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  1. time off I 6:41
  2. raver GOLD 6:02
  3. marvalley 4:47
  4. wrong forecast 6:29
  5. blausand blutpumpe 7:29
  6. abusio brachiale 3:40
  7. grozny touchdown 3:00
  8. reporter ohne grenzen 3:25
  9. clox 4:56
  10. lambadambi 4:12
  11. besson (not shooting) 5:44
  12. gokai go 4:07
  13. stuntCarRacer 2:24
  14. exhibition 4:24
  15. zarquon II 3:14

total playing time: 68'35

time off I

the first three tunes on örliwörx were conceived in 93 and 94, and had a simple goal: make my KORG 01/W sound like REAL music rather than like a keyboard. the sound i was into these days was quite like cosmic baby and source experience - trance and rave individuals of the mid-90ies. but things always have to evolve a bit from their origin. therefore, unconvenient arrangementz arise from the environment of the decade. stereo for your headphones, choirs for your dark days - this is not meant to be played on the dancefloor. finally you find yourself sent over to a playful melody by absolute unknown acid sounds, but after tension had a peak, everything around is suddenly a party.


"fourToTheFloor rulez" i thought, when i squeezed everything out of a rezzy sweep. and so deep frequencies, arghh. even the hitz and hatz have been cooked too long in a phase bath. typically, the second half drifts off into some bach-style patterns, and there's always plenty of halll lll ll ll l l. after üble schiggung youre welcome to relax in strings that seal your stiffened body with glucosesyrup.


a spooky string kadence drives you mad, the groove is just evil and the bassist plays so weird you don't dare to look at him - you can't get out of this m8therfnkcing cave, a sheer heart attack. these phasy strings won't let go of you either and the cranc piano without a player scares the shit out of you.

wrong forecast

some three years later, you don't get away any better. silent movemants in the sky let you doubt the sheer reality. now it's getting clear: wheather itself has a bad day. you in shorts, nothing to hide and a black wall of clouds right face to face - when the light above your head BANG!! now run, m8therfnkcer...

blausand blutpumpe

and what happens, when you hear nothing? your heartbeat is always there. a deep rhythm, that can make you afraid of your own flesh when you listen too close to it... did you ever meet this midnight train in your veins? man, be glad when you fall asleep tonight!
i admit that you hear the heartbeat of my GFAbasic code running in the ATARI and i let you listen too close with mean FX from the 01/W, but - wooo... scary!

abusio brachiale

ieeh! this wants to piss me, right? i can't write while this loudspeaker-test is running. are we back in the industrial ages? is steam so hot? is force so brute? is rhythm so simple? who turned all the knobs? who opposes me to all this hurts? oh for gods sake, give me a pair of ear-safers for those kinds of experimentz!!
but it's still better than any band i heard playing in the MTC or the Underground....

grozny touchdown

this track was formerly named longdrink. weren't YOU lying on the beach when the small radio announced the good news bad news anyway there and then? grozny touchdown features live radio broadcast on the happenings in tchetchenia in 1996.
the fluty sound is passing an additional filter, controlled by the ATARI mouse in my right hand - an archaic way, and so it sounds like the subject: malcontrolled.

reporter ohne grenzen

when i was in cologne in 1995, i saw holger czukay of can in one of the famous elektro bunker parties in the gebaeude9. he was performing live with his world receiver setup together with some of the liquid sky folks. i was very impressed about the increase of musical information when radio snippets from all over the world came across the sequencer tracks and the beatz of drWalker. when i plugged my 01/W together with my radio some months later, the result was to me even more stunning: the news of this afternoon, captured live and without further selection, entered a page of my personal history. they are not exchangeable anymore.


tango electronica? hm. this melody went through my head until i banned it on a floppy. it wanted to be split apart in its voices to stereo, to be dubbed with instrumentz that can'T afford to play such a melody elsewhere. thanx to my first mother monkey i had tweaked this drumset to a state of drunkness. but what happens? another monkey wants to improvise over the bass pattern. is it queer? yes, of course. i guess we're in a chimpanse 75th birthday party - for kids.


if you speak this title, you already have that sick sound of the piece: almost like 5 minutes of malaria fever. your head is 8 squarefeet large and everything inside want to go outside while everything outside wants to go inside. you can'T move a finger but everything is whacky. then you really say goodbye. and for sure it's not angels that play the trumpet for you. hey! patient! keep breathing! oh my god, my head bangs like StGermain. shit on that pan galactic gargle blaster at midnight. let me sleep. let me sleep. let me sleep. let me sleep. ugch!

besson (not shooting)

although i was playing keys since i can walk, i never really tried to read scores or to remember my own inventions. besson is still the only exception: i had this piano theme surviving several days of improvisation. so i started recording it - just for the memory. but some airy percussion added and split into a few instrumental tracks, it became a very cineastic piece. i always had to think about the 5th element, therefore i called it besson, but because it didn't fit to the film at all, it's subtitle is not shooting.
it often happens that a piece invites me to go further from it's end, but i don't really have enough energy to go into a complete second act. like some other tracks, besson has such an appendix, but a rather long one.

gokai go

ladies and gentlemen, fasten the seatbelts, please: we are having kopflast and will soon arrive folkwang airport. the genesis of gokai go is a really exciting story - as is it's perception.
before we get started, let me get one thing out of the way: gokai go is not meant to cheerlead a friend called kai. i had to explain some times that it is japanese for 5th floor, number five.
the location where gokai go was conceived is the most expensive one i have ever lived in: the former location of evosonic radio, right at the severinsbrücke in cologne, has been my refugium for the spring of 1998, up there in the conference room i had setup the perfect studio - a quadrophonic salle avec vue. i had listened carefully to the sound of those three compilations of the ex machina festival, which told me none more than this:
no diatonic harmony, no grooves, no cheap filtersweeps. sit down and think.
the motivation i sat down and thought was that i wanted to enter folkwang academy of music, dance and acting, and two months later i entered the ICEM with a four-channel composition on a professional ADATape. wow. thanks to jochen imhof i had another KORG 01/WproX these days and what you hear on the CD is just a small gif of what happens in gokai go - ATARI-localized tracks, stochastically triggered events and this wonderful accelerando that peaks in an errative sound that is decelerado. although it is a bit of a showoff-piece, it stays a beginning of algorithmic composition for me.

stunt car racer

do you remember this game on ATARI? hell, no? then lets speed things a bit up: this song consists of 90% grape sugar and a knives tip of speed, so you may see some sparkles around your head - noone is responsible, the stunt car racer just strikes it's own hour. which morbid breed smithed this awful giant overdrive churchbell??


shhh... don't talk too much. look at all the pictures. i can't remember the weather on that day, but it sound like it's been raining cats and dogs. i think this wouldn't exist if i hadn't fell over brian eno's instrumental ambient works. for a total curious coincidence, the final chord fits exactly into the following track:

zarquon II

have you ever wondered whether the band gets cold feet when they stand in that stage fog? there's nothing more foggy than the second arrival of the great prophet zarquon in the restaurant at the end of the universe. there's abaout half an hour of pure fog before you can see him. but then - oh yeah - then you even feel him. every event has it's own place, it's own time, it's own intensity. and alltogether they build this superesoteric ambience.
hey! there's a second phase again! blausand says: buy one - get one for free... (jitzt mitt nockh mehrr innchalldt!)


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© blausand - last update: wed 1-oct-03