roots by mayforest
when i started working on new music i had no particular topic in mind. as ambience and for giving the pieces certain moods i started to position the microphone here and there and record different surroundings. it was not about finding especially expressive or acoustically impressive atmospheres, i just drifted around, ending up in places that seemed to carry some meaning. and i soon realized it were places, that carried within them or stood for a kind of rootlessness. a rootlessness i am
biographically more affected by than i would initially be willing to admit.
it defines myself just as much as it shows in many places.
this is what the eight pieces are about.
(excerpt from introduction)
Tracklist
| 1. | roots, rootless I | 9:02 |
| 2. | roots, rootless II | 4:30 |
| 3. | interlude, suspended | 5:31 |
| 4. | interlude, parenthesis | 3:50 |
| 5. | our ghosts I | 10:29 |
| 6. | will we know it when we find it (with echowoman) | 12:28 |
| 7. | our ghosts II | 9:06 |
| 8. | found in people | 7:13 |
Credits
released April 27, 2018
produced and recorded by christian maiwald during winter 2017/2018
except instruments and manipulations on „will we know it when we find it“ by echowoman (courtesy of tom liwa)
mastered by ian hawgood at mokoshi
cover: former settlement of jaworzec in polish-ukrainian border region bieszczady
„Maiwald treads within the abundant hour of "Roots" a path that is both auditory and emotional, connected by sense of immanent human community. (...) The landing point of this search for lost roots therefore appears no less disorienting than the starting one and, as such, emblematic of how his research does not belong to a physical dimension or a defined place, but to a mental condition, filled with flows of arcane electro-acoustic signals.“ – Raffaello Russo | Music won´t save you
„Dröhnwellen stehen und schwingen in Zeitlupe, im Hintergrund fressen sich Motersägen in den Wald. It all goes slo-mo, als das Ziehen und Sehnen, das Kate Bush in 'Suspended in Gaffa' angedeutet hat. Deep Listening, La Monte Young, Bloch. Mit Lauten von Vögeln? Von einem Kind? Vage Geräusche und ein pochender, sägender Loop setzen Betrieb gegen Natur. Das Orgeln und ein Brausen zwischen Wind und Eisenbahn bringen Bewegung und Beständigkeit zum Schweben, in dem ein Chor von Geistern mitschwebt. Zuletzt klacken Schritte, und den feierlichen Einklang von Orgelpathos und melancholischem Klavier, den stören zwitschernde, prasselnde Radiowellen.“ – Rigobert Dittmann | Bad Alchemy 99
produced and recorded by christian maiwald during winter 2017/2018
except instruments and manipulations on „will we know it when we find it“ by echowoman (courtesy of tom liwa)
mastered by ian hawgood at mokoshi
cover: former settlement of jaworzec in polish-ukrainian border region bieszczady
„Maiwald treads within the abundant hour of "Roots" a path that is both auditory and emotional, connected by sense of immanent human community. (...) The landing point of this search for lost roots therefore appears no less disorienting than the starting one and, as such, emblematic of how his research does not belong to a physical dimension or a defined place, but to a mental condition, filled with flows of arcane electro-acoustic signals.“ – Raffaello Russo | Music won´t save you
„Dröhnwellen stehen und schwingen in Zeitlupe, im Hintergrund fressen sich Motersägen in den Wald. It all goes slo-mo, als das Ziehen und Sehnen, das Kate Bush in 'Suspended in Gaffa' angedeutet hat. Deep Listening, La Monte Young, Bloch. Mit Lauten von Vögeln? Von einem Kind? Vage Geräusche und ein pochender, sägender Loop setzen Betrieb gegen Natur. Das Orgeln und ein Brausen zwischen Wind und Eisenbahn bringen Bewegung und Beständigkeit zum Schweben, in dem ein Chor von Geistern mitschwebt. Zuletzt klacken Schritte, und den feierlichen Einklang von Orgelpathos und melancholischem Klavier, den stören zwitschernde, prasselnde Radiowellen.“ – Rigobert Dittmann | Bad Alchemy 99
