| Frank Rothkamm [ Opus Spongebobicum ] |
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"Opus Spongebobicum" was composed and produced by Frank Rothkamm in New York and Los Angeles from 2005-2008. Sponge provided by: 99¢ Only Store. Co-Producer: Nina Schneider. This Opus is published by: Rothkammusic (ASCAP). Spongebob Squarepants is a registered trademark of Nickelodeon.
"The how and the why of the composition and recording of Opus Spongebobicum"
H o w ?
A lot of my composing is done in my head as it is very easy to change things around, to invent vast worlds and get a sense of all possibilities. However I only work with abstract sound shapes (Tongestalten), or imagined sound and math, since I am not Mozart and there's a lot of labor and technology involved to actually materialize my imagined compositions into perceptual reality.
In 2006 the recording of 'Opus Spongebobicum' was started on a Casio Privia PX-100 digital piano as MIDI information into Cubase, which is a Digital Audio Workstation. Originally each variation was conceived to be 33 minutes long and there were to be 32 of them (just like Beethoven's Diabelli variations), but after recording 20 of these half hour variations, I changed my mind; each variation was to be 1 minute long. Eventually I recorded 40 segments of 'MIDI-fied' piano music over the course of 40 nights within a 2 year period.
In January of 2008 I sat down and started editing all of this in order to form a coherent whole. I worked in Cubase's Key Editor, which represents notes in microscopic detail and used this program to make hundreds of corrections. There are a few passages that a human being probably couldn't play, but in general a pianist with good technique should be able to play all of 'Opus Spongebobicum.' Each note (there are 15919 of them) makes pianistic sense.
As a final touch, I then started experiments to make a recording of the Casio Privia that would sound real, like a pianist playing a real piano. As a guide I took the characteristics and frequency curves of 1950's monophonic vinyl records. I overlaid a few stereo samples of surface noise with the actual recording of the piano, which was then sent through a monophonic Lexicon Pantheon reverb with no pre-delay. On careful listening you can hear a needle drop onto the record before the music starts.
Variation 40 is actually made from the skipping noise of the needle playing the last groove of a vinyl record. A situation any vinyl lover will recognize! Final mastering closely followed the compression characteristic of mid-20th century Deutsche Grammophone master tapes.
So the ideal experience is that of a classical piano recording, delivered on a Compact Disc, like someone made a CD from an old, but mint, LP: 'Opus Spongebobicum' is thus the recording of a recording.
W h y ?
In my 2004 manifesto I proposed the aesthetics of Supermodernism. Two of its characteristics are the randomization of man and machine and the randomization of time.
In 'Opus Spongebobicum' there are two references that are VERY obvious: The cartoon series 'Spongebob Squarepants' on Nickelodeon, which is very surreal, and Kaikhosru Shapurji Sorabji's 'Opus Clavicembalisticum', a 285 minute work for solo piano.
Sorabji has fugue themes which are of great symbolic importance to him, much like a Formula would be for Stockhausen. So I transcribed the first line of Spongebob's theme song and cast it with the markings from Stockhausen's 'Mantra'. This became the 'Secret Formula from SpongeBob Squarepants', located under the plastic ring which holds the Compact Disc. In the Spongebob cartoon there are many episodes that make reference to the Secret Formula, which is a recipe on how to make the Krabby Patty hamburger.
Each variation contains this formula, in most cases it is a recognizable motif and its great simplicity makes it easy to spot, both melodically and harmonically. In other cases it is hidden, but not too deeply. The old laws of piano music and the history of the piano are contained therein.
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| [01] Frank Rothkamm Veraenderung 1
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| [02] Frank Rothkamm Veraenderung 2
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| [10] Frank Rothkamm Veraenderung 10
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| [11] Frank Rothkamm Veraenderung 11
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| Reviews: |
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 RER UK |
Newest by the prolific and constantly moving Rothkamm - who is something of a phenomenon. Here he broaches very different territory indeed, with a 35 minute piece of constantly mutating, quote-infested, melodic, harmonic, romantic, ascerbic, brittle, contemporary, traditional, piano bar, concert hall, uncategoriseable piano music. It's a beautiful enigma, and a pleasure to listen to. Subtle but great. And, as ever, the sleeve-notes are exquisite.
