"gizicki", cd/mp3 2016
With their new release "Gizicki" Rotterdam continues their sonic explorations of the magic formula of difference and repetition. The Viennese duo (Susanne Amann - cello & electronics; Michael Klauser - guitar, tuba & electronics) masterfully balances mathematical precision and dynamic instrumental play.
"Gizicki" evokes monotone dances, mantric recitatives and undulant sound clusters: anti-climactic, mechanic, de-emotionalised as if it were the ceremonial music of a machine cult. Rotterdam succeed in setting free the immersive, hypnotic potential of repetitive loops, while training our senses. For what appears on surface as mechanical, machine-like, and indeed, non-human forces closer attention to the diversity of tone colours and the dynamics shades of the acoustic instruments recorded live. The subtle nuances of strumming, bowing, tapping and plucking as well as the overtones keep the tension.
"Gizicki" is a sparse and airy sound construction: a piece of sober ecstasy, fractal intensity and acoustic loop-archeology between proto-techno, skeletonised krautrock, early American minimal music and asketic rite, whose utopian impetus is to exploit the man/ machine dichotomy aesthetically. (Shilla Strelka)
/ Listen to snippets on soundcloud
"Cambodia", cd/mp3 2011
"Cambodia" (everest records) is the title of the debut album of the
Viennese duo rotterdam and is the result of a ten-year-long
experimental process. Far away from any conventions or traditional song
arrangements, Susanne Amann (cello, flute, electronics) and Michael
Klauser (acoustic guitar, electronics) create constantly pulsating
sound patterns that draw their power from the continuous compression of
sound elements. Their experimental and avantgardist tracks, mastered by
the Berliner Stefan Betke (Scape) and Kassian Troyer, are reduced to
the essential: minimalist beats and repetitive loops combine with
samples and acoustics, merging into instrumental sound paintings of an
extremely hypnotic, even danceable effect. Rotterdam celebrates the
power of monotony, which has rarely before sounded so varied.