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Wabi Sabi

Though even more famous for his are Pluramon, German artist Markus Schmickler also released a solo album in 1997 as Wabi Sabi on A-Musik. An associate of the growing Cologne experimental music picture connected with Mouse on Mars, Nonplace Urban Field, Surroundings Liquide, Mike Printer ink, as well as the A-Music, Electro Bunker, and Karaoke Kalk brands, Schmickler is among the even more “composerly” contributors compared to that conglomerate’s developing renown. A formal pupil of electronic structure, Schmickler — along with schoolmates Carsten Shulz (aka C-Shulz), Frank Dommert, and Georg Odijk — was an associate of past due-’80s efficiency ensembles Pol and Kontakta, two freewheeling experimental/improv organizations pursuing in the footsteps of Cologne’s most notorious musical laboratory specialists, Can. Schmickler offers since released an increasing number of critically acclaimed electro-acoustic recordings of varied degrees of abstractness through Mille Plateaux (as Pluramon) and previous bandmate Odijk’s A-Musik label (as Wabi Sabi). Schmickler’s Kaspar-Hauser studios (called in mention of the first 19th hundred years tabula rasa kid, memorialized by Werner Herzog in his 1974 film, The Secret of Kaspar Hauser) can be found inside a disused warehouse space in the outskirts of the town, and offer something of the windowpane on Schmickler’s musical conception: hazy constructions of arbitrary and evidently inert sonic matter re-formed into exciting conditions of ambient and electro-acoustic, sometimes beat-oriented electronica. [Discover Also: Pluramon]

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