Out now!
Michael Fahres
Tibataje lp

(For a Spanish version, scroll down)
El Hierro is the Southwesternmost island of the Canary islands group. It used to be most known for the prime meridian. Nowadays it is noted to be the first European island to have become energy self-sufficient. In the west of the Island, partly surrounded by the rim of a crater, one finds the El Golfo bay. It is assumed that most of the crater has been swallowed by the ocean. Part of the leftover volcanic crater is called Risco de Tibataje, a jagged mountain massif about 1000 meters high and eight kilometers long. Here lives the Lagarto Gigante, a lizard that can grow to be 60 centimeters and that is under threat of extinction.

The mountain wall registers every sound and reproduces it with a certain echo. Moving sounds, such as cars passing by, a dog barking or the sound of a drum are quasi recorded and subsequently reverberated, depending on the nature of the sound. The Risco de Tibataje is in effect like an echo box with its own very specific resonance.

The “Tibataje” composition uses this feature. In front of the massif, three typical El Hierro drums made of wood and galvanized zinc and strung with goat leather were placed. The drums were then played at a certain distance from each other and from the mountain (80 meters), each drum having recording equipment close by. Next to that, there was equipment recording all sound as a whole. Starting every recording, two wooden blocks were hit, enabling synchronous play of the different recordings later on.

Center to the composition are rhythmic variations, used during a religious celebration taking place every four years, the “Bajada de la Virgen de los Reyes”. These rhythms are only played during the Bajada and are protected. Out of respect for this tradition, the recorded rhythms are an interpretation of the original ones. Three drummers react to each other, their own echo and the echo of the other instrumentalists. The Tibataje resonates, answers and sings its own song. The composition tells the story of the landscape, like a sound polaroid, a sonic print of the surroundings.

“Tibataje” aims at aggrandizing, clarifying, changing and uncovering the specific characteristics of the mountain using music as its means. The creative process confronted with the laws of nature and their sensory expressions are the leitmotif of this piece.

In Spanish:

El Hierro es la isla más occidental del archipiélago Canario. Una vez fue famosa por el meridiano cero. En la actualidad, es conocida por ser la primera isla europea en alcanzar la autosuficiencia energética. Al oeste de la isla, parcialmente rodeada por el borde de un cráter, está la bahía de El Golfo. Se cree que la mayor parte del cráter fue engullida por el océano. Una parte de lo visible del cráter se conoce como Risco de Tibataje, un macizo irregular de unos 1000 metros de altitud y ocho kilómetros de largo. Aquí vive el lagarto gigante, una especie que puede alcanzar los 60 centímetros y que está en peligro de extinción.

El muro montañoso registra todos los sonidos y los reproduce con un cierto eco. Los sonidos en movimiento, como un coche, el ladrido de un perro o el sonido de un tambor, son casi registrados y seguidamente reverberados, dependiendo de la esencia del sonido. El Risco de Tibataje es como una caja de resonancia con un eco muy particular.

La composición “Tibataje” se sirve de esta característica. Frente al macizo se instalaron 3 tambores herreños tradicionales, hechos de madera, zinc galvanizado y cuero de cabra. Se situaron a unos 80 metros del macizo y con una cierta separación entre ellos, y se colocó un equipo de grabación junto a cada tambor. Además, se instaló un equipo de grabación adicional para registrar el sonido conjunto. Al comienzo de cada toma, se golpearon dos bloques de madera, lo cual permitio después la reproducción sincronizada de las diferentes grabaciones.

En el centro de la composición están las variaciones rítmicas usadas durante la Bajada de la Virgen de los Reyes, celebración religiosa que tiene lugar cada cuatro años. Estos ritmos sólo se tocan durante la Bajada, y están protegidos. Por respeto a esta tradición, los ritmos grabados son una versión de los originales. Los tambores dialogan entre ellos, con su propio eco y con el eco de los otros músicos. El Tibataje resuena, responde y canta su propia canción. La pieza cuenta la historia del paisaje, como una polaroid sonora, una imagen de este paraje hecha de sonido.

“Tibataje” pretende agrandar, clarificar, cambiar y descubrir las muy especiales características de la montaña, utilizando la música y sus medios. El proceso creativo, puesto frente a las leyes de la naturaleza y sus expresiones sensoriales, son el leitmotiv de esta composición.

