") features the voice of Melita Jurisic - singer of the Austrian experimental noise- rock band metalycee - and confronts us with Loibner's blueprint of experimental pop music. Based on a traditional love song in Latin from the 11th century, "poem" sees Bernhard Loibner, who became a proud father during the production of this album, reaching new emotional territories and incorporating these in his musical oeuvre. Other collaborations include Franz Hautzinger on quarter tone trumpet ("scratch") and Berni Hammer on guitar ("b2b").

Track LISTING (CD):
01. DELTA 6
02. POEM
03. SCRATCH
04. DELTA 2
05. DEGAUSS
06. B2B
07. ACCUM
08. FOLLOW
TOTAL PLAYING TIME: 43:00 MIN



DISTRIBUTED BY A-MUSIK, MONOCHROMEVISION
DIGITAL DISTRIBUTION BY ORDIS

KINDLY SUPPORTED BY
SKE AUSTRO MECHANA
SKE



reviews



TERZ 09/10
Hier eine ähnliche Intention mit differenter Herangehensweise: Der Österreicher verbindet schon lange die Subtilität und Detailfreudigkeit der Elektroakustik mit der Direktheit akustischer Instrumente. Die disparaten und hochkomplexen Audioteile erzeugen hier überaus kohärente Rhythmen, Spannungen und Schichtungen, die mit dem Begriff ’Psychedelic' nur annähernd bezeichnet werden können. Wenn dann noch ’metalycee'-Vokalistin Melita Jurisic oder auch Vierteltontrompeter Franz Hautzinger mittun, sind imaginäre Zukunftserinnerungen an eine Art elektroakustischen Kalacakra-Improv nicht fern. Der Closer "follow" indes ist eines lackschwarzen No-Wave-Chansons Anfang der 80er würdig - ein großartiges Album, das noch lange nachhallt.
(Honker)

 

etherreal 08/10


Un album difficile à appréhender, hétérogène, énervant par endroit, très beau par ailleurs, passant sans crier des gare des musiques savantes à une approche plus pop... Avis aux aventuriers !


(Fabrice Allard)


MUSICAREACTION 07/10
Profondément engagé dans l'union de la musique électronique actuelle et de la musique contemporaine, le compositeur et musicien Autrichien Bernhard Loibner sortait le mois dernier un nouvel album à la fois magnifique et passionnant sur l'excellent label Moozak Records.
Celui qui s'était déjà illustré à la fin des années 1980 dans la fusion du rock, de la musique improvisée et de l'électronique, revient donc en solo avec Unidentified Musical Subject un court album sur lequel il se rapproche encore un peu plus de la musique contemporaine et de ses maîtres (Bernard Parmegiani, Luc Ferrari, Michel Chion, Christian Zanesi), mais aussi de ses outsiders, Mika Vainio, Frank Rothkamm ou Oren Ambarchi.



Comme il l'explique dans le livret, Loibner enrichit ici fortement son spectre acoustique en créant une musique organique qui fusionne le monde de la musique électronique expérimentale avec l'immédiateté dynamique, rythmique et tonale d'instruments acoustiques joués live par des musiciens. Ses morceaux, principalement fondés sur des improvisations, sont ensuite subtilement traités par l'informatique.

Au final Unidentified Musical Subject explore une palette d'ambiances et de genres plutôt large tout en restant parfaitement homogène, du presque pop "Poem", dit par la chanteuse australienne du groupe noise rock Metalycee, Melista Jurisic, à la drone music vibrante de "Delta 6", tout en incluant, ici de la guitare ("B2B"), là de la trompette ("Scratch"). Un disque assez unique et rafraîchissant parmi les sorties expérimentales de ce début d'été.


(Maxence)



Rumore 07/10
Il nuovo album del veterano Bernhard Loibner per la viennese Moozak pare davvero un inclassificabile "soggetto musicale non identificato". Ad un'apertura di astratte sollecitazioni digitali fa seguire difatti una sorta di "canzone" sperimentale, con antica poesia in latino scandita da Melita Jurisic del gruppo naise Metalycee su pulsante tappeto ritmico-rumoristico, frutto di frammentazioni free form di strumenti tradizionali ed elettronica. Tagli elettroacustici di sapore glitch anche in Scratch, dove l'autore si confronta con la tromba di Franz Hautzinger, mentre in b2b è ospite il chitarrista Berni Hammer. Oscillando tra avantpop, collagismo espressionista e tentazioni kraut-drone, un album vario e imperscrutabile, accuratamente congegnato eppure fluido e spontaneo.
(Vittore Baroni)



His Voice 04/10
Pro mě dosud neznámý vídeňský label Moozak vydal v květnu vpravdě vídeňské album. Nejen že si skladatel a hudebník Bernhard loibner pozval na album lokální hosty, ale pod výsledkem je podepsán i mistr zvuku Martin Siewert, další Vídeňák. Loibnerovy kompozice se vyznačuji užívánim live elektroniky a vlastního softwaru, na tomto albu mají však velký prostor i "klasické" instrumenty, mimo jiné i hostujicí čtvrttónová trubka Franze Hautzingera či kytara Berni Hammera. Třetím hostem je vokalistka z Metalycée, Melita Jurisic, jež recituje ve skladbě poem milostnou píseň z 11. století lam dulcis amica. Posledně zmiňovaná, spolu se scratch (tam hostuje Hautzinger), podle mě patří k tomu nejlepšímu na této desce. Experimentální elektronika umně skloubená s postrockem, doporučeno.
(Petr Vrba)

GO MAG
07/10
Pop abstracto. No es nada casual que Bernhard loibner se gane la vida como consultor informatico para musicos (para musicos serios, de los de pajarita y orquesta) alla en su Viena natal: su segundo disco demuestra un impresionante dominio de las herramientas que permiten manipular un sonido por ordenador; es como un gran muestrario de perversiones aurales, la última frontera del destroce digital. Pero al mismo tiempo, tambien impresiona por su capacidad para conjurar generos y estilos, para manejar recursos de la musica concreta, el jazz y (sobre todo) el pop, y despues mezclarlos en un potaje en el que cuesta reconocer los sabores, no digamos ya las influencias. Asi que definir "Unidentified musical subject" como 'pop abstracto' tiene sus riesgos. Muchos de ustedes me tirarían este disco a la cabeza antes de que hubieran llegado a sonar dos canciones (insisto, canciones) protestando por la falta de movimiento, pero tambien su lógica. Y es que, si alguna grandeza tiene loibner es precisamente esa, que ha realizado un ejercicio de abstracción, de reducción a elementos básicos y borrado de huellas, en el que la musica popular actua como centro de gravedad. las cuidadas Iíneas melódicas, los floridos arreglos rítmicos, la manera en la que se introducen las voces ("Follow" es algo muy hermoso), todo en este disco suena a pop; a pop enfermizo y ralentizado hasta la insania, a pop deshuesado y opaco. Claro que la belleza, algunas veces, adquiere formas insospechadas, o no identificadas.
(Vidal Romero)

BLOW UP
07/10
Metodiche compositive ed esiti simili per l'album del viennese Bernhard Loibner. Qui il riferimento più prossimo è l'elettronica degli albori, ovvero gli esperimenti condotti in vari studi di fonologia nei primi decenni del '900. Anche in questo caso l'ambientazione generale può risultare a tratti un po' claustrofobica, allo stesso modo temperata da slanci di partecipazione emotiva, incarnati nella tromba di Franz Hautzinger e nella chitarra di Berni Hammer e, in particolar modo, nella voce di Melila Jurisic (Melalycée). (7/8)
(Nicola Catalano)

BAD ALCHEMY 07/10
Das Roswell dieser unidentifizierten Phänomene heißt Sankt Veit an der Glan. Zumindest begann Loibner, der mit Jahrgang 1965 zu den Reiferen unter den österreichischen Elektronik-Musikern und Medienkünstlern gehört, dort seine irdische Laufbahn. Seine dunklen Soundgebilde werden gleich bei ,poem' vom Phänomen zum Faszinosum, wenn Melila Jurisic, die Stimme von Metalycee, die Zeilen von ,Iam dulcis amica' raunt, einem Liebesgedicht aus dem 11. Jhdt. Gleich danach bei ,scratch' gibt die Vierteltontrompete von Franz Hautzinger berstenden Bassdetonationen und harschen Brüchen die besondere Note. Loibners Spezialität sind kaskadierende Klangflüsse und -gletscher, in denen Klangreste von Rock- oder akustischen Instrumenten wie Kiesel mitrollen - E-Bass, Perkussion, Dulcimer, Geflatter von Strings, zu kurz und zu uneindeutig, um Definitives zu sagen. Auch .degauss' wird von Bassschlägen durch knurrt und scheint In seinem Flow ständig auf Hindernisse zu stoßen. ,b2b' joggt und verstreut dabei wieder Klangpartikel, krumme Gitarrenkürzel, einzelne perkussive Schläge und Maultrommelschnarren. Repetitionen und Geflatter bestimmen ,accum', mit diesmal akustischer Gitarre, Beckenklingklang, aber auch elektronischem Zwitschern und Knurpsen. Zuletzt singt Jurisic in ihrer ungeheuer intensiven Art zum knorrigen Puls und den elektronischen Säurespritzern von ,follow' vom Acid Rain in den apokalyptischen Tagen der Wolfszeit, wie sie zuletzt Michael Haneke schilderte.
(RIGOBERT DITTMANN)