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 Chris Cutler RER
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SONOMU |
Frank Rothkamm has been an avant-garde pianist since his childhood in Germany. Now he is a bicoastal American with repetitive strain injury who also accepts commissions for commercials, video games and movie trailers.
I am unfamiliar with any of his previous work but am informed that it always has a conceptual framework. This is obvious here where, without cracking a smile, Rothkamm pays tribute to a Saturday morning cartoon favourite of the latest generation of toddlers, Spongebob Squarepants.
With all the seriousness in the world and making all kinds of gestures hinting at both classical styles from romanticism to modernism and great pianists from Horowitz to Richter, Rothkamm is playing for laffs. Playing very well indeed, for the joke would not work unless the teller knew what he was doing. Rothkamm´s "40 variations of the secret formula" behind the charcter are explicated further in the dense liner notes, yet another nod to the code of "serious" music - all that´s missing is that the notes appear in French and German as well as English, as is the custom.
There is of course a serious side, too - Rothkamm is toying with the idea of homo ludens, or "playful man". Grown-ups are directed and do work, children are blissfully aimless and just want to have fun - which is of greater value, and what kind of value? And to repeat, first and last Rothkamm is an excellent pianist who takes his comedy seriously. There are no squeals or bicycle wheels, just strong, intense and emotive playing.
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Stephen Fruitman SONOMU
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FOXY DIGITALIS USA |
I’ve written of Frank Rothkamm before in these pages, last time it was about his recording of a group of Yamaha electric organs and, looking back at the review now, I see my comment that his playing of instruments with microtonal pitch variations on “Just Three Organs” might drive some listeners to distraction. I suspect the same could be said of this new work, although for very different reasons, but personally, I love it!
As a catalyst to “Opus Spongebobicum”, German born Rothkamm has been inspired by one of the essential piano works by his great countryman Ludwig Van Beethoven, although he insists that his piece is no attempt to create a new “Diabelli Variations”.
Betthoven was commissioned to write a set of variations on a waltz by Anton Diabelli and he created 33 of these over a four year period. Analysts have tried to find patterns in these across time and it strikes me that the late Robert Anton Wilson could’ve come up with a very good book of Illuminatus style conspiracy theories on this very topic. Anton Schindler, Beethoven’s sometimes wayward biographer, added to the mystery by claiming that the composer was initially derisive towards Diabelli’s original theme and that he described it as a schusterfleck, which translates as a cobbler’s patch.
This reference to shoe repair with something square and absorbent serves as an important signpost for Frank Rothkamm. After all, who lives in a pineapple under the sea? Absorbent and yellow and porous is he… Spongebob Squarepants!
What we have here is a set of 40 piano variations on the theme for Stephen Hillenburg’s lovable cartoon creation. The concept alone is inspired, Rothkamm’s variations, both instantly recognizable or highly abstract, held my interest throughout thanks to his dynamic pianism and his sleevenote is enjoyably descriptive.
Now to the question of adding a score number to end this review. If the prospect of this album already has you recoiling, you might think a zero is more appropriate. For me, it has to be…. 10/10
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John Cavanagh FOXY DIGITALIS
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TOUCHING EXTREMES ITALY |
"40 variations on the secret formula from Spongebob Squarepants, our beloved yellow friend".
Gosh.
A "recent cartoon" devotee this writer is not, but looking at a Nickelodeon trademark at the end of the liner notes I deduce that we're talking about an animation here. Which won't put in plain words the nature of this music for solo piano, coming from a man whose "repetitive strain injuries" limit the time that he'd like to set aside to enjoy a recently acquired 1968 Wurlitzer.
Amongst the many, many things that Frank Rothkamm has done, we are now cognisant of a cycle of studies with Karl Heinz Witte ("a pianist renowned for his rare ability to improvise multi-voiced fugues") that perhaps represents a key through which the probing ones can move towards this record without remaining all at sea (more or less what ensues with the preponderance of Rothkamm's outings).
Another tentative rationalization, most probably an essential issue underlining this "Opus", comes from the composer's designation of "piano music as a form of sitting contemplation". Still, there's not too much in this disc that could be used as a soundtrack for staring at the void: the nonstop shift between proto-classical forms and flashes in which the contrapuntal texture seems to break up into sweetly tolerable non-consonance is what, on the contrary, keeps the conscientious listener sleeping with an eye open. Sooner or later, something unforeseen happens even in apparently inoffensive passages.
