SONOMETER – sonolite (KHΛOMΛИ remix)

SONOMETER – sonolite (KHΛOMΛИ remix)

attenuation circuit ° ACPA 1003 ° 2022 °

cover art by SRVTR
design by EMERGE

remixes by KHΛOMΛИ


SONOMETER – sonolite:

b°tong I EMERGE I If, Bwana I Gerald Fiebig – THING

b°tong I EMERGE I If, Bwana I Gerald Fiebig – THING
factory-produced CDr in cardboard sleeve, ltd.ed. 100 copies

  1. b°tong – first kiss of the lady of initiation 21:49
  2. EMERGE – expulsion 20:18
  3. If, Bwana – Fie’s Big Organ / Recorders for Augsburg 16:48
  4. Gerald Fiebig – Sustained Development 15:14

previously released on 2 different vinyls in 2013

photos by Dan Penschuck (
design by EMERGE

the THING series is open for submissions
please check details here:

Gerald Fiebig I EMERGE I Mattia Bonafini

Gerald Fiebig I EMERGE I Mattia Bonafini – Fiebig I EMERGE I Bonafini
factory-produced CDr in cardboard sleeve, ltd.ed. 100 copies

attenuation circuit ° ACU 1038 ° 2022 °

photos by Dan Penschuck (
design by EMERGE

This triple-split album presents electroacoustic compositions by attenuation circuit label head EMERGE, long-time associate Gerald Fiebig, and – for the first time ever on a physical release – the Italian, Bremen-based composer and sound artist Mattia Bonafini. The final track is a trio improvisation EMERGE, Fiebig and Bonafini played at Hulsberg Crowd in Bremen in June 2019, a temporary art location in a former nurses‘ home which has since been demolished.

Although the three pieces were composed independently, they seem to share a certain aesthetic feel: Sonic atmospheres stained by constant hiss (EMERGE), vinyl surface noise (Bonafini), and car traffic (Fiebig) pervade the album. Out of this grey sleet of acoustic debris, the composers try to salvage moments of clarity in the form of concrete sounds, melodic fragments or drone chords.

EMERGE works with a variety of field recordings that every once in a while quite literally emerge from the monochrome fog of background hiss that seems to be visualised in the colours of the cover artwork. The ‚betamorphoses‘ of the title could refer to the moments in which the static drone hiss of the piece morphs into more distinct acoustic scenes. One could think of it as moments when the static hum of ‚capitalist realism‘ (Mark Fisher) that muffles the whole of our reality is replaced by the sounds of something different – ‚betamorphoses‘ perhaps being beta tests for a metamorphosis of society at large that needs to take place.

Fiebig’s ‚Far-end Crosstalk (Augsburg – Jinan)‘, based on field recordings from his homebase Augsburg and the soundscape of the Chinese city of Jinan (recorded by Nicolai Volland in 1995) spells out this need for change along ecological lines. The piece maps Murray R. Schafer’s idea of the urban ‚lo-fi soundscape‘ onto the problem of climate change: With increasing car traffic, cities around the world not only sound increasingly the same, they also face the same problems with air pollution. The Jinan sounds are modulated with a filter based on frequencies of the note C (for China), the Augsburg sounds are filtered around the note G (for Germany).

‚Turning Pages‘ of musical history, or rather turning music around to see its other side, is what Mattia Bonafini did for his piece: He recorded surface noise from vinyl records in the library of Bremen’s Hochschule für Künste where he studied electroacoustic music, and thus created the piece by manipulating this background noise of the officially documented history of music. Like the other pieces, ‚Turning Pages‘ is an act of musical upcycling in which apparently non-musical sounds are used to create an aesthetic structure and, through sound, make us think about the world.

The live cut from Hulsberg Crowd – the venue itself being a sort of creative, if temporary, repurposing of an urban ‚left-over‘ – continues this by using ’sub-musical‘ elements such as no-input mixer and vocal noises rather than speech or song. But the tension felt in the three previous pieces, the feel of a present wedged uneasily between an untenable past and an uncertain future, is exploded in the energetic interaction of the trio, into a ‚lightbulb moment‘ (Lester Bangs) of whatever the listener may perceive in it – utopian or dystopian?

File under: drone, ambient, hauntology

Bu.d.d.A. – Lied für Annas Gram

Bu.d.d.A. – Lied für Annas Gram
white cassette in cotton bag with cover-card, ltd.ed. 50 copies


b°tong: guitar, bowed guitar, vocals
EMERGE: violin, voice, samples

accidentally recorded one sunny day at N’s rehearsal room in Dortmund
mixed and mastered, picture and design by Sascha Stadlmeier

Doc Wör Mirran feat. Schnitzler / EMERGE – Diaspar Parts 13 to 22

Doc Wör Mirran feat. Schnitzler / EMERGE – Diaspar Parts 13 to 22
factory-produced CDr in cardboard sleeve, ltd.ed. 100 copies

Conrad Schnitzler, Sascha Stadlmeier, Joseph B. Raimond, Michael Wurzer, Stefan Schweiger, Ralf Lexis

Original recording from the1990s, additional recording and mixing in 2020 atTwo Car Garage Studios, Fürth Germany.

All cover art by Joseph B. Raimondfrom the Diaspar series, 2020
Layout by Sascha Stadlmeier

As always, in loving memory of Frank Abendroth and Tom Murphy.
This recording is dedicated to Ed Asner

This is DWM release #184


Limited edition (20 copies) CDr in Cardboard Cover // signed by artist

Comes in black origami cardboard cover, provided with black sigil on the back. Limited edition of 20, signed by the artist. Hand-stamped and numbered CDr in vinyl-look with haptic grooves, both sides of the CDr are black.
Linen paper folder, handcut.

EMERGE: voice & effects, recording, mastering and photo

recorded live in january 2017, ganze bäckerei augsburg

III + IV are parts of a series
of vocal improvisation works by EMERGE.

I: Mahorka, Bulgaria 2016
II: Earthwalker Records, USA 2017
III + IV: atemwerft, Germany 2021

Coverdesign: Martyn Schmidt

Thorsten Soltau / EMERGE / RLW – Acker und Seche

CD, 200 copies in full colour Ecopack sleeve
released by aufabwegen

  1. Vorwort 06:49
  2. Kalk und Schiefer 03:48
  3. Zu den Häfen 03:15
  4. Die Motte des Theta-Schlafes 03:42
  5. Ilios / Heimstatt 03:52
  6. Vor dem Hitzschlag 17:24
  7. Postskriptum eines Traumes 04:39

Thorsten Soltau (1-5,7):
piano, electroacoustics and electronics
recorded in January and February 2016
commissioned by Swiss Radio and Television (SRF)
additional processing, using concrete sound sources by EMERGE,
in October and November 2017

EMERGE (1-5,7):
field recordings and electronics
additional processing, using sounds by Thorsten Soltau, and final mix
in November 2017

RLW (6):
transformation and re-composition of the contributions by Thorsten Soltau and EMERGE,
realised in 2017/18
overall album concept created in 2020

Design & Fotografie Dan Penschuck / feindesign
Danke an Reneé Repotente #sokoSOLVEIGH

Bu.d.d.A. & N – dreisam einsam tour 2021

dreisam einsam tour 2021:
Bu.d.d.A. (CH/GER) & N (GER)
31.08. – 14.09.

booking requests: (Sascha aka EMERGE)

fixed dates:

31.08. D-Bochum: Bastion *
01.09. D-Bochum: Bastion *
03.09. FR-Hegenheim: Salon
04.09. D-Weikersheim: Club W71
06.09. AT-Wien: Monday Improvisers Session @ Celeste #
07.09. AT-Wien: VEKKS
08.09. SK-Bratislava: FUGA
09.09. HUN-Miskolc: private gig
with Kragrowargkomn
11.09. HUN-Debrecen: IX. Zajkert / IX Noise Garden @ Modem
12.09. HUN-Budapest: Havizaj @ Riff
with NoisesculptoR & Kragrowargkomn
13.09. D-Augsburg: abraxas ~
with Theo Nugraha
14.09. CH-Basel: Go!C!Art Festival @ Cargo Bar ~

* Bu.d.d.A. & N_M
# as Hellmut Neidhardt & Chris Sigdell & Sascha Stadlmeier
~ collab-set


Bund des Dritten Auges is a fairly new project by Sascha Stadlmeier (EMERGE) and Chris Sigdell (B°TONG). It is dedicated to meditative ambient drone music and uses mainly guitar, violin and voice. Since its conception in Barcelona, the duo has released a couple of EPs, and – despite the 2020 pandemic – completed a sold-out German tour. At the moment the two are working on completing their first Album – with special guests Common Eider/King Eider, Drekka and Bebawinigi.For those who need names: Bu.d.d.A. may sound like Troum meets Earth together with Brian Eno. But in reality the duo builds on the legacy of NID (1995-2005), who Chris was a member of, and which released a post-humous CD on Auf Abwegen.

“the music of N is like a mirror of the moment.
regardless how much thinking and planning went before, the sound captured by a „live“-recording setting comes directly from the inside. amps + guitar are the instruments used, there is no cut and paste afterwards nor any overdub…
all N-work is counted by numbers that reflect the timeline of recording and / or the moment of the conclusion to go for the certain concept.
all N-recordings (with the possible exception of single-tracks) deal with a real place and so the title of any album does.”the roots of this concept go back to 1997 when N aka hellmut neidhardt started the project [MULTER] together with thomas geiter and mal hoeschen, entering the territory of experimental music. while this project is still going on, having released 14 records on different labels, including the homebase genesungswerk and important german ambient / drone / experimental labels as dronerecords and auf abwegen, N also detected the certain challenges of solo-works. in difference to his work with [MULTER], where analogue and digital techniques melt and the recording may just be the source for the later digitally improved work, N decided to focus on the freshness that can only be achieved by recording-while-playing-the-first-time and went for that concept on all solo-recordings since then, using a one guitar / two amplifiers setup with a chain of pedal-effects in between. with this it is possible to record exactly what happened in the moment of the inspiration, creating an aesthetic in sound that is based on a certain warm deepness, being highly attractable both for player and listener.since 2001, the release of the first 7” “karnap”, a collaboration with segment aka mal hoeschen of genesungswerk, N has released 11 records from single to double-album on the belgian label consoulingsounds and the german labels denovali, droehnhaus, ex ovo and genesungswerk and the french label les anomalies anonymes, nearly any of those as vinyl edition with a certain, sequel-like cover artwork, trying to transport visually the atmosphere and the mood of the musical content.
during live-performance, N does not use any backing tapes nor prefabricated loops.

Bu.d.d.A. / N(102) – split

Bu.d.d.A. / N(102) – split
white cassette in cardboard slipcase, ltd.ed. 50 copies

  1. N(102) – Spaanse Polder 32:00
  2. Bu.d.d.A. – featherlike 20:57

Bu.d.d.A. & N – dreisam einsam tour 2021

N(102) – Spaanse Polder
performed and recorded on february 01st 2020
during the installation
Deep City – Lost Spaces
by Reinhold Bogaard

Bu.d.d.A. – featherlike
b’tong: guitar, bowed guitar, vocals
EMERGE: violin, samples (original sounds by Leonardo Granchi)

photo: Sascha Stadlmeier
design: Chris Sigdell