The works represent 20 years of a stony way to the LOOP (Echoplex DP) on both levels:
- musical evolution (rather a spiritual evolution with improvisation than study of the music itself)
- technical evolution (Matthias main work that supported it and structures it)
All those recordings (except "Electric Mantras") mixed live to two tracks
vigurously edited and mastered on the Macintosh
All the bass sounds come from the PARADIS Elegy with Polysubbass or PolyBass
Rick Walker organizes the biggest LiveLooping festival every year in Santa Cruz. Finally, I managed to participate and found a brillant partner, an old master of the subtle Jazz and a delicate and lovely person as well - what a joy!
Oct 2007 at y2k7 LiveLooping Festival, California |
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| with Arild Anderson (upright bass) and some contribution of Rick Walker (percussion) | Age of Crystals Halbfinale |
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In 2003, right in the sumer of the century, Per Boysen and Rick invited me for a little tour in Sweden, shortly in GB, and I traveled with Cathrin through northern Germany, played in Berlin and in Switzerland at the lake for sundown...
June 2003 in Sweden |
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with Per Boysen (sax, guitar) and Per Ahlund (noises) |
From Nothing To Now | |
| with Per Boysen (sax, guitar) and Rick Walker (perc) | Last Ocean Groove | |
August 2003 in Berlin |
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with Cathrin Pfeifer (Accordeon) in her cozy land house in the empty flatland northeast of Berlin |
Eastern Flatland Stranger than Scary Spielen oder Spielen Spaziergang |
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with Michael Schiefel (voice, 2 EDPs, effects) I had met Michael at the Berlin Live Looping Festival 2002 and loved his humor, voice precision and understanding of the Echoplex. To play with him was a challenge, joy and the result is easy to listen to! |
Tänzchen Walking Voice Pessimist Spheres |
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July/August 2003 in Switzerland |
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with Willy Strehler (processed voice) in his unfinished messy Studio Willy plays mainly guitar, but since he injured his arm during his huge studio construction, on those tracks, he only uses voice (with processing) and objects on a piezo table and electronics. |
VibVib (some distortion audible) Ballade (a must) |
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with Claude Voit (guitar "seche" and all kinds of machines) in his lake shore garage studio |
Dangers Evolution |
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| with Stefan Keller (flutetrends.ch) in his perfectly clean rehearsal room | searching finding smiling |
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Em 2002 passei dois meses nos Estados Unidos onde toquei no festival LoopStock e com outros musicos.
February to April 2002 in California |
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With Andre LaFosse (altruistmusic.com) at Kims garage, April 24 (mono, plus they have a hum :-( |
Patetic Andre goes off Glambient |
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with Tim Crowe (Djembe) at "Java Rama", Alameda at his place |
Alameda Drilling Brothering |
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| with Gary Hall (key) and Peter (violin) | Half Speed | |
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with Jon Wagner @ Loopstock, talvez o primeiro Live Looping Festival international, March 9 ensaio @ Kims garage, April 25 |
the main part, pretty edited "Upbeat" (participation: Rick Walker of Loop.pool) "Downbeat" "Fun one!" |
Those are the CD-R I produced in Salvador with mostly Brasilian partners
CD-R produced in Salvador (1993-2002) |
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"Aroni encontra Oxossi" (2001)
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you can get this music at Bandcamp |
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"Flechas de Fogo" (2001) This is the first document of a new music which is not mainly relaxing as my last decades focus was, but energetic, quick and euphoric. There was some solo work into this direction last year, but it only really developped when old friend Giba learned to use loops. We play this live! |
you can get this music at Bandcamp |
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"Beats of Peace" (1988/92)With David Hoppkins, the Irish percussionist/flautist and instrument researcher. His instrument used to be the Bodhrán (Irish big hand drum), but then he collected all records and instruments of the most hidden cultures. Out of books and pictures, he also built his own instruments, mostly in Bamboo. I recorded his CD "Hear the Grass" with 16 tracks of only bamboo instruments - an incredible rich experience. David used loops before I did and was one of the first clients for the LOOP delay. |
you can get this music at Bandcamp |
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With Marcelo Bernardes, the woodwind player with Chico Buarque and Francis Hime. Not just a brilliant musician but master of his religious group. I never met a musician improvising so free and light: "sometimes you have to just play!". Many pieces remember classical or traditional popular music. Controlled Baroque clarinet, birdlike happy very quick piccolo and deep sax meditations flow into each other. "O primeiro encontro" (1988)"o segundo encontro" (1994)The third meeting happened in '97 and hopefully will be ready for release soon! |
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you can get this music at Bandcamp |
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"Electric Mantras" (1988/89)As an experiment to break out of the strict real-time recordings, an improvised base with Marcio Lomiranda was recorded in 4 tracks (video HiFi + PCM converter), then the good parts were copied to 16 tracks. Still in Brazil, Miranda added more keyboards and Marcelo Bernardes played woodwinds over it. Then in Switzerland, Bea Giussani and Dominique Schmid added voices and David Hoppkins flutes and percussion (see separate CDs with those musicians). Repetition is my only song with words. They came to me when I drove home after the first attempts to mix the base and like a miracle, the text fited perfectly between the guitar solos! Its about the spiral of time... the simularity between loop and history... |
you can get this music at Bandcamp |
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"Funcsonhamos" (1987/88) (word fusion with "dream" and "function")This a historic recording. Its where the ideas for the Echoplex started. I used to feel that Marcio Lomiranda turned my soundcarpets (I did not know the expression "soundscapes" then) finally into music. I brought timing into the loops and he filled it with swing. I felt a melody and he wraped it into a style. He never searches for a sound on his machines, he just keeps calling apropriate new ones and thinks very quickly to form a harmonic structure - all while playing. All has been recorded at once onto a SONY dolby C Walkman. Only 10 years later I had the oportunity to edit and master the material. We used a Roland SRV2000 Reverb and looped into a single t.c.2290 for both of us. On the first tracks (I left them in chronological order) we only had 4 seconds of loop time, later 11. While listening to this music, I started to imagine long multiplied loops, and several synchronized units, which gave me the motivation to build the LOOP delay. I think something special started there and a great inspiration was given. I can only thank and go on working to complete what with these and some more musical experiences iniciated in Rio de Janeiro, 1987. |
"Despedida do Pai" "Salsa?" "Funcsonhamos" |