Is Rothkamm implying that he's the actual sponge? Is this just an absorbing (pun intended) remembrance of the influences of his youth? Should I start watching Nickelodeon to comprehend?
The view from this terrace: this gathering is - who dared to doubt? - a one-of-a-kind system for escaping expectations by utilizing refashioned past conceptions converted into a string of unquiet considerations. Very nice-sounding to these ears. Warning: not suitable for post office employees and customs personnel.
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Massimo Ricci TOUCHING EXTREMES
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RAGAZZI GERMANY |
Frank Rothkamm, who lives in New York and Los Angeles and comes from Germany, has already published quite a few CDs on his Flux label. None of which, however, sound like this new one or are even remotely on the same level. As a classically trained pianist he recently preferred electronic sounds.
"Opus Spongebobicum", a work with a strange and for me not translatable name, has an individual character and, like the album cover, does not match the intimate and ornate music. This music consists of 40 individually selectable, very short tracks, which together form a piece: the “Opus”. (Frank Rothkamm provides a explanation and includes a translation for the German audience with: "40 Veränderungen über die Geheimformel von SpongeBob Schwammkopf") In between each variation there are no spaces or (longer) breaks to separate one motif from the other. Without pause, the playful, lyrical, reflective composition, its individual parts, "Variations", play quite different motifs and their own rhythm and dynamics from beginning to end.
Frank Rothkamm demonstrates compositional depth. He exploits his ideas with a deeply emotional playing and shows craftsmanship that is easy-going and clean.
In the booklet are the classical influences referenced, right at the beginning Ludwig van Beethoven; Stockhausen, Franz Liszt, Bach. There is no comparison between "Opus Spongebobicum" and these models, which in themselves are un-comparable and are to be understood as inspiration, unlike in rock and jazz, and not as direct style models, but rather as a claim and Ideal.
Frank Rothkamm "Opus Spongebobicum" was composed between 2005 and 2008, in parallel to his avant-garde electronic albums. From a craft, rhythmic and dynamic perspective both styles are entirely separate fortunately. Only in this way gained “Opus” its demanding and exquisite quality.
The recording also sounds very good, the sound of the pianos is clear and clean, even reverberated loud passages are clear and very good to hear.
My recommendation to this very interesting and melodic piano work!
(translated from the original German by Google and the Composer)
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Volker Mattei RAGAZZI
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DARKROOM ITALY |
Only last April there we talked of "Just 3 Organs" last effort of the German investigator Frank Rothkamm, active musically since boyhood and now a resident in America for some time, and today we find the 42 year old artist come to grips with a new work titled at least bizarre, and newly published through its own label Flux Records.
With this disc there is also a limited version (40 numbered copies) comprising a sponge (!), whole The character Spongebob has nothing to do with practically nothing, and references will certainly look into areas other than those known from the film... The work has an additional 'title' slightly more exhaustive, namely "40 Variations On The Secret Formula From Spongebob Squarepants", play on words that combines the vein ironic and bizarre by Frank to a half-idea of what we will find little in the 37 minutes disc, or - precisely - 40 variations ... Piano variations to be precise, on several occasions put together like the "Diabelli Variations" by Beethoven, as narrated in two interesting pages of the internal booklet.
Maybe someone you are already asking what is particularly 'dark' in a disc in less than 37 minutes condenses many as 40 variations of sometimes isolated piano tones (in the sense that certain ideas seem too 'intimate' to meet the tastes of pure listening), and while we must say that the work exudes not sure solarità*, perhaps one point that most deserves to be stressed is that "Opus Spongebobicum" sounds inevitably 'private', as a liberating act made solely with the plan.
I could not help but to think of a pianist closed in his room and totally devoted to his passion for the ivory keys as to isolate itself from the rest of the world, as if the inspiration sopraggiungesse in a short but absolutely spontaneous and intense momentum which is impossible escape ...
That analysis remains a work with certain interpretative difficulties and outside the box (at least ours), certainly made with very good taste, large capacity and lots of passion, but indicated mainly to lovers of the piano in its most classical.
