Ulrich Krieger


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Ulrich Krieger (Germany, 1962) started out his career in New York. He performed music by John Cage and Phill Niblock but also collaborated with noise and ambient artists like Merzbow and Thomas Koner.

Nightmares & Other Stories (Academy, 1996) containsonly one piece by Krieger: Rote Erde (1992).

Text Of Light (Starlight Furniture, 2004) was a collaboration among guitarists Alan Licht Sonic Youth's Lee Ranaldo, turntablists Christian Marclay and DJ Olive, drummer William Hooker and saxophonist Ulrich Krieger. Text Of Light also released the triple-disc Metal Box (2006), including the 58-minute 052202 Tonic/020103 RAW.

In 2002 Krieger also transcribed Lou Reed's masterpiece Metal Machine Music for the Berlin-based chamber ensemble Zeitkratzer, as documented on Metal Machine Music (Asphodel, 2007) that features Reed himself. Krieger then transcribed the same piece for a large orchestra of wind, celli, double basses, guitars, percussion, piano, accordion, theremin, recorders and violins, all instruments distorted through guitar amps. It premiered in 2006 at the Stockholm Culture House. Krieger and Sarth Calhoun then formed a trio with Lou Reed himself, the Metal Machine Trio, that debuted in 2008, to play music inspired by Metal Machine Music. Two live performances are collected on The Creation of the Universe (2008).

The first documents of his extreme noise music were the 60-minute Up & Down 23 on Up & Down 23 (b-boim, 2009) and the 50-minute Fathom on Fathom (Sub Rosa, 2010), that includes both Lee Ranaldo and Alan Licht on electric guitars.

Cycles (Imminent Frequencies, 2014) contains the four-movement suite (RAW_Mix, RAW_Feed, RAWmantic, RAW_Ex2) and the 30-minute Ginnungagap/ Drei Normen.

Urban Dreamings (Mode, 2015) contains: Sternenager I (2005) for tenor saxophone, bass clarinet, flute and electronics; the 21-minute V (2001) for organ; As Above So Below (1997/2003) for sopranino saxophone; and the 15-minute Azrael II (2002) for cello and electronics.

Winters in the Abyss (Pogus Productions, 2015) contains five pieces in just intonation played on three brass instruments (trombone, contrabass trombone and French horn): V Sun Lit (13:07), IV Twilight (12:41), III Midnight (12:33), II Lower Midnight (11:00), I Pitch Black (11:57).

/RAW:ReSpace/ (XI, 2016) contains six improvised pieces for saxophone and electronic manipulations. The alien radioactive buzzing of Desert Center (12:43) is gentle compared with the devastating wall of sound of Trona (12:16), that subsides in a whirlwind of agonizing ghostly drones. Needles (10:37) is a clownish intermezzo that opens with a feedback-laden Hendrix-ian solo, throws in some psychotic groaning and playful videogame-like noise, and peaks with some free jazz in a gruesome King Crimson-inspired atmosphere. Shoshone (10:07) is a disorienting symphony of echoes, reverbs and fluctuating drones. By comparison, the horror-industrial droning martial music of California City (17:32) sounds amateurish. Finally, to wash the hysteria away, there's the 74-minute ReSpace that is a concert for barely audible saxophone drones.

(Translation by/ Tradotto da Marco Spagnuolo)

Ulrich Krieger (Germania, 1962) ha cominciato la sua carrier a New York. Egli ha eseguito musica di John Cage e Phill Niblock, ma ha collaborato anche con artisti del mondo “ambient” e “noise”, come Merzbow e Thomas Koner.

Nightmares & Other Stories (Academy, 1996) contiene un solo brano di Krieger: Rote Erde (1992).

L’album Text Of Light (Starlight Furniture, 2004) è il primo lavoro dei Text of Light, una super collaborazione tra i chitarristi Alan Licht, Lee Ranaldo dei Sonic Youth, I turntablists Christian Marclay e Dj Olive, il batterista William Hooker e il sassofonista Ulrich Krieger. In seguito i Text of Light  pubblicarono Metal Box(2006), un triplo-disco che include i 58 minuti di 052202 Tonic/020103 RAW.

Nel 2002 Krieger ha anche trascritto il capolavoro di Lou Reed, Metal Machine Music per l’ensemble da camera berlinese Zeitkratzer, documentato proprio su Metal Machine Music(Asphodel, 2007) in collaborazione con lo stesso Reed. In seguito Krieger ha trascritto lo stesso brano per una grande orchestra composta da fiati, violoncelli, double basses, chitarre, percussioni, pianoforte, fisarmonica,theremin, registratori e violini, tutti strumenti distorti attraverso amplificatory per chitarra. Fu eseguita, per la prima volta, nel 2006 alla  Stockholm Culture House. Krieger e Sarth Calhoun formarono un trio con lo stesso Lou Reed, The Metal Machine Trio, che debutto nel 2008, proprio per suonare musica inspirata a Metal Machine Music. Due performance live sono documentate su The Creation of the Universe(2008).

Le prime performance della sua musica estrema furono i 60 minuti di Up & Down 23 su Up & Down 23 (b-boim, 2009) e i 50 minuti di Fathom su Fathom (Sub Rosa, 2010), che include sia Lee Ranaldo sia Alan Licht alle chitarre elettriche.

Cycles (Imminent Frequencies, 2014) contiene la suite in quattro movimenti (RAW_Mix, RAW_Feed, RAWmantic, RAW_Ex2) e i 30 minuti di Ginnungagap/ Drei Normen.

Urban Dreamings (Mode, 2015) contiene: Sternenager I (2005) per tenor sax, clarinetto basso, flauto e delettronica; i 21 minuti di V (2001) per organo; As Above So Below (1997/2003) per sax soprano; i 15 minuti di Azrael II (2002) per violoncello ed electronica.

Winters in the Abyss (Pogus Productions, 2015) contenente cinque brani in una sola intonazione suonati con tre brass instruments (trombone, trombone contrabasso e corno francese): V Sun Lit (13:07), IV Twilight (12:41), III Midnight(12:33), II Lower Midnight (11:00), I Pitch Black (11:57). /RAW:ReSpace/ (XI, 2016) contiene sei brani improvvisati per sax e manipolazioni elettroniche. Il ronzio alieno radioattivo di Desert Center (12:43) e’ quasi dolce se paragonato con il devastante muro sonoro di Trona (12:16), che si placa in un vortice di spettrali droni agonizzanti. Needles (10:37) e’ un intermezzo clownesco che si apre con una sorta di assolo di stampo Hendrixiano, che si getta in una sorta di gemito psicotico contornato da un bizzarro rumore da videogame, e raggiunge la vetta con una forma di free-jazz immerse in una macabre atmosfera a la’ King Crimson. Shoshone(10:07) e’ una disorientante sinfonia di echi, riverberi e droni fluttuanti. A confronto, il drone horror-industrial di California City (17:32) sembra quasi amatoriale. Giunti alla fine, quasi a voler lavar via l’isterismo, ecco i 74 minuti di ReSpace che una sorta di concerto per droni sax appena percettibili.

(Copyright © 2016 Piero Scaruffi | Terms of use )
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