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Best of 2023

Bladder Flask, P16.D4

One Day I Was... / Kühe In 1/2 Trauer / Distruct (3 LP in bundle)

Label: Sonoris

Format: 3 LP in bundle

Genre: Electronic

In stock


This bundle includes the following three LPs recently re-issued by Sonoris:

Bladder Flask "One Day I Was So Sad That the Corners of My Mouth Met & Everybody Thought I Was Whistling" (LP, 1981)
P16.D4 "Kühe In 1/2 Trauer" (LP, 1984)
P16.D4 "Distruct" (LP, 1984)

Bladder Flask "One Day I Was So Sad That the Corners of My Mouth Met & Everybody Thought I Was Whistling" (LP, 1981)

"A puzzlingly great album. Ah, the halcyon days of bungled Kurt Weill renditions, overactive splicing hands and tape-loops lasting only a few seconds before being smudged by hyper fast-forwarding, like a random, operatic battle of thermopylae as re-created by members of NWW. Faced with omnipresent latter-day refined-aesthetic cognescenti, whose duty it is to remind one of the gravity of modern music, I find myself defending such gut-level joyous stupidity and its gung-ho determination to vertiginously swirl about all manner of daft sundries, with no regard for the mess that may be left afterwards. This is why I like this stuff and some of the worries of the world can be, if not alleviated, at least disguised in the scent of Bladder Flask’s audio compost pot-pourri." - Bananafish

P16.D4 "Kühe In 1/2 Trauer" (LP, 1984)

“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further.

The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG

P16.D4 "Distruct" (LP, 1984)

“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet.

One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG

Cat. number: SNS-21LP / SNS-22LP / SNS-23LP
Year: 2022