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15 8 SLUM


Lothar Ohlmeier - Bass Clarinet
sambard Khroustaliov - Modular Synthesizer & Computer    
Rudi Fischerlehner - Drums

ALBUM "Hypertide over Kiribati" out on Not Applicable, September 6th, 2019
avaiable from

“Describe in single words only the good things that come into your mind ...”

The hypertide is real, so is Kiribati. In our collective somnabulism we've managed to create a situation where a low lying atoll in the Pacific will soon be flooded by the polar ice we've managed to melt in part by uploading photos to Instagram. A real life desert island paradise submereged by a virtual tide of holiday selfies.

The effects of the hypertide are however neither limited in dimensionality, nor assuaged by the imminent dissapearance of Kiribati. The hypertide will rage onwards drowning both the real and the virtual in what the philosopher and computer scientist Jaron Lanier has described as 'a vast pointilist spew' of platform sterilised media that has been robbed of any history or culture through which it might once have had meaning.

This flood of meaninglessness that is perpetuated by the statistics of likes, shares and playcounts on social media, is perhaps most heavily courted by the world of music. Beseiged by the 'wisdom of the crowd' that promised to make sense of digital music's post-Napster / ‘all music is free on the internet' ubiquity, music culture's diversity is now being strangled by the interests of venture capital, leaving many of its most idiosyncratic practitioners unable to make a living from their work.

And yet the relationship between music and computation once had a very different prospect. Fuelled by the experiments and visions of the 20th century, from jazz's exploration of the creative possibilities of improvisation to the lyrical use of emerging electric instruments and recording devices in pop and dance music production and the formal and syntactic exploration of early computers by classically trained composers in search of new sonorities, their once existed a wild optimism surrounding the use of new technology in music.

Hypertide Over Kiribati is our own personal search and invocation of a version of this optimism in the face of the anonymising, anodysing force of platform capitalism in music. An afront to a dull thud of nothingness that threatens to trivialise, divide and silence that legacy, the music recorded here attempts to seek out and explore alternate realities for man-machine symbiosis in music making, with the hope that it will inspire others to search and continue to search for new horizons.


... sound truly unlike anything else.
Kris Needs, Electronic Sound

A formidable interlocking of ideas, resulting in a type of improvised post-jazz bestowed with a futuristic trim. In the moments when all three musicians are playing together, the unity of purpose is frightening, the boundaries between Britton’s synths, Ohlmeier’s resonant clarinet and the especially intense quiet cymbal work almost impossible to discern, not unlike a colourblind person hopelessly trying to identify a specific colour.
Mat Smith, Further.

Foetus over Frisco? Nein, es sind die steigenden Wasser der globalen Erwärmung, die in nicht so ferner Zukunft die Republik Kiribati zu überfluten drohen. Die sich darum sorgen, sind Lothar Ohlmeier - Bassklarinette, Rudi Fischerlehner (von Xenofox, Gorilla Mask, La Tourette...) - Drums und Isambard Khroustaliov - Modularsynthie & Computer, uns geläufig mit Fischerlehner in Fiium Shaarrk, weniger mit Icarus oder mit Ohlmeier. Wie der sich vor mir versteckt halten konnte, obwohl er in Dalgoo mit Tobias Klein (von Spinifex) gespielt hat, mit Sophie Tassignon oder im Julie Sassoon Quartet mit Fischerlehner, ein Rätsel. So also kommt er mir zu Ohren gleich mit 'A simulation of god as a hypermassive security construct at the end of the world' (was ja 'Time Considered as a Helix of Semi-Precious Stones' noch übertrifft), 'Speed-rush cut-up shamanicmeatdelirium', 'Omni-lobster robotics' und 'F-wake'. Dabei taugt der Virtual-Reality-Pionier Jaron Lanier dem Trio als - umstrittener - Kritiker der Open-Source-Bewegung, der Umsonst-Mentalität und eines digitalen Konformismus, der zu digitaler Barbarei auszuarten droht. Ihr 'wilder Optimismus' hinsichtlich neuer Technologien der Klangkreation bis hin zur Ko-Evolution und Symbiose von Mensch und Maschine korrespondiert zudem implizit mit Laniers 'post-symbolischer Kommunikation'. Klang nicht der Sprache oder Mathematik verwandt, sondern dem Farbenspiel der Oktopoden. Als mundgeblasenes Quallen, Quarren, Trillern, als rhythmische Tentakelei, zischendes Beben, metallisches Staksen, Flirren und Federn, als R2-D2-eskes Glasperlenspiel, quecksilbrig, in wummernden Schüben oder fluoreszenten Mustern. Durchaus noch mit der Trübsal des alten Adam, doch auch dessen Aberglauben an Regenbogen. Postlogische und pochende Taktilität hyperagiert mit dunklem Tuten und Gurren zu morphender Isambardistik bis zu tonlosem Pusten und Flimmern. Nuckelige und krähende Kürzel werden durchstoßen von rappelig geklopften, muscheligen und elektroimpulsiv flötenden oder brummenden. Zuletzt fallen federne Schläge zu bitonaler Automatik und letzten Klarinettenrufen. Weckrufe für oder gegen den extropianistischen Sog in die Technotranszendenz? Oder Wake, Toten­wache und Unkenrufe der prometheisch Verschämten? Dietmar Dath, übernehmen sie.
Bad Alchemy 103 rbd