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Berlin-based experimental label Karlrecords announces two March releases: Simon Berz’s globally sourced album “Tectonic” and Saba Alizadeh’s emotive “Rituals of The Last Dawn.”
“Tectonic” documents Simon Berz’s geological sound explorations across Iceland, Indonesia, China, and New Orleans, using basalt stones as instruments alongside drums and electronics.
Recordings include collaborations with Baron (Javanese stone gamelan builder) and SENYAWA members, captured in Pacitan Tabuhan cave and finalized at Iceland’s Stöðvarfjörður studio.
Karlrecords’ March pair reads less like a conventional release schedule and more like a study in how physical materials translate into sound pressure and spatial information. Simon Berz’s project operates on the premise that density, hardness and surface irregularity are audible parameters, not metaphors. Basalt becomes a resonant body with unpredictable overtone behavior, producing transient spikes that sit closer to prepared percussion than folkloric idioms. The resulting tracks privilege micro-dynamics and attack over harmonic comfort, with rhythms that feel carved rather than sequenced. Compared to earlier location-based experimental records, the emphasis here is not on picturesque ambience but on how raw acoustic impulses can be integrated with electronic processing without smoothing their edges. The album’s structure mirrors this approach, shifting focus between pulse-driven passages and near-static textures, inviting careful listening to decay tails, low-frequency coupling and the way room reflections are allowed to remain part of the signal.
Saba Alizadeh’s Rituals of The Last Dawn approaches tactility from the opposite direction, folding instrumental virtuosity into restrained electronic frameworks. The kamancheh is not treated as an exotic lead voice but as a broadband source, its bowed harmonics feeding into drones that evolve through subtle modulation rather than overt development. The use of a mixer without inputs and modular synthesis points to a signal path where noise floor, feedback and gain staging become compositional tools. Compared with Berz’s percussive immediacy, Alizadeh’s work prioritizes sustained tones and slow-moving envelopes, with guitar-based electronics and lap steel adding spectral shading rather than rhythmic drive. Both releases underline Karlrecords’ curatorial focus: sound as material, whether struck, bowed or electrically coerced, presented in a way that rewards systems capable of resolving fine gradations in texture and space rather than sheer loudness.
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