The Rabbit's Logbook

Field Muzick FM.M04 | red 3" CDR | 2007 | sold out! | free download

True traum muzick - concret sounds embedded in drones and tones point to the real world, but it's too clear - that is a dream. The lady saw the rabbit planting melons on the fence. Now available as free download!

About the record

Esto es mi viaje nocturno en alta mar; he perdido mi pequena libreta roja. This is my journey on the night’s ocean. I lost my little red notebook. The cracks in the planks have eyes and the ears thereunder a fortiori. It has fallen through the coppice somehow. I’m missing my little red notebook. These logbooks of souls. Medical guidebooks. And peregrine recipes. Maybe listed in my little red notebook. Somewhere in the salt of the waves I also lost my little wooden desk and salt. And my map’s nothing more than white paper again. The dreams percolate through the coppice of the mind but: look at my wonderful shoes. Yo traigo la arena y tu traes el mar. Little white rabbit sitting on the fence and waiting for big black hats to hide in.

Spilling milk over sour sentences is all I can manage these days.

FADE OUT...

Fished on Monday, 30th April 2007 with five sounds for every finger.
Outside temperature: 24°C
Wind direction: east-northeast
Clothing: nothing
Beverage: green tea with honey
Special thanks to Marcus for talks, songs and releasing.
Dedicated to Daly.

and not the ambulance of history

.

Reviews

Touching Extremes:
"Too bad that this work comes on a 3-inch disc and lasts only 18 minutes, because I sincerely feel that it’s one of the best things that Mirko Uhlig has ever released. His music possesses a heart-wrecking sadness, typical of certain adolescent artistic influences (that I discovered to share with him despite our 17-year difference of age but I won’t reveal them anyway, hehe) which predisposes our soul with that sensitive quid that makes us perceive a distant drone or an electronically modified utterance as something that’s just inevitable. And, what’s more, Uhlig is one of the few ones able to cut the oneiric bliss of his creations right in the moment of maximum ecstasy; here it happens at least twice. Checking his bio notes I even discovered that he was born in Aachen, where Christoph Heemann comes from, so I suppose that there must be something in the air over there. Still, do not expect photocopies of “Front Row Centre” or “Aftersolstice” here; better leave those droning birds alone, they’re still flying a little higher. Uhlig has a (quite unpredictable) vision of his own, and this record – which fuses dream, melancholy and absence of nervous peaks in a comprehensive hazy blur – should be developed into something similar, only lasting a couple of hours. Or, at least, as long as we get our well deserved relief from the ugly faces from the outside world."
Massimo Ricci

Sonomu:
"Mirko Uhlig is – and I believe many will agree with me – an up-and-coming sound manipulator (and recently co-founder of the extremely interesting Ex Ovo label) who also trades under the name Aalfang Mit Pferdekopf. Anything he releases seems to be worth listening closely to. Here we are confronted with a soundtrack of the world that exists beneath our shoes and beyond our normal ken, among the high grasses, the gnarled tree roots, the bushes and the undergrowth. The canopy of the night sky stretches above small earthbound incidents, letting in a little light. Some things glisten, others scoot between the dewdrops.

Sudden silences seem to bode no good. Cello swells half way through, a crunchy foundation of static – or is that close-micked rabbit mastication? – lays itself underneath. The cello becomes increasingly brazen and is challenged by incoherent utterings. Again: Another silence and finally, a brief droning coda. All is resolved?A pretty little masterpiece."
Stephen Fruitman

Tokafi:
"To Uhlig, the pure sound aspect is never enough. Drones make up 90% of the material on “The Rabbit’s logbook”, but they are hardly an end in themselves, either serving as emotive sheets, capturing a mood or even just an impulse in their fluctuating clouds or as derrivatives from former thematic cycles. In their latter appearance, they are the remnants of what western tradition once called melody and harmonic progression. Now merely fossilised memories of former times, their trunkated character allows them to transport nostalgic sentiments as if they were drenched in amber. Nothing lasts forever here, even the most melancholy moment can abruptly fall to pieces and give way to better days. And yet, the constant ebb and flow of old and new scenes, the smeared out sonorities and the precise caligraphic lines as well as the dispersed reoccurence of the imposing, wide-as-the-atlantic-ocean lead theme, lend a consistency and cohesion to these scattered islands of sound. Maybe the mastery in weaving these elements together has slightly increased just a little bit more, but other than that, “The Rabbit’s Logbook” is rather a case of refinement than radical experiments. One could describe Uhlig’s method as “recontextualising lost musical fragments” (it sounds soooo cool for your biennale application), but to him, there is no context. This EP is what it is, nothing more and nothing less. But fear not: As “The Rabbit’s Logbook” proves, you don’t need no complicated philosophies to connect with your audience. Only a nihilist could claim that there is nothing but the void behind a music without message – and Uhlig is none."
Tobias Fischer

Vital Weekly #577:
For me Mirko Uhlig is one of the better and unfortunately lesser known drone masters of Germany. His last excursion was a trip into noise land – it is forgiven, as we haven’t forgotten his ‘VIVMMI’ work (see Vital Weekly 525) or his work with Aalfang Mit Pferdekopf. ‘The Rