Introduction

Words by Kurt Liedwart

The time this compilation comes from seems now to be a focal point for the music and practices it contains. 2004 brought many changes to experimental music, one of the main one happened in Europe — the bankruptcy of EFA, the German distributor of electronic and experimental music after which many labels went eventually bankrupt. Subsequently many styles and practices, for instance, digital and glitch music, which were born in the nineties, collapsed or gone through inner reformations quite quickly. A year when reductionism became a lingua franca in the scene of improvised music in London, Berlin, Vienna, and Tokyo, and when David Toop helped a tiny circle of musicians and their devoted listeners get out of underground with his “Haunted Weather” book. That also became an insight into the sound world of the Feedback: Order From Noise tour. These comprise just a tiny piece of musical highlights from that year.

I produced several CDs from “good old times” like “Stodgy” by eRikm and Norbert Möslang, Tetuzi Akiyama’s Satanic Abandoned Rock & Roll Society album, “Live In Melbourne” by Rhodri Davies and Mark Wastell, quite a lot of releases of a very fine music, and I decided to stop publishing the archives. Until I got a message from Knut Aufermann, who isn’t only the first musician I started working with, his track “Dyname” features on the first Mikroton Digital release “Sound Canvas Vol. 1”, he is formally the first one in the compilation, so to speak, he started the label. Knut offered to produce the compilation of music recorded during the Feedback Tour in 2004. After the first listen I cannot say that I returned to the past, the music left me solidly here and now, it could have been performed last year or a month ago. The music remained fresh, weird and strong until now, that’s quite a surprising fact.

All musicians featured in the tour and consequently on 2 CDs and one DVD spent many years on developing their practices with their instruments and ideas on the employment of feedback in their music. The latter became the reason to include all the texts published in the Resonance Magazine in 2002, dedicated to the phenomenon of feedback in music, art, and science. The issue came out with the accompanying CD, which we had to miss to share. We made a Feedback subsite, located at www.mikroton.net/feedback/, where you can find the texts from the Resonance Magazine, Toshimaru Nakamura’s tour recollections, recent discussion between Knut Aufermann, Sarah Washington and Ed Baxter, E M Thomas’ technical memories how she was recording the tour, and photos made in six British cities and on the way between them. With the compilation all these materials make a listening a 3D experience, letting you to get to know the musicians’ ideas and memories.