ROCKERILLA 05/10
Un esperimento ardito ma non completamente riuscito. Bernhard Loibner cerca una nuova strada tra il mondo dell'Accademia e quello della popular music. Su "Poem", la seconda traccia del suo nuovo album appena pubblicato dalla Unidentified Musical Subject, Loibner fa cantare alla voce del rock band australiana Metalycce, Melita Jurisc, una canzone d'amore dell'undicesimo secolo. Altrove sono le sonorità della tromba alla Jon Hassell a colorare le atmosfere di nebbie marine. Su "Scratch" un basso elettrico scandisce il tempo mentre intorno prende vita un prato di lucciole sotto un tappeto di tromba jazz che sembra provenire da un'altra galassia. Quelli di Loibner sono eventi sonori più che discorsi articolati. Solo per iniziati.
(Roberto Mandolini)



De:Bug
06/10
Bernhard Loibner aus Kärnten verbindet Elemente aus freier Improvisation, Elektro-Akustik und Elektronik zu einer teilweise abstrakten, gleichzeitig angenehm warm und organisch klingenden, manchmal fast ambienten Komposition. Mit Beteiligung der Metalycée-Sängerin Melita Jurisic bekommen einzelne Passagen sogar Songcharakter und einen gewissen Pop-Appeal. Weitere Elemente sind Franz Hautzingers Vierteltontrompete und Berni Hammers Gitarre, die mittels digitaler Synthese-Prozesse in die Klangästhetik eingepasst wurden und die Live Improvisations-Athmosphäre des Experiments verstärken.
(ASB)



THE GAP #106
Elektroakustische Experimente mit dem Ziel, die musikalische Basis - nämlich akustische Instrumente - spürbar zu machen. eine seltene Einigkeit. 7/10.
(MARTIN MÜHL)



MONSIEUR DÉLIRE 29/04/2010
A strange record that blends experimental electronica with electroacoustics and alternative rock. Some tracks get very close to the song format ("Follow"), while others are very abstract electronic constructions and others are collage-like. Bernhard Loibner is mostly on his own, except for two tracks featuring Melita Jurisic (the disquieting vocalist from Métalycée), one with trumpeter Franz Hautzinger (very good) and one with guitarist Berni Hammer. A dark soundworld, slightly post-industrial, obviously very through-designed, although some layers are improvised. Esthetically cold, but not clinical-sounding. Hard to sum up. And less futile than the bass drum pedal without a bass drum pictured on the cover.



VITAL WEEKLY #729
The press text doesn't say much about the background of Bernard Loibner, but a little search reveals we already a work from him as early as Vital Weekly 338, 'Trans/mute' on All Quiet. He was the co founder of the band All Quiet On The Western Front and works as a composer and computer musician in Vienna. Yet his work is far away from the computernoise of the Mego posse. Loibner takes a few sounds, or perhaps even a single sound and starts playing around with it, using all sorts of computer treatments. To a certain degree his work is pretty abstract, but it stays rather playful. Popmusic isn't the word I'm looking for, but he keeps his compositions relatively short and to the point. Musique concrete might be the right word too, but his work sounds different. Sampling the hell out of his material, its above highly vibrating stuff. Ranging from quiet to loud, his music is all over the dynamic spectrum. At times it seems like all of this is made through improvisation, but then it certainly has been edited with great care. Included are the playing of the quarter-tone trumpet of Franz Hautzinger, the guitar of Berni Hammer and the voice of Melita Jurisic. Quite an exciting release of... well for the lack of better word electronic, experimental popmusic. Just that long silence in 'Follow' is a bit tedious.
(FdW)