*Eros Ramazzotti - Solarita
[ translated from the Italian ]
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Roberto Alessandro Filippozzi DARKROOM
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WDBX USA |
I am grateful and fortunate to be able to present Rothkamm’s work to you, as I sincerely believe he is one of the great talents of our time. I’m amazed at not only his prolific nature, but the high quality of his musical output– perhaps a Rothkamm-centric broadcast is in order for next month?
Satanicpornocultshop — Anorexias Gas Balloon (Candy Says)
Satanicpornocultshop — Detachable P
Chris Cichocki — Lanimilbus Radiation
Chris Cichocki — Transmission
New Haven Improvisers Collective — Quantum Decoherence
Eddie the Rat — Food the the Moon Too Soon, pt. 1
Eddie the Rat — Cannibal
Eddie the Rat — I Ovulate in Mode
Frank Rothkamm — Opus Spongebobicum, Variations 1-32
Bearly Queen — Hairy Palm Adventures (about 30 minutes worth)
Husht — The Flight of Plankton
Husht — Morphogenesis
Husht — Threads
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Right now, I’m doing the “Rothkamm-centric” portion of the show I promised a couple weeks back. Taking my queue from Rothkamm’s studio multitudes, I too will be harnessing the power of technology to thicken the mix– at present, I am mixing from three Rothkamm albums– I wonder how many instances of the man this has yielded?
I think the Rothkamm mix went very well. I may have mis-labeled a couple of the track names in the playlist, however. It gets a little hard juggling that many discs at once! For the record; I used FB01, FB02, FB03, LAX, Just 3 Organs, and Opus Spongebobicum to create the mix.
Rothkamm — B and B Plus 33
Rothkamm — Independent Bernoulli Trials
Rothkamm — Half Man, Half Amazing
Rothkamm — Outdoor Heritage of New Jersey
Rothkamm — Reality OR Room in Hollywood
Rothkamm — Opusspongebobicum, Variation 23
Rothkamm — Opusspongebobicum, Variation 10
Rothkamm — Incident Outside Mesquite
Rothkamm — Ancient Meats
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Dave X WDBX
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VITAL WEEKLY NETHERLANDS |
Work by Frank Rothkamm has always a conceptual edge. In 1978, at the age of 12, he started to compose music, on the piano. Later on he devised his own notation for music and kept on playing the piano until now. I might be wrong but one of the first times his work was reviewed in Vital Weekly was his 'Tuning' 12" as DJ Flux, which consisted of the sound of tuning a piano.
Here he offers '40 Variations on the secret formula from Spongebob Squarepants' - which comes with lengthy liner notes on 'variations' but how it connects to my favorite cartoon hero of the new millennium - I am even being waked up when he's on by the other, much younger fan when she's around. Much like I know next to nothing about classical music, it's not easy to value this work. Forty pieces of piano music, which go in one flow and which are certainly nice to hear. It's not the piano playing of say Satie or Debussy - that much I know - but more like 19th century piece of classical music with some 'strange'elements
thrown in that make this is quite a strange piece too.
Even when the overall concept left me with questions, the work as such was nice to hear. That's about all I can say about it. (FdW)
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Frans de Waard VITAL WEEKLY
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PUFFIN PRESS USA |
bravo! bravo! bravo! bravo! bravo! bravo! BRAVO!
I am playing it second time for today.
Did you compose them? I guess. amazing. any concert plan? one of
the pieces is nostalgia, made me feel of Japanese like tone?
I do like them, Frank the chef.
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Yukari Hayashida PUFFIN PRESS
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MUSICWEB UK |
Frank Rothkamm is an unusual and interesting figure by all accounts. He trained as an actor, has studied bionics and been a computer programme creator and website builder, as well as having a vibrant creative life making music in a variety of forms. Flux Records is Rothkamm’s own label, on which he has produced a number of albums. Opus Spongebobicum is the latest of these, having the subtitle ‘40 variations on the Secret Formula from Spongebob Squarepants’.
