Karlrecords

Karlrecords was designed as an outlet for puzzling sounds that question today's pigeonholes of perception. We are not purists – if you aren’t either you might enjoy our trips across the borders of musical genres!
WHAT THE PRESS SAYS:

FANU / BILL LASWELL - LODGEAmidst a media landscape which rarely flexes more than its eyebrow muscles unless there is a clearly, easily and widely marketable story, scene or scandal attached to a record, an album like this one must seem something like an alien spaceship in the middle of Times Square: It doesn't have a rigid concept, it doesn't sell a message, it follows no trends, delivers no hypes and promises no instant revelations. Some Drum n Bass critics will find it too little Drum n Bass. Dub and Dubstep audiences will think it too much Drum n Bass. Jazz listeners will probably refuse to even listen to it. And yet all of this explains why „Lodge“ could end up victorious nonetheless. Bewildering and beguiling at the same time, it bridges the differences between several genres, arriving at a beligerent release of the pure will to create. It is also proof to a theory Bill Laswell has long argued in favour of: That it is not endless pondering in lonely bedrooms which shapes the music of the future, but going out there and interacting with others. More and more experimental artists are challenging the traditional notion of a prolific oeuvre, but with few others, the complete irrelevance of this perspective is showing as openly as with Laswell. Does anyone ever question why a chef prepares hundreds of delicious cremes brulees a week? And just like him, the New York-based Bassist neither meditates on nor makes a point of the mushrooming catalogue of releases he has by now amassed. There is a job to do, there is music to be made, there are befriended performers to be helped, there is something to be said. On „Lodge“, the full weight of this mission statement comes pounding down on the listener, as an ensemble of experienced and fresh instrumentalists develops a sound both granitic and malleable, equally heavy and weightless, resting in itself and of a compelling forward propulsion. The foundation for the eight tracks collected here is the long-distance, yet luminously direct interaction between Laswell and young Finish Drum n Bass producer Fanu. The thick melodic Bass lines and metallic, Jazz-oriented Percussion rolls are the red threads which guide listeners through an album squeezing a daunting array of colours, timbres, moods and grooves from this fundamental instrumental combination. The reason why it works at all is that Laswell and Fanu are never content with working along the lines of readily available blueprints. On opening track „Orh“, they reverse the usual responsibility assignment, with Fanu's funky polyrhythms dancing themselves immovably towards ecstacy, while Bill's Bass provides for the typical breaks at the end of each cycle. On several other occasions, his freewheeling inventiveness disconnects the link between them, with Drums and Bass running ever-so-slightly out of sync and in different mindsets, before crossing swords again only seconds after. The constant change between slower, more relaxed and Dub-heavy tracks and hollering uptempo material, played with ferocious intensity and a frigthening physicality, also awards the album a nervous, neurotic and breathless pulse. It turns out to be just the right heartrate for the illustrous ensemble of guests which makes their appearance on „Lodge“. Bernie Worrell sets the studio on fire with his moaning, groaning, huffing, puffing, screaming and scolding synthesizer lines on „Bloodline“, while Nils Petter Molvaer's Trumpet haunts the ghostly shadows of „Transgenesis“. Jazz veteran Graham Haynes is also part of the line-up and on the six-and-a-half-minute madness of „Transfer Code“, frenzied Hammond Organ, Trumpet erruptions, Fender Rhodes interludes and a rhythm section with a burning urge to burn down the house with their razor-sharp performance, the group reaches for the stars in a piece, which doesn't care one bit about being a composition in the classical sense of the word. Quite a lot of the material here works along similar lines, presenting a theme once, before forgetting about it and rather employing sounds or micro-glitches as its lead motives. With this approach, firmly rooted in minimalism, „Lodge“ does present itself in direct proximity of Drum n Bass, Dub and Dubstep, after all, without ruminating its cliches. This may well the most astounding fact about a record which can do away with clear-cut concepts, messages, trends or hypes: It is accessible and catchy, infusing its audience with energy and having a blast while pushing the limits of at least three genres further north. (Tobias Fischer / TOKAFI)
FANU / BILL LASWELL - LODGEMulti-tasker extraordinare Bill Laswell was one of the first champions of drum..n..bass from beyond the inner circle of proponents and true believers. Subsequently, this interest and investment has evolved into unexpected encounters first spurred by working with artists like DJ Ninj, DJ Disk and in latter years so-called "darkhop" enthusiasts, until finally exploding with a series of important and effervescent cross-genre works with solo beathandler Submerged. While these meetings have been wild, speedy and, to snatch a word from one title, doggone brutal, the present session with Finnish wunderkind Fanu is crisp, fresh and reminiscent more of work Laswell did a decade ago with the artists of the now-defunct Brooklyn crew he helped finance, WordSound. About his take on drum..n..bass, Fanu (real name Janne Hatula) has stated that his long love of the genre has him "creating today..s drum and bass with the aesthetics that come from [that] past." Thus what we have here are two veterans of the genre meeting for the first time and hopefully pushing at the proverbial envelope. But Lodge is also a record of another tradition, a kind of jazz-funk record. In tow to the sessions Laswell has three experts - Parliament/Funkadelic keyboardist Bernie Worrell and trumpeters Nils Petter Molvær and Graham Haynes. NPM himself is known for his own groundbreaking cross-genre jazz/d..n..b albums, while Haynes boasts not only an impressive solo career but has also accompanied Laswell on many of his more adventurous expeditions. Which is not to say that compared with this starting line-up, Fanu has little to bring to the table - he goes ape already on the second track, "Bloodline" and later on "Transfer Code". At calmer times, one or two tracks sound as though they were recorded during Laswell..s "Dub Chamber" sessions, but that doesn..t make it any less welcome. Bill..s bass takes centrestage on the closer,"Shroud", a virtuoso narrative surrounded by swirling keys and hammered at by Fanu..s insistent snare. Taken as a whole, Lodge is not a spectacular breakthrough but rather a deftly arranged and coherent piece of work by two very compatible artists. Hope to hear more of Fanu in Laswell..s future work - or Laswell in Fanu..s. (Stephen Fruitman / SONOMU)
FANU / BILL LASWELL - LODGEHey, this another fine product featuring Laswell as a producer and Robert Musso as engineer, do you need anything more to figure out how the sound is like? Beside the production the mighty hand of the "white ambassador of bass" Laswell and Fanu's break-beat skill characterize the rhythm section of this cd. Soft and groovy bass, stylish and pounding rhythms but differently from the collaboration with Submerged there's no trace of break-core, don't worry the usual "drum and bass" element is there but the atmosphere this time is way more jazzy, you have break-beat and classy fusion but also splinters of the post-Miles Davis era scattered all over the crime scene. Nils Peter Molvaer is a member of the crew as well as Bernie Worrell and Graham Haynes and with sailors like these you can bet the ship is gonna sail thru the warm water of modern black music, but at the same time don’t expect it to be a black album to the core. I think what this people really inherited from Davis (sorry for repetitions) is the global approach to music, atmosphere and introspection, that’s why I think they get the most right when they twist and reshape jazz and funk to melt them together with dance-floor beats and/or nightly moods (like in Orh). I can’t say in which percentage Fanu did this and Laswell that for their styles on this work are really complementary and probably the arrangements of these top class hosts helped a lot to refine and keep together what was an already well assorted combination. Poor Miles, I’m sure he would have loved to be featured among the guests. (Andrea Ferraris / CHAINDLK)
FANU / BILL LASWELL - LODGEsetzt das Fusion-Konzept von Laswells Method Of Defiance fort, das auf Inamorata die Breaks von Submerged, Paradox, Black Sun Empire, D-Star, Amit, SPL, Outrage, Evol Intent oder Corrupt Soul kollidieren ließ mit Saxophon-, Trompeten-, Gitarren- und Keyboardsounds von Altstars, Fusionlegenden und NowJazz-Größen wie Cosey, Hancock, Kondo, Liebman, Sanders, Taborn oder Zorn. Bei ‚Black Water‘ stießen Graham Haynes & Byard Lancaster auf Fanu aka Janne Hatula aus Helsinki. Dieser Verehrer der synkopierten RhythMotions machte auf Laswell und seinen Innerhythmic-Mitstreiter Robert Soares dermaßen Eindruck, dass er nun mit den bereits Inamorata-bewährten Trompetern Graham Haynes & Nils Petter Molvær und dem P-Funk-Keyboarder Bernie Worrell neue Rezepte urbaner Bitches Brew anrührte. Natürlich lässt Laswell seinen Bass auf allen Tracks unken, knurren und blubbern, quasi das Gütesiegel dafür, dass Fanus Essenzen aus Photek, Goldie, Roni Size, DJ Shadow, FSOL oder Amon Tobin, zuletzt auf Daylightless ausgiebig demonstriert, die MegaRhythMachine speisen, den Ultra-Fusionsreaktor, den Laswell visioniert. Sauberer Strom aus dem Soundfeuer, der globale, transkulturelle Potlatch positiver Energie. Flexible Kollaborationsstrategien und Collagetechniken bieten Alternativen zum Bandmodell ebenso wie zu Computer-Eremitage. Der DJ, der Massen pumpender Lustsklaven dirigiert, kann ebenfalls nicht das letzte Wort in Sachen Selbstorganisation von postmodernen ‚Electribes‘ sein. Fanu / Laswell feiert die ‚gegenstrebige Fügung‘ von Strom und Bruch, deep atmosphere und sharp breaks, dark fun und psychosis, Jungle und Tekkno. Der oxymoronische Dauerbeschuss führt zu einem mentalen Juckreiz. Man möchte gleichzeitig aus der Haut fahren und sich in Laswellness suhlen. (Rigobert Dittmann / BAD ALCHEMY)
KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS – Split-10"Tuning a voodoo ritual, Kammerflimmer Kollektief, propels a languid sojourn of tribal rhythm and yawning sounds where quivering vocals ululate soft consonants and vowels over the trio who with percussion, guitar, and electronics richly colour an etheric experience. Melodies slump and slide, the lilting vocals shudder like rushed but delicate breath. Following from the first track on this split album is a more sombre track of leisurely rock reminiscent of the quieter moments of SWANS’ ‘Soundtracks for the Blind’. Guitars funnel haunting cadences and double bass groans the guise of cello, spidery electronics stilt gently amid the mournful dirge. The ensemble of eleven that make up this Strings of Consciousness contribution has less of the lidless distress of Kammerflimmer Kollektief but mesh together such panoply of avant-garde sound that makes this a complimentary reverse. Electronic percussion doses out noisy rhythm, xylophone rummages improvised melody, saxophone floats above long strains of wavered guitar, barely a fragment of the boutique that is Strings of Consciousness. Forest of Spades is an eerie dose, unlike the more modernist Fantomastique Alaska that is less striking where the saxophone pulls away from the rest of the congregated musicians with smooth dulcet lines. The jazz influence is not just saxophone, with all instruments exploring improvised motifs based on a very loose central head, but the saxophone stands out as one of the more salient of the instruments, sometimes a little too much at the expense of the other musicians though its squealing and straining breathing during Crests & Watersheds makes up for the second tracks lounge feel. The package is a delightful gatefold cover on thick glossy black and white stock, warped bole and boughs on the cover open to a large internal spread where, seated with glass of wine, a bizarre treant reposes facing outward, a head of branches. Each side of the 10” vinyl, limited to 500 copies, is dressed with the respective iconic artwork/logo of both bands. ("symbolique" / HEATHEN HARVEST)
KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS – Split-10"Für den Auftakt der halluzinatorischen Wahrnehmungen gewidmeten Parakusis-Reihe des mit Bill Laswell gestarteten Karlsruher Labels, variieren Thomas Weber, Heike Aumüller & Johannes Frisch zwei Tracks ihres Staubgold-Releases Jinx, bei denen der Musik Flügel wachsen, die einen in eine Art ‚out of body experience‘ davon tragen können. ‚Jinx (Excursion)‘ klopft, rasselt und dröhnt und Aumüller kaut mit zittrigem Gesang die Luft weich, damit das Karlsruher Schamanen-Kollektief an der Weltachse entlang in die Anderwelt gelangt. ‚Both Eyes Tight Shut‘ (Instrumentalversion) bringt Strings - Frischs Kontrabass arco, Heike Wendelins Viola und Martin Siewerts Lapsteel - so in Schwingung, dass die Phantasie auf sanften Langwellen den Orbit verlässt und durch Outer Space driftet, nirvanasüchtig wie der finale Surfer in Dark Star. Zwei astrale Trips in der Tradition krautiger Space-Psychedelik. Hinter fest geschlossenen Augen öffnet sich die Tür des Cactus Tree Motels auf den Mäanderweg in Sound, der in Altered States lockt. Stringtheoretisch versiert zeigt sich auch das von BiP_HOp-Macher Philippe Petit versammelte 11-köpfige Ensemble STRINGS OF CONSCIOUSNESS. Saiteninstrumente haben die absolute Mehrheit gegenüber der Fraktion aus Trompete, Saxophon, Vibraphon, Sampler und Petits Laptop. Nach einer ersten Duftmarke auf der BiP_HOp-Compilation Generation v.8 wird man hier entführt in den ‚Forest of Spades‘ mit seinem von Streichern und Vibraphon gestreuten Nadelteppich, von Perceval Bellones süßem Saxophon in ein ‚Fantastique Alaska‘ und von Andy Diagrams Trompete auf Bergkämme, auf denen sich nicht nur die Wasser scheiden. Diese Fourth World hat ihren Magnetpol im Osten. Die Musik verflüssigt das Bewusstsein so, dass es dem Sehnsuchtshorizont stetig zuströmt. Wenn nicht auch die Anderwelt ein Kugel wäre. (Rigobert Dittmann / BAD ALCHEMY)
KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS – Split-10"This split ties the knot between String of Consciousness I’ve just interviewed for Chaindlk (so watch out since you’re gonna read it sooner or later) and Kammerflimmer Kollektief I didn’t know anything about. This slab of vinyl has been a real surprise: I’ve been listening to the songs repeatedly and the first obvious conclusion I’ve come to is that this 10” joins a beautiful pair. I’m not just speaking about the top notch quality of both of the bands, what I’ve written is mostly referred to the fact if you listen carefully to the five tracks here included they all make sense on the same release even though the bands are not that similar style-wise. Cinematic music takes over on both of the sides and I’m also tented to say that the matter is filmic but also nocturnal, it’s mainly instrumental material with a really elegant approach for what concerns arrangements and taste. Kammerflimmer Kollektief officially enter in the ranks of interesting bands, later I’ve found they’ve some material out on Staubgold which perhaps doesn’t mean that much, but you’ll agree with me it could be a good hint to suspect they’ve the quality trademark. An interesting blend of influences for they play with a subtle krautesque (…Can anyone?) aftertaste you can sense in both of the songs. Believe it or not the first track made me think to post-krau-tronic bands as we could have classified mighty Salaryman hybridized with the vocals of Meredith Monk, the second song instead reveals an all german taste for sadness, it could have been part of the soundtrack for one of those tv-dramas or even the main theme for Wender’s “Alice in den Städten” (if Can had not arrived first when we all were young and cute). On the other side of the 10” you have String of Consciousness with no famous guest and no vocals...does it cheapens the result? No, therefore turn down your scepticism since this’ the proof you needed if you were just trying to get if they “had it or not”. S.O.C are probably one of the most jazzy bands hailing from the post-rock, post-modern, post-whatever scene, this probably what would happen if you put some ECM (let’s say Jan Garbarek), some New Wet Kojak, a good but discrete dose of electronic sounds and a spruce of Morricone in the same shaker. You think it’s an odd mixture?! Come on, think about it carefully and you will be with me thinking the combination was somehow quite logical. (Andrea Ferraris / CHAINDLK)
KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS – Split-10"Nach der "Bill Laswell vs. Submerged"-Platte auf Karlrecords wirkt die zweite Veröffentlichung auf dem Label wie ein Gegenpol: hier regiert die Wärme, die Sehnsucht, die Welt der Farben, die Freiheit der Kreativität. Das Kammerflimmer Kollektiv gibt sich noch geruhsamer als gewohnt und hält so manchen Ton voller mütterlicher Fürsorglichkeit über eine angenehm lange Zeit. Eine sehr entspannte Herangehensweise, wenn man bedenkt, dass nur eine Seite einer 10" zur Verfügung steht. Das elfköpfige, internationale verstreute Ensemble mit dem seltsamen Namen Strings Of Consiousness passt so gut zum Kammerflimmer Kollektief, dass man den Übergang kaum wahrnimmt, bis die ersten knisternden Elektronik-Beats einsetzen. Hier geht es etwas jazziger und postrockiger zu, man spielt ein paar Noten mehr und doch bleibt das tragende Element die Soundmalerei. Insgesamt ist dieses auf 500 limitierte Stück Vinyl ein wundervoll ausbalanciertes Werk, das viele Freude in allerhand verschiedenen Szenen finden sollte. (Jochen Gutsch / TRUST MAGAZINE)
BILL LASWELL VS. SUBMERGED - BRUTAL CALLINGNew cover and new label for what I’ve read it’s a reissue of the mighty Laswell vs Submerged originally released in 2004 by Japanese Avant label exclusively for Japan. Should I introduce Bill Laswell? Should I tell he he’s played with everybody, he’s produced everybody, he’s one of the main responsible for the fact dub got fashionable again back in the days and for having done almost everything? Should I mention he’s one of those two, three musicians together with Zorn (executive producer of this release with engineer Robert Musso) and Frith whose discography is so vast it’s almost impossible to make a reliable list? I’ll just say he played in three of my all time favorite bands: Painkiller, P.I.L., Ashes. Here we go with a breakcore, drum’n bass rhythmical release where you’ve that characteristical Laswell bass/touch you recognize in a split second married with Submerged “in yer face” drums. While this rhythmical approach is going trendy again thanks to a whole wave of new breed of Laswell/Harris-sons like Bong-Ra, Venetian Snares and so on, some will surely recognize something you may have heard before in many of the “fast” rhythmical release by New York based producer be it on Axiom or on other labels. I dunno that much Submerged but I see his beat-approach gets along really well with this long-respected producer/musician, it’s music you can move your feet to it’s aggressive but being this bass-hero a soulful white man with a foot in black music, he didn’t limit himself to dance till you drop music without heart and here and there you’ve some visceral sounds and melodies. Visceral, yes…I think that’s the proper adjective for many releases signed by “uncle Bill” (just to quote mighty Burroughs, I’m sure both Laswell and Submerged would appreciate), you always have that nocturnal feel plus a strong narcotic post-dub flavour flowing underneath like in the closing killer track. Thought being one of those who prefer the american producer in his more relaxed, slowed down, ambiental salsa (just to contraddict my Painkiller infatuation) the release has its say above all if you’re into the most elegant breakcore materials or into many of the releases on Ohm resistance. (Andrea Ferraris / CHAINDLK)
BILL LASWELL VS. SUBMERGED - BRUTAL CALLINGBreakcore meets bass in this ‘versus’ ‘tween Bill Laswell and Submerged. Laswell, long-respected producer and bassist takes on the breakcore rhythms of Submerged. It is a tense furore that brims with anxiety and a raw jarring collaborative effect. Patterned as a reaction in 2004 to the terrorist attack of 9/11, this reissue album on vinyl captures a fury and energy that is dark and scattered. Disruptive drums clatter the skull like falling steel, fractured and twisted chunks cloister the speakers with geometric innards spilled. The bass of Laswell is a significant inclusion, bulbous and organic, consummating with the contours of destruction the bowel-loosing horror of the event. Encrusted with blood and immersed in swift oblivion each track strikes like an airline into a tower and there is little one can do to bear witness even after repeated listens as the music as an event usurps all sense. One of the hardest hitting is Decapitation Strike with its pummelling bass and drum precisely punching together with scratched and reversed inlets into inferno. Deeper and deeper into the six tracks, the chaos grows, the aftermath worse than the impact in its maelstrom. The collaborative effort is a puissant one, hard to delineate ‘tween the forging as so comprehensive is their delivery of hard-hitting rhythm and gut-writhing melody. That a bassist shares duties with such an electronic demagogue makes for a more respected output than simply laying down some virtual instrument to the skitter-scatter of rhythm. Couple that with the dark response to such an event it’s a worthwhile session for them and us. Originally released on Avant-jazz guru, John Zorn’s AVANT label in Japan only, this full length vinyl only of one-thousand copies is slicked with aesthetics. The cover is black, spilled with an embossed oil slick – or perhaps more fitting given its 9/11 reaction: blood. It glistens. The insert inside is a full colour wraparound of dark skies occluded in heavy clouds. ("symbolique" / HEATHEN HARVEST)
BILL LASWELL VS. SUBMERGED - BRUTAL CALLINGDiese Kollaboration von Bass-Master Laswell mit dem Drum‘n‘Bass-Finsterling und OHM Resistance-Macher Kurt Gluck war 2004 zwischen der Photo Op Before A Long Hard Fuck-Split-10“ (2003) und Todd Bridges On Lockdown (Temulent Remix) / Summery Execution (Corrupt Souls Remix) (2005) als CD beim japanischen Label Avant erschienen und wurde nun für Vinyl-Liebhaber neu aufgelegt. Optisch verfinstert mit Totenköpfen Schwarz auf Schwarz, wird nun auch deutlicher sichtbar, dass die beiden New Yorker mit ihren Breakbeats und dem untergründig grollenden Bassbeben einen Nachhall von 9/11 inszeniert hatten. Auf Anschlag, was die Raserei der Beats angeht, hallt in Tracks wie ‚Mass graves‘ oder ‚Decapitation strike‘ Panik wider. Venetian Snares zerrt ähnlich an den Nerven, Brutal Calling greift aber direkter an, durchwegs fiebrig überdreht und bei ‚Lockdown on bridges and tunnels‘ mit einer WahWah-Gitarre, die Hals über Kopf Treppen hinab kreischt und blind nur noch dem Fluchtinstinkt gehorcht. Laswell zeigt hier den zerstörerischen Aspekt Shivas (wie in Chaos Face, Death Cube K, frühe Painkiller, Time Zone), den Crooklyn-Pol der Existenz, zu dem die Deep Vibrations seines Sacred Dub, die Healing Force seiner Ambient-Mantras, Innerrhythms und Space-Psychedelix (Asana, Charged, Divination, Equations Of Eternity, Pete Namlook, Tabla Beat Science, Jah Wobble) die Gegenkraft bilden. Wobei nach Laswells Philosophie wohl nur unterschiedliche Aspekte der gleichen Kraft ihr Spiel treiben. Seine Basslinien pulsieren nämlich hier wie dort mit der gleich sonoren und souveränen Vitalität und Funkiness. Falls Brutal Calling den Fall der babylonischen Türme kommentiert, dann jedenfalls nicht larmoyant. Und wie sehr auch Glucks D’n’B- Hysterie sarkastisch helterskeltert, durch Laswells Bass werden selbst Kalis Tanzzuckungen auf dem Ground Zero zu Dynamiken der Transformation. (Rigobert Dittmann / BAD ALCHEMY)
BILL LASWELL VS. SUBMERGED - BRUTAL CALLING Die erste Veröffentlichung auf dem kleinen deutschen Label Karlrecords ist gleich ein heftiges Schwergewicht: Der große Bassmeister Bill Laswell trifft auf den Breakbeat-Chaoten Submerged von OHM Resistance. Was dabei herauskommt, kann man sich beinahe ausrechnen: auf der Oberfläche schraddeln die Breakbeats, während drei Etagen tiefer der Bass grummelt. Das derbe, oft gemein verzerrte und wild gefilterte Drum'n'Bass-Geballer basiert auf dem Schub der typisch-dumpfen Laswell'schen Bass-Patterns, die wir auf seinen mehr am Dub ausgerichteten Platten so lieben. Die Tatsache, daß dieses Album als Reaktion auf die Terrorattacken von 9/11 konzipert wurde, erklärt die launische Agressivität und freudlos-industrielle Athmosphäre. Urspünglich bereits im Jahr 2004 auf John Zorn's AVANT-Label in Japan auf CD veröffentlicht, zeichnet sich Karlrecords für die auf 1000 Exemplare limitierte Vinylveröffentlichung verantwortlich. (Jochen Gutsch / TRUST MAGAZINE)

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ULNA - FRCTURE

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FANU / BILL LASWELL - LODGE CD

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KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS - Split-10"

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BILL LASWELL vs. SUBMERGED - BRUTAL CALLING LP

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