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Mirko Uhlig - VIVMMI sold out! Cat.#.: EXO651 Price: 10,00 € Order via email to info@exovo.org (
Press info: Music from the border of apperception. Mirko Uhlig (Aalfang Mit Pferdekopf, Suneaters, The Vévé Seashore) is back with spring and floods your rooms with a fresh warm breeze; his first solo piece named “VIVMMI”. These 37 minutes mark a turning point in Uhlig’s work. “Genmaicha: At the opal seashore” (the last full length Aalfang Mit Pferdekopf-album on Mystery Sea, October 2005) was a already a vague hint of what comes now: Uhlig on the peak of low volume. “VIVMMI” is divided into five segments accompanied by a host of verdant birds and the melancholic and peaceful humming chords of an old droning piano (and without much doubt: completely out-of-tune). As if someone had pushed the pause-button on a lazy day in May. Then the sunbeams cleave through the thick tree tops in the shape of hyaline guitar layers. A hazy day at the lake; the orange dusk begins to surface on the glassy water. Slowly night flashes by and the gloomy pollies start their journey towards the moon which is at the end of the food chain this time. Open your doors for spring and lay your fruits upon the table. This is about loss and union. “VIVMMI” is also the first release on the brandnew Ex Ovo label. Each copy of the limited first edition (65 hand-signed copies) will have an individual carboard-artwork by the artist.
Reviews: “The first solo album by Aalfang Mit Pferdekopf's mastermind is at one time a bucolic exploration of self and - on the other hand - an irony-scented journey amidst the many sensations that one gathers when in direct contact with nature. "This is about loss and union", writes the author on the press sheet; I don't seem to fully understand what's exactly meant by Mirko, but it describes quite well the peculiar concoction of processed field recordings, slightly detuned piano and guitars and tone generators which render these pieces a delightful hybrid of outlandish ornithology, twisted evolutions of anti-new age canons and serious tries for getting stoned without really meaning it. Every once in a while, a "theme" - a nice melody that seems to materialize from the water gurgling in a sinkhole - comes out to remind us about our direction in life and after. These muted dreams are not frozen in detachment but truly heartwarming; "VIVMMI" is specially recommended at late night. The rest, tells again Uhlig, is silence.” Massimo Ricci, Touching Extremes: www.touchingextremes.org ““Something that happens a lot is that musicians work under the banner of a bandname and then later on in their career work just by their own name, perhaps to mark a difference, or perhaps a change in approach, or the desire to be taken more seriously. Whatever the reason may be, Mirko Uhlig was formerly known as Aalfang Mit Pferdekopf, Suneaters and The Vévé Seashore, but now just goes by his own name. For him it marks the beginning of a new phase. What was already present in the music by Aalfang Mit Pferdekopf (or perhaps the others, but I don't know them) is the element of drone music, here again playing an important role. There is also the extended use of field recordings, especially bird calls, the slowed down piano and guitar sounds and the more obscured sounds of objects falling to the ground or a door squeaking. The work is recorded at a very low volume, which is a pity since one has to crank the volume all the way up to hear something and that seems unnecessary to me. Mirko Uhlig plays a form of drone music that is highly refreshing, touched by influences of some of the work of Nurse With Wound, but with enough of it's own. It's drone related, has field recordings and processed instruments, all the common elements so to say, but he creates something that is beyond the ordinary. It is about time that he went out to produce his first real CD.” Frans de Waard, Vital Weekly #525: www.vitalweekly.net “[...] Ein 37-Minuten-Drone im unteren Lautstärkebereich, jedoch nie unterhalb der Hörschwelle. Der leise und leicht metallische Drone lässt sich ausgiebig Zeit bei seiner Entfaltung, die Modulation erfolgt bedächtig. Wer also nicht immer nur Herrn Tietchens oder dem Hafler Trio in Metallschächte hinterhersteigen will, sollte hier ein Ohr riskieren.” Sascha Bertoncin, Orkus. To read the full review (scan) click here.
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