For those of you without children, I can tell you that Spongebob Squarepants is an improbable cartoon character who lives in a pineapple under the tropical sea, working as a humble but uniquely talented ‘krab-burger’ chef. Having grown up with those excellent Fred Quimby produced Tom & Jerry cartoons, and the dry wit and slower pace of other work such as ‘Top Cat’, Spongebob Squarepants initially drove me up the wall with its manic childishness. The creator Stephen Hillenburg is no fool however, and once one has become acquainted with the characters and the surreal nature of the cartoon, there is in fact much quite sophisticated humour to be enjoyed. The title music on which much of Opus Spongebobicum is based is a deliberately banal sea shanty with a good deal less musical development potential than Diabelli’s ‘cobbler’s patch’, the Beethoven variations which are referred to in the booklet notes. Rothkamm writes that “Opus Spongebobicum continues the noble tradition of piano music as a form of sitting contemplation, or Zazen, full of emotional ritardando, aimless wanderings, unpredictable dynamics ...”.
This is one of a number of problems I have with this piece. The limited potential of the Spongebob theme is, as already mentioned, deliberately banal in its frothy bounciness and incurable, almost aggressive optimism. Creating 37 minutes worth of ‘aimless wanderings’ on such a theme seems to me a rather futile exercise, unless there is some kind of additional point one is attempting to make – either in a humoristic sense, or with at least a hint of irony. The only really ironic aspect of this work is, as far as I can hear, the title, which pokes directly at Sorabji’s remarkable Opus Clavicembalisticum, a piece on an entirely different scale and plane. I find Opus Spongebobicum almost as hard to take as Sorabji’s Opus, despite its comparatively brief duration.
This is piano solo music, but created entirely in the digital domain. The piano sound is acceptable, if rather electronic sounding if you are used to real piano sound. While the sonic quality is fairly good there is a distinctly narrow soundstage which gives an impression more of mono than stereo. This is a weakness which I feel could probably quite easily have been remedied in a final mix. Rothkamm writes at some length about the background, theory, and content of the piece, but as with the music it is hard to decide whether the composer is hoodwinking us with an intellectual smokescreen for pretentious nonsense, or providing serious commentary for a painstakingly prepared and deeply felt expressive vehicle for his creative art. One of the comments he makes on his own website makes me suspicious: “Originally each variation was conceived to be 33 minutes long and there were to be 32 of them (just like Beethoven’s Diabelli variations), but after recording 20 of these half hour variations, I changed my mind; each variation was to be 1 minute long.” In other words he’d already given up on and ditched 11 hours worth of music from a piece which would have been over 17 hours long, and what we get is a minimal compromise, or an intensely compact masterpiece in dubio – unless of course he’s having a joke at our expense with that original proposal, which I also suspect.
I note that the Nickelodeon trademark character Spongebob Squarepants appears nowhere on the design for this release, probably due to copyright, and possibly because the company would have nothing whatsoever to do with this project. Either way, it’s a blessing in disguise, since anyone buying such an item expecting a fun time with one of their favourite TV themes would be in for a surprise, and most likely a severe disappointment. This is ‘heavy going’ in the Lisztian, Sorabjian sense of the phrase, and I can’t imagine it going down a storm with many people. Had I seriously embarked on such a project myself I think I would have been tempted to delve a little deeper – utilising some of the intriguing possibilities offered by, for instance, Squidward’s clarinet playing, Spongebob’s foghorn alarm clock, that marvellous intermezzo music or some of the bizarre songs which crop up during the series, most of which share a similar inane quality with the main theme, but possess a compulsive character due to an inbuilt ironic self-awareness. I think the final track, the 40th variation which just has the sound of a needle ticking repetitively on a virtual vinyl LP, tells us all we need to know: plenty of stylish pretension, very little genuine substance. I admire Rothkamm’s brass neck and apparent hard-work ethic, but if this is a joke I don’t get it, and if anyone considers this a work of genius then they are very silly indeed.
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Dominy Clements MUSICWEB
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Sunday,August24,2008—Hosted by JayEychaner
Artist |
Song |
Album |
Label |
Vertonen |
Breach |
Stations |
CIP |
DougTheriault |
Crete |
Interface |
ToastAndJam |
MSBR |
LiveInChicago,1999.02.27 |
UltimateAmbience2 |
20City |
TheHub |
Noosphere |
BoundaryLayer |
Tzadik |
TheChoirBoys |
FrenchwomanLuggageCart |
WithStrings |
pfMentum |
TheKallikakFamily |
Portland,Oregonpartone |
May23rd,2007 |
TellAll |
TheKallikakFamily |
Portland,Oregonparttwo |
May23rd,2007 |
TellAll |
DreddFoole |
TheJugIsGlowin' |
KissingTheContemporaryBliss |
FamilyVineyard |
GammaGoat |
KillingDucksWithNunchuks |
BeardofSound,BeardofSand |
Eh? |
ChristianMarclay |
Paris,February11,2000 |
djTRIO |
Asphodel |
TheLeagueOfAutomaticMusicComposers |
OaklandTwo |
1979-1983 |
NewWorld |
FrankRothkamm |
OpusSpongebobicum2 |
OpusSpongebobicum |
Flux |
FrankRothkamm |
OpusSpongebobicum11 |
OpusSpongebobicum |
Flux |
PlanetY |
Live11.17.06 |
SpaceStation |
PublicGuilt |
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 Jay Eychaner WEFT |
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CURTIS : digital music, experimental, computer & electroacustic music...
Jliat ? Now That?s What I Call Noise Vol. 15 ? Self Production
Rothkamm ? Opus Spongebobicum ? Flux Records
Oikos ? Hikikomori #2 ? Creative Commons
Zanston.es ? Donostiako Zuloak ? R.O.N.F. Records
Zum ? Tunguska ? Creative Commons
C_utter & Oikos ? Noviembre 2004 ? Discos Bajo Zero
Byetone ? Death Of A Typographer ? Raster Noton
Alva Noto ? Unitxt ? Raster Noton
Francisco López ? Conops ? GD Stereo
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| CURTIS RADIO CIUTAT VELLA |
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PLAYLIST of the 579th radio show « Le Vestibule »
August 16, 2008 from 9:00 P.M. to 11:00 P.M.
Hosted by JEAN-FRANCOIS FECTEAU
on CFOU 89.1 FM
1) Violet Vision: “Heaven Underground” (BNE/YO YO RECORDS)
2) Foretaste: “Black Box” + “21” (BOREDOM PRODUCT)
3) Marc Houle: “Jouster” (MINUS)
4) Marlena Shaw: “California Soul (Diplo / Mad Decent Remix)” (VERVE RECORDS)
5) The Dielectric: “Mechanisms” (URBCOM)
6) Santogold: “L.E.S. Artistes” (LIZARD KING RECORDS)
7) Wolf Parade: “California Dreamer” (SUB POP)
8) Louie Austen: “Wipeout” (KLEIN RECORDS)
9) Rothkamm: “Opus Spongebobicum (Variations 14 to 18)” (FLUX RECORDS)
10) Warren Suicide: “Sometimes” (SHITKATAPULT)
11) Straftanz: “Blood In Blood Out” (SCANNER)
12) Val-Inc.: “Faces” (INNOVA RECORDINGS)
13) Information Society: “Empty 3.0” (DANCING FERRET DISCS)
14) Konrad: “These Nights” (RADICAL TURF)
15) Union-Taste: “3-Times” (SYNGATE RECORDS)
16) Think Of One: “Wereld Ni” (CRAMMED DISCS)
17) ** Impact Pulse: “Impact Nation” (ADVOXYA RECORDS) **
18) Protassov: “Steam And Oil” (SWITCHSTANCE RECORDINGS)
19) Redzone: “Fish Eye View” (PHASECHANGE RECORDINGS)
20) Brazilian Girls: “Ricardo” (VERVE FORECAST)
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| Jean-Francois Fecteau CFOU |
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DÉLIRE ACTUEL, 20 H / 8 PM
Le piano : Je l’admets: comme thème, c’est pas très recherché. Et pourtant, ces deux heures sont truffées d’excellentes et étonnantes musiques pour piano solo. Du classique contemporain au jazz, en passant par l’impro libre et des trucs très conceptuels. Pour pianos acoustiques, mécaniques et en ruines.
The Piano: Yeah, I know, pretty basic for a theme, right? And yet, these were two hours filled to the rim with excellent and surprising music for solo piano. From contemporary classical to jazz, free improvisation, and highly conceptual music. For acoustic, mechanical, and ruined pianos.
