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Tim Story & Hans-Joachim Roedelius | The Roedelius Cells

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United States - Ohio

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Classical: Minimalism Avant Garde: Modern Composition Moods: Type: Instrumental
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The Roedelius Cells

by Tim Story & Hans-Joachim Roedelius

In this limited edition of just 500 cd's, Grammy-nominated composer Story reimagines the piano improvisations of Hans-Joachim Roedelius into shimmering, intricately-layered soundscapes, at times edgy and percussive, at others lyrical and intimate.
Genre: Classical: Minimalism
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  Song Share Time Download
1. Cell One
Tim Story & Hans-Joachim Roedelius
4:34 $0.99
2. Cell Two
Tim Story & Hans-Joachim Roedelius
4:59 $0.99
3. Cell Three
Tim Story & Hans-Joachim Roedelius
6:43 $0.99
4. Cell Four
Tim Story & Hans-Joachim Roedelius
5:40 $0.99
5. Cell Five
Tim Story & Hans-Joachim Roedelius
6:23 $0.99
6. Cell Six
Tim Story & Hans-Joachim Roedelius
6:43 $0.99
7. Cell Seven
Tim Story & Hans-Joachim Roedelius
4:08 $0.99
8. Cell Eight
Tim Story & Hans-Joachim Roedelius
4:40 $0.99
Downloads are available as MP3-320 files.


Album Notes
It’s been said by sound artists that “one man’s noise is another man’s music.” The Roedelius Cells imagines the possibility that one man’s music might also quite literally be ‘another man’s music.’ The Roedelius Cells documents a unique multichannel-audio installation, composed by Grammy-nominated composer Tim Story and featuring original piano recordings by Hans-Joachim Roedelius. Intricate, superimposed layers of piano coalesce and recombine into shimmering soundscapes that move from lyrical intimacy to pulsing syncopation.

In the midst of recording several music projects over the past decade, long-time collaborators Tim Story and Hans-Joachim Roedelius recorded many hours of Roedelius’ intuitive solo piano improvisations. Rediscovering these informal recordings years later, Story began treating them more as ‘found sounds’ than finished compositions. Recombining very small cells of this material into layered, evolving patterns, Story began creating compositions solely from the source piano recordings, but which stood in stark contrast to Roedelius’ originals. These short interlocked layers – each often consisting of just of few seconds of repeated sound – create a syncopated, shimmering interplay more reminiscent of Steve Reich’s structured minimalism than Roedelius’ expansive lyricism. Limiting himself to the sounds of the piano - one of the most identifiable and accessible of instruments - Story hopes to focus the listener on the process itself, lending an engagingly musical, yet undeniably disorienting perspective to the expectations of ‘piano music.’ To extend the act of ‘re-composition’ to the listener herself, Story devised a gallery installation that spreads the individual cell layers discretely amongst 8 speakers, so that in travelling through the physical space, the juxtapositions of the cells’ interactions evolve in unique and unrepeatable ways.

Story continues “I’ve always been fascinated how we humans continually create order out of randomness, how our brains create ‘compositions’ out of the random sounds of everyday life. Creating musical pieces from field recordings and ‘found sounds’ is nothing new, composers of musique concrète and audio collage have been doing it since the advent of audio recording. But what if these ‘found sounds’ were not recordings of random events in nature or industry, but rather bits and pieces culled from an improvised musical performance? This ‘music made from music’ bears little resemblance to the original piano pieces played by Joachim – but while his performance has been ruthlessly chopped, interrupted and rearranged, the innate lyricism and delicacy of his playing magically survive. The word ‘cells’ was chosen deliberately - it refers both to the audio building blocks layered into each composition, as well as to the word’s organic biological meaning - the intensely personal expression that seems to flow effortlessly from my friend Joachim’s musical DNA..”



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