|____|

Howdy folks,

Augsburger Tafelconfect is an audiovisual trio from Hamburg, we have a couple of new releases in the fridge...our new album MOONLIGHT ON DEMAND is coming out this autumn and will feature some marvellous collaborations with Andrew Sharpley, Mauro Pawlowski, Kevin Blechdom, Stefan Ebinger, John Hegre and Coolhaven. We love Fusion and Jazzrock so much, it hurts. We almost hate it.

Before this album is released there will be a 7inch of Improv-recordings with Mauro and Andrew, which is gonna be blazin hot.

We are part of the Stora Artist Association.

We think we collaborated with the following people. If not, we at least like them very much: Ensemble Integrales, Sascha Demand, Andrew Sharpley, Mauro Pawlowski, Bric-a-Braque-Box, Teddy Langbass, FX Schroeder, Felix Kubin, Noel Akchote, Dennis Tyfus, Heiner Metzger, Birgit Ulher, Deuce, 8Rolek, Drop The Lime, Erik Minkinnen, Intertecsupabrainbeatzroomboyz, Alejandra&Aeron, Andres Franz Krause, Boris D. Hegenbart-Matsui, Gregory Buettner, Asmus Tietchens, Miss Hawaii & E-Da

But way more interesting is this text that Felix Kubin wrote about us:

Once upon a time, a canoe crashed into the control tower at Hamburg International Airport. Out came a sluggish mass followed by a milksop. With a mouthful of sludge and a mindful of mixed objectives, it hastily made its way through the light shrubbery of the airport runway towards center city. In its rashness avoiding the Paparazzi of Hamburg's local poo rags, a discharge of dross left the blob. Impurities withdrawn from visionary clarity, apathy separated from hopes for the future. The mass and milksop transformed into a spinning centrifuge, from which the very elements were extracted back to their simplest form in a shower of blazing colors.

It managed to escape.

A few years later in October 2002, Jyrgen Hall [laptop and painting programs] and Sebastian Reier (volcano guitar and utensils) became caught up in a dispute over a praline and as a result, were both severely clobbered. The remaining clump called itself Augsburger Tafelconfect. How fitting - a name that suggests a harmless assortment of chocolates without any indication whatsoever to the fact, that under the watch of this very confectionery, an act of violence took place. The clod, Reier/Hall, soon knew how to make the best out of its newly formed collective pile. The tight homo-erotic formation felt good.

The chemistry was just right.

Hall, also known as that girl-swinging electroubadour, Gunter Adler, started to make virtual plug connections (but not only) in his modular synthesizers [similarly, but not only] that transformed the control data for digital information into uneasy, polyrhythmic, pretty-as-a-summer-rain staccati. Thusly, he created an array of synchronised switch arrangements, that aesthetically stylizes, in the way of Gyrgy Ligeti, a number of clocks ticking at different speeds. After becoming a living switchboard and a stray commuter between possibilities, he decided to strengthen and praise this current state of indecision as a symbol of microscopic life. Hall knew: rest and tranquility are an illusion and underneath lies the rustle of microbes, the screams of the pending, and the crossing of the Rubicon. Foolhardy in his undergarment collection grubbing, he machined the restless guitarplay of Sebastian Reier with this aesthetic.

The dance has begun.

Not too long ago, Sebastian Reier, seam-bursting ideasmith and jabberwonder, brought in a breath of fresh air to publisher drone STORA, a static, yet with-good-intentions unsurpassed artist shanty that took it upon itself to lead the Crme de la Crme of the new electronic scene into the golden age. Reier's communication skills were soon demonstrated through his ability to forge the calculated collapse of his unusual guitar sounds, willfully resembling that of Mrklin-Waggons destroyed, with the palsied excitement of Jyrgen Hall's digital chain reactions. Rubbing, scrubbing, drubbing and long explosions are Sebastian Reier's specialties. The absence of sedated delays lifts his sound above any post-industrial incense of the early 90's. Here prevails the present, where improvised intervals react with the partner at breakneck speeds, even in the dark.

Confection under Nneon lights

Now our lucky alliance, in the meanwhile a trio [baronesseA - videos], has released their first record on their own label, Nneon. Far from prolixity, fusion in the slaughterhaus presents with cinematic charm, an array of short musical anecdotes that get right to the point. The result are pieces that more resemble the aphoristic works of John Zorn than that of electronic/acoustic music, even though the instrumentation is that of the latter. Crashes and angry, aggressive passages alternate with almost romantic overlaps of field recordings. Sounds vary in many timbres and an occasional transient rhythm loop is no exception. Noteworthy is the element of melody inherent in many of the pieces in transfigured form. The song lengths are like pop songs. Some are like titles or jokes turned into music. Ever so seldom do the works of a so-called experimental release have so much character and identity. Rarely does the marriage between an improvised moment and a prearranged cut montage deliver the goodies. The Augsburger Tafelconfect offers not so much sound design, rather more listening art. And if this expression is just as vague - a harmonious assortment of short Super8 audio films by which the projector occasionally falls from the shelf and the film gets tangled.

Felix Kubin [translated by Douglas Patton]



Slaughterhaus - der Film Das Augsburger Tafelconfect - An audio-visual trio. At ATC concerts, Livia v. Seld, aka baronesseA, presents delightful films told in reverse and loops. As a result, the viewers become castaways on the sea of animation and watch the film sequences to the music. baronesseA achieves a perfect environment for the music and makes up the third eye of Augsburger Tafelconfect. Bonbon Apptit!