THOMAS LEHN & MARCUS SCHMICKLERNeue Bilder
PHYSICAL | CD
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Thomas Lehn and Marcus Schmickler have been known for building their sonic worlds for 17 years since their first album Bart. After 6 years of studio silence, here comes Neue Bilder. Their 5th allbum is a constant flux of musical juxtapositions, collisions and balance of their tour de force with analogue synth and computer. The album features two tracks created from two concentrated performances in Münster and Wels, both being magnificently reworked stereo versions of their quadrophonic live concerts. Neue Bilder goes further in their development of sound with meticulously constructed abruptly appearing and disappearing abrasive and tonal sound clusters, remote echoes, and lonely remnants. The CD comes in an awesome artwork by Heike Sperling - who also did the cover for Bart (2000), adding to a time-warp just like the musicians’ instruments.
It was not easy to decide where to start, but I had a slight preference for the Lehn/Schmickler release. I am not sure why, but I guess it’s a combination of liking their older work and not having heard much new music by them in recent years. ‘New Images’ is the translation of the title and I gather both are edited from live recordings by the two; one from 2013 and one from 2016. Marcus Schmickler is behind the computer, playing whatever sort of thing he uses (I am guessing max/msp or supercollider; might be something else) and Thomas Lehn on analogue synthesizer, as the cover says, which I gather is the EMS one, the Synthi A, which has been using for more than twenty years now, and on which is a powerful player. Just as powerful as Schmickler is on the computer, as both of these pieces, with a total playing time thirty-seven minutes, show a brutal force of energy. Not because it’s super loud, well, not always, but because it keeps leaping all over the place, and never loses its dynamic approach. When it becomes quiet, it’s not for a very long time before things burst out again, expand and explode. Nothing stays in the same place for very long and Lehn and Schmickler have a great interaction going between the two of them, responding to each other in a very intuitive manner. On ‘9112013’ there is a giant explosion and then a very careful ending; this a great, massive burst of musical energy to start listening to new releases by Mikroton.
These two purveyors of experimental electronic music based in Cologne, Germany, have forged a dynamic partnership over the last two decades, bridging differences in age, musical backgrounds, and the hardware they prefer to produce music of uncanny visceral power. Lehn’s analog synthesizer mastery is rooted in free improvisation, while Schmickler’s digital synthesis has a foundation in techno. Working together, they find a elusive yet thrilling common ground. On last year’s terrific Neue Bilder (Mikroton) their fast-moving, rapidly morphing collisions defy identification. I have serious trouble figuring out who’s doing what, but that certainly doesn’t matter much in the end: aqueous, sci-fi long tones are pitted against splattery, acidic noise bursts; echo-laden oscillated abstractions are slathered in blorpy, viscous drips; and so on. Each musician is deeply attuned to what the other is doing, and there seems to be zero latency in their reaction time; as their alien machinations unfold in quicksilver sprints, they pull the listener along for a disorienting, yet exhilarating ride.
I find it a challenge to write about the music of Marcus Schmickler and Thomas Lehn. A challenge because it is a rather abstract soundscape where one can move through or get lost in, and a challange because it is a new universe of sound and music production for me.
Marcus Schmickler is a Cologne-based composer and musican, producing his sounds via his computer. I saw him live on stage one or two years ago: a tall man standing behind his computer, concentrated and calm, though the sounds he produces are wild and often confusing and his music is rather abstract. Through a little internet research, I realized that his compositions are based on a rather complex theoretical background, which makes me question if I am the right person to write about his music. I mean, I don't know the programme he uses. I do not produce electronic music myself, and I lack the theoretical background Schmickler has built around his compositions.
But continuing on ... where Schmickler uses the computer and digital sounds, Thomas Lehn works with an analog synthesizer (at least on his collaborations here). He also lives in Cologne and will celebrate his 60th birthday this year (Congratulations!!) Besides his duos with Schmickler he is a worldwide active musician with the piano (lesser in recent years) and the synthesizer. He performs composed works for electronic music and improvises live.
On their album Neue Bilder (New Pictures), the duo presents two tracks of live performances, each title names the date of the event.
Track 1 '12022016' starts with some long whimping sounds, two, three, four of them. Clicking noises say hello, and as you might already know it is difficult to describe abstract improvised electronic music with words used for music in a more "classical" sense. After three minutes a plane lands somewhere and some kind of radiowave gets disrupted. Six minutes in, an electronic wind moves through some kind of desert, building an echo (I don't know how!) before someone tries to play an old vinyl that cracks and hisses. That cracking sound gets reproduced and amplified and a lot more is going on. In fact, it takes around 14 of the 17 minutes of track one till I hear sounds that evoke some associations with instrumental sounds.
Track 2 '9112013' (recorded more than two years earlier) continues the journey through a soundscape that is not mapped out - at least not with the usual instruments. (I have to say that Schmickler and Lehn are by far not the only ones moving in that area. There are a lot of musicans creating abstract electronic music: Merzbow, Microstoria, Mouse on Mars, Ikue Mori and others. But Schmickler and Lehn are rather radical in their approach. And the difficulty in putting words to this kind of music remains the same with almost all of them.) This one starts with more distortion, more clicks and cracks and the longer sounds follow only after the first minute.