GUUS JANSSEN / Toe-Tapping Tune (11:28) - Out of Frame (GeestGronden)
PHILIP THOMAS [comp.: Michael Finissy] / Jazz (4:36) - Comprovisation (Bruce’s Fingers)
HOWARD RILEY / Geocentric One (3:42) - Short Stories (Volume Two) (Slam Productions)
GENEVIÈVE FOCCROULLE [comp.: Anthony Braxton] / Composition No. 5 (8:01) - Piano Music (1988-2000) (Leo Records)
PAUL BLEY / Solo 8 (3:07) - 12 (+6) in a Row (hatOLOGY)
BRIGITTE POULIN [comp.: James Harley] / Édifices (naturels) (10:37) - Édifices naturels (Collection QB)
ROSS BOLLETER / Dead Marine (6:10) - Secret Sandhills and Satellites (Emanem)
FRANK ROTHKAMM / [Variations 1-10] (9:20) - Opus Spongebobicum (Flux)
MARLA HLADY / Playing Piano (8:01) - Musicworks 101 (Musicworks)
THECLA SCHIPHORST / Portraits: Pierre-André (9:26) - Piano à numéros (Ohm Éditions)
CHARLEMAGNE PALESTINE / Cataclisma 5 (10:47) - From Etudes to Cataclysms (Sub Rosa)
GUUS JANSSEN / In the End (6:58) - Out of Frame (GeestGronden)
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| Francois Couture CFLX |
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| Title; | Played; | Label; | Time; | Total Time; | | Vermont Rules; | Joan Jeanrenaud; | Talking House Records; | 9'44"; | 9'44"; | | Rex Minus; | Near The Border; | Blackstone Audiobooks; | 5'54"; | 15'38"; | | Untitled #193; | Francisco Lopez; | Quasi Pop; | 6'59"; | 22'37"; | | Steady Flux; | Random Touch; | Token Boy Records; | 6'57"; | 29'34"; | High - Culture -
Motherfucker; | Thomas Christoph; | HCMF Records; | 10'41"; | 40'15"; | | 3 Arms And A Dead Cert; | Attrition; | A Two Gods Recordings; | 5'40"; | 45'55"; | | Opus Spongebobicum N° 1 - 25 | Frank Rothkamm; | Fluxrecords; | 21'33"; | 67'28"; | | No Repeats; | Caetitu; | Emanem Disc; | 22'46"; | 90'14"; |
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| Nico Bogaerts EXPERIMENTAL MUSIC FOR EXPERIMENTAL PEOPLE |
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| New | Can
Con | Artist | Title | Album | Label | Time | Length | | Y | | Carrier Band | Video Voice | Voice coil | Deep Listening www.deeplistening.org | 23:32 | 8:04 | | Y | | Fine Arts Quartet / B. Herrmann | Echoes for String Quartet | Four American Quartets | Naxos www.naxos.com | 23:46 | 20:17 | | Y | | Rothkamm | parts 21 - 40 | Opus Spongebobicum | Flux www.fluxrecords.com | 00:15 | 20:50 | | Y | Y | Colin Fisher & Jean Martin | Allo Caveman | Little Man on the Boat | Barnyard Records www.barnyardrecords.com | 00:45 | 6:15 | | | Y | Paul Dutton | Inex | Soundworks 1990 - 2000 | Intermedia | 00:51 | 4:05 | | | | Michel Deneuve | Source Cristalline | Soundworks 1990 - 2000 | Intermedia | 00:56 | 5:30 | | Y | | Nils Bultmann | The Madness | Terminally unique | Mutable Music www.mutablemusic.com | 01:13 | 7:20 | | Y | Y | Ryan Clark | tracks 31 - 33 | the CD with the black shapes | Bad Wolf Records www.badwolfrecords.com | 01:21 | 3:26 | | Y | | "Blue" Gene Tyranny | The Somewhere Songs | The Somewhere Songs / The Invention of Memory | Mutable Music | 01:24 | 10:04 | | Y | | Carrier Band | Frozen Speaker | Voice coil | Deep Listening | 01:43 | 23:20 |
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| James Bailey & Ron McFarlan CKLN |
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