Hans-Joachim Roedelius & Tim Story | Lunz 3

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Electronic: Ambient Classical: Modernist Moods: Type: Experimental
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Lunz 3

by Hans-Joachim Roedelius & Tim Story

Found sounds, electronica and orchestral instruments cohabit Story and Roedelius wildly creative and deeply personal miniatures, with 7 bonus tracks rounding out the 'unabridged' collection of this acclaimed new release.
Genre: Electronic: Ambient
Release Date: 

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  Song Share Time Download
1. Enough
6:37 album only
2. Concise
2:44 album only
3. Quirlig
2:57 album only
4. Tenebrous
4:17 album only
5. Appropriate
5:13 album only
6. Plural
4:55 album only
7. Florid
4:52 album only
8. Casual
3:51 album only
9. Naive
1:49 album only
10. Extra
0:51 album only
11. Faint
6:13 album only
12. Sly
4:56 album only
13. Tidal
3:07 album only
14. Clear
1:36 album only
15. Almost
4:42 album only
16. Freewohl
5:05 album only
17. Ajar
1:36 album only
18. Last
3:19 album only


Album Notes
Hans-Joachim Roedelius(*1934) is among the most haunting of great figures in contemporary music: a great figure, because without his work modern music would not be what it is; haunting,because you would be hard pressed to find people who can whistle even one of his melodies.When the zeitgeist followed him, Roedelius was already gone; when the zeitgeist moved on, Roedelius was still there. That explains the curious way in which, since 1968 he has shaped the now–a powerful and steady “Gulf Stream” of human warmth and musical vision that continues to usher in temperate climes.Initially, there was a desire to push all that was old and time-honored aside, to advance into the unknown, into something all his own. Fluxus; happenings; noise–unlike his colleagues inKraftwerk, Can or Neu!, Roedelius headed off on a musical tangent as early as the mid-1970s.There, he discovered silence–a whole continent of it. With Harmonia and Cluster he influenced people like Brian Eno, who named that new continent “ambient.”Tim Story (*1957) is a later immigrant to that continent. His origins are not noise and dilettantism,but listening. At an early age he studied Claude Debussy, Charles Ives, Steve Reich, Robert Wyatt and–as a teenager–Harmonia and Cluster. He trained his ear towards a beauty that strives to be more than distraction; to suggest what is real, what is like life.If there is a point at which the aesthetic of American and German electronic musicians converges, then it is in new music; in particular, at Arvo Pärt, whose intensely harmonic compositionTabula Rasa, too, investigates a silence consisting of tonal “Clusters” (!), and truly explores final questions. Roedelius met Tim Story in Lunz, Austria, and that’s what they named their collaborative project. Lunz 3 pursues the equally simple and sophisticated aim of scanning the wall of the world for a door to another reality; for beauty and candor, two hospitable neighbors of silence.The master from Berlin contributed sketches, tentative études in major and minor, whispered melodic contours, a sometimes hesitant exploration of gestures and keys. His colleague from Ohio embedded the collected nuances and phrasings in a sinuous riverbed, adding, mutating,transforming the dispersed elements into a “living, breathing organism.”
Roedelius speaks of this “interlocking of specific sounds”, as a kind of window into a “meta-tonal world that has an impact on the listener’s unconscious.” One could also call what pulses and shimmers, rustles and rasps, glugs and gets lost in echoes here utterly engaging, as if Boards of Canada were being deconstructed by Philip Glass as Erik Satie dreams on the piano.

The music is modern-day, yet timeless. It is abstract, yet in no way indefinite. It brims with life - from steady rain (“Tenebrous”), to Orient-inspired violins (“Plural”), even a touching nod to the spirit of long-lost co-conspirators Dieter Moebius and Conny Plank (“Appropriate”) - beyond surfaces, deeper than the skin. A contemplative circling around the age-old question of what it means to be human – difficult, capricious, but also, possibly, something good.
(Arno Frank)

In Lunz 3, what seem like longer phrases and themes are more often made up of a series of discrete, overlapping musical ‘events’, connected more by their inherent, delicate musicality than by their wildly scattered origins. For Achim and I, it’s an aesthetic we’ve explored often – indeed, Achim‘s musical beginnings in 1960’s Berlin with its Fluxus and Actionist ‘happenings’ virtually wrote the book on the restless deconstruction and recontextualizing of older forms. More recently, my Roedelius Cells project, a multichannel audio installation, explores the malleability of sound in a different way – thousands of short edits extracted from a decade of Achim’s piano improvisations, reimagined into layered, syncopated, and entirely new compositions, happily blurring the distinction between listener and composer.

But all this talk of ‘method’ probably misses the point entirely. Like the original Lunz (its successor Inlandish, and all of our music really), the experience hopefully transcends its sources and processes, and becomes its own living, breathing organism. As always, it is stumbling upon those magical, nuanced moments – Achim’s unfailing ability to find just the right note, the most distinctive, effortless phrasing – that are the true revelations for me. Embracing the still-widening echoes of our dear departed friend Moebi, straddling that knife-edge between the quirky and the ravishing. Even now, 15 years on, Lunz still resonates deeply with me, the album’s music intertwined with so many years of friendship. In Lunz 3, I hope we were able to cobble together a new little creature, one with a curious personality and a DNA all its own.

(Tim Story, 2019)



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