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16-17

Founded by saxophonist Alex Buess and drummer Knut Remond, the industrial, free of charge jazz, and sounds outfit 16-17 had been produced in Basel, Switzerland, in 1983. Subsequently became a member of by guitarist and electronics-wielder Markus Kneubühler, they documented and released their initial EP, the five-song Hardkore & Buffbunker, in 1984. Originally released on cassette just, the raw-sounding Hardkore & Buffbunker provided a blunt launch to their audio, offering Buess’ relentlessly abrasive alto saxophone (along with some periodic shouted vocals) atop the insistent drumming of Remond as well as the distorted, recurring guitar function of Kneubühler (who contacted his instrument similar to a bass when compared to a regular electric guitar). They came back three years afterwards with their initial vinyl discharge, an eponymous seven-song work that was written by the Swiss RecRec imprint. The abrasive sound and unrelenting strategy proclaimed a continuation of what that they had started with Hardkore & Buffbunker, although recording fidelity is certainly slightly less fresh. When EVERYTHING ELSE Fails — another low-tech live-recording — implemented in 1989 and continuing in the vein of the prior releases. 16-17’s initial full-fledged studio room album didn’t arrive until 1994. The record, Gyatso (Pathological), proclaimed a change within their sound. Made by Kevin Martin (Glaciers, Techno Pet), Gyatso also features G.C. Green (Godflesh) on bass. Instead of trying to replicate their live audio, the music group embraced the options of the studio room, using overdubs, borderline psychedelic stereo system effects, and a minimal end worth the heaviest of dub productions. However, the album is simply as (or even more) extreme and abrasive as the (mainly live) recordings that preceded it, and it still stands as their finest minute. Pursuing Gyatso, the group underwent several lineup adjustments, with Remond getting changed on drums by Michael Wertmüller (Peter Brötzmann) and Damian Bennett (Deathless, Techno Pet) being induced as their initial full-time bassist. This lineup documented the Individual Distortion EP, which made an appearance in 1998 on Alec Empire’s Digital Hardcore label and sounded just like the function of a totally different band. Stuff went tranquil for 16-17 in the years that implemented, though the majority of their recordings (everything except Individual Distortion) ultimately wound getting reissued in the past due 2000s after getting difficult to acquire for quite some time. These reissues, both over the Florida-based Savage Property label, contains a remastered edition of Gyatso and a two-CD bundle entitled When EVERYTHING ELSE Fails (that actually includes the initial record by that name aswell as the complete items of Hardkore & Buffbunker and 16-17). While 16-17’s music could very well be nearly as shocking today as it will need to have been when the group initial began — thanks a lot partly to organizations like Painkiller, Last Leave, and the Soaring Luttenbachers, who’ve since explored related mixtures of searing sound and free of charge jazz-inspired improvisation — it continues to be challenging and significantly beyond your mainstream.

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