A1 Abseits (11’18”)
A2 Jenseits, danach (5’)
B1 Davor (19’28”)

Leo Bacallado Pino, Michael Jüllich, Xavier Foks

Valentina la de Sabinosa and the falcon, the gecko, the goats, the flies, the crickets

Musical clock melody:
“I’m just a little black rain cloud”

Piet Hein van de Poel

Anjo Leenen

“Una Hora” was produced in the framework of the “Islas Resonantes” project, commissioned by Septenio Canario
(Gobierno de Canarias).

Special thanks to Concha Jerez and José Iges (Radio Clásica, RTVE).

Recorded in April 2009.


Mastered and cut by Andreas Lubich at Calyx Mastering, Berlin
Presale at Clone
Release date June 1, 2015

Out Now!

Oubys_Kolf’s Folk Floks Digi P
Digital archival release from our man Oubys. 8 previously unreleased tracks, produced between 2002 and 2012, and now mastered by Andreas Lubich at Calyx Berlin to a beautiful unity.
Stream this release in full and support the music at our Bandcamp page

Oubys.SQM lp part II
Further explorations into dark nebulae and helium atoms. The second SQM lp takes the listeners to unexplored parts of the Oubys universe.

SQM was always an album in two parts. In June 2014, we released part I and we are now proud to present part II. Stylistically on the same plan, SQM Part II again delves into abstracted melodic and harmonic grandiosity, counterpointed with integrated blurbs of noise and static. Oubys has a fearless and often unattached approach to composition and sound. Although there’s definite references to the claustrophobia of dark science fiction and his approach to melody hints at an inspiration beyond electronic music, his music stands firmly on its own and shuns every sense of political correctness. SQM Part II shares the same futuristic feeling as its first installment. A throbbing undercurrent defines its tracks and gives them structure, a structure that is just as easily abandoned in favor of noise and harmonic exploration. SQM Part II thus concludes Oubys SQM series. Both parts work separately and as a whole, as the way Oubys explores his themes depends on the involvement of the listener. Albeit strong and undeniable, SQM is open and open-ended.

Earlier this year:

Oubys.SQM lp part I

This is SQM Part I, Oubys’ second album on Testtoon, three years after we released the beautiful Terra Incognita. SQM is a double album in two parts. This first LP (we will release Part II later this year) sees Oubys develop his characteristic sound into an exploration of source, energy and contemplation. The six tracks here play with melody, atmosphere and contrast and produce a stream of consciousness like parallel world that invites as much as it challenges. The Oubys sound has developed, allowing for his musical ideas to come across more fluently, although these ideas are not necessarily easy and even dare to border on the cosmic and the grandiose. The sense of time and timing throughout this record continuously shifts itself into a willful oblivion. Oubys’ music has an explicitly visual feel, but what the associated image might be depends on the listener’s interpretation of its energy. Contradictory yet beautiful, SQM marks a new Phase in Oubys’ recording career. Energetic yet playing with stasis, contemplative without fear of the overstatement, cosmic whilst firmly bound to the utmost concrete, this is SQM Part I.

This release is available at Clone.nl, Kompakt mailorder or at your regular record shop/mailorder.

The first 30 copies, bought straight from the label, come with a limited cassette release. Kanaalrat side A is a short and f*cked up Oubys staccato, while side B shows his beatless version of an oldskool Techno track.
Let us know if you’re interested, or visit our Bandcamp page for purchase.

Igloomag says: An amalgamation of noise, drone, field recordings, dub techno and industrial memories. Vivid soundscapes are sculpted from subtle sounds and disheartening din.

Juno says: Belgian musician Wannes Kolf returns to his Oubys project for a third album, and second for the Testoon label with SQM lp part I hopefully the first in a series. Musically this is a hefy collection straight from the Hasselt gutter, proving to be both diverse and fresh and provocative and foreboding. Largely executed using modular synths, the six tracks here feel and sound about as organic as you can get and it’s music for the travelling listener, or better yet, one who wants to be transported elsewhere. “Arp On Arp” is one of our personal favourites, mainly because of its ability to be both experimental and totally musical at the same time. Watch out for this dude, he’s unstoppable!

Check the new lp here:

[click here for the front cover]

On March 19, Oubys & Red Stars Over Tokyo did a live improvisation set at the Tumult In Ghent festival. The EMS Synthi 100 was the subject of the Icarus FM venue at the festival. Amongst other producers, Oubys & RSOT were fortunate to play this wonderful and legendary synthesizer. [click here for a quick look] and have a look at some more photo’s.