Both tracks carry a tension with them as they move between intense and loud parts and almost absolute silence, and in both tracks there is that plane landing somewhere. For my ears it is difficult to recognize the different parts each artists plays. I actually don't know what sound is produced by Schmickler's computer and which comes from Lehn's synthesizer. And with this in mind, this is the closest to a classic 'duo' that you can get: the sounds heard on the album are the work of a good working partnership. It is a duo in which I do not hear not two separate 'nerds' with their 'toys'. So, after all the challenge and doubt, just how does it feel to hear this album? Is it worth the effort?
I say yes, absolutely!
First this blog and the people writing for it (and probably reading it) are always in search for new and unheard experiences. This was one for me or rather is still one, even though I've heard Schmickler live already. Second in all the abstract noise and sound I can hear or feel the cooperation of two likeminded musicians going to places they think are worth going to. It is a duo in the best sense. Third if you listen to it more than once you'll find structures and sounds that reoccur and they make you feel at home in that soundscape. Finally, last (but not least!!) I was captured by the sounds, by the unfamiliarity of this album. I enjoyed the journey with these two guys. I felt curiosity, unease but also relaxation in certain moments and started to look for more music from Schmickler and / or Lehn.
"Sky Dice / Mapping the Studio", MARCUS SCHMICKLERs Beitrag zu den Donaueschinger Musiktagen 2018 kam mir ebenso konzeptverkopft vor wie der von Florian Hecker und Enno Poppe. Neue Bilder (mikroton cd 60), Ausschnitte seiner Computer-Analogsynthie-Clashes mit THOMAS LEHN aus dem KWL-Museum Münster 2016 und dem Schlachthof Wels 2013, werben da ganz anders für die Kölner Elektronik. Als wildes, pixelbefeuertes Morphen zu pseudoposaunistischem Röhren, Jaulen und Flattern. Das mit abrupten Schnitten und glissandierenden Kurven tatsächlich kinetische Bilder vors innere Auge stellt. Von Mikro keine Spur. Da splattern und knattern heftige Impulse gegen die gleitenden Krümmungen, furzende und hornissige Laute verschlingen sich mit metalloid perkussiven Verwerfungen. Geprassel punktiert den Hörraum, jaulende Schübe verschmieren oder beflöten ihn. Es funkelt und gluckert, ungeniert attraktiv, zum Greifen plastisch. Aber Finger weg! Im Schlachthof nimmt die Action gefährliche Ausmaße an, rumorend, flatternd, nadelig, auch wieder glissandierend und jaulig, brausend, impulsiv, metalloid und so fast&furious als würde Vin Diesel Gas geben. Dann wird es unerwartet flötenstill, um freilich schnell wieder kakophon zu flippern und aggressiv zu hornissen. So dass man der einsetzenden Beinahestille lange nicht traut, die einen dennoch unerwartet sanft entlässt.
Thomas Lehn and Marcus Schmickler should be well known to all readers who follow improvised music or have an interest in powerful electronic noise. This pair totally rock! They’ve teamed up a number of times over the last 18 years or thereabouts, with memorable releases for Erstwhile, A-Musik, and Editions Mego. Appearing here as Lehn Schmickler, they made Neue Bilder (MIKROTON CD 70) on two dates in 2013 and 2016 in Wels and Munster respectively, Lehn strapped to the analogue synthesizer and Schmickler lashing it out with his computer. Much to my chagrin I have never seen one of their live duos, which apparently are projected over the PA in quadraphonic sound to give the audience twice as much electric monstrousness to cope with. Even the barman asks for a tray to carry the drinks. This CD is an attempt to tame that four-headed monster and regroom it into a format the CD player can cope with (some time was spent at the Plethopraxis Studio in Cologne doing just this). L&S never cease to impress me with the raw power of their sound, but it’s not random airbursts from a Chinook – rather it’s carefully planned and programmed to some extent, allowing for maximum intensity and strong, dynamic contrasts of volume, timbre, and textures. On today’s spin, I have the impression of an electronic python or other large snake, whose terrifying movements are controlled to perfection by our two highly proficient snake-charmers, who do it by waving their arms in hypnotic gestures. Many amazing previously-unheard sounds pour out of this productive set-up, all clearly delineated and solid as liquid concrete hardening in the air. These two mavericks will never settle for undefined murk, lazy noise, or aimless droning; the entirety of each performance is a strong electronic statement full of detail and invention, with no teabreaks or pauses for napping. The 2016 set is dramatic and unsettling (an electrical storm, at times, with L&S also finding time to explore zones cold and alien), while the longer 2013 set is a bubbling machine-like flow of sheer molten excitement, fuelled by a nuclear jet-pack. Of note: the cover design is by Heike Sperling, who also did their first album BART (Erstwhile 012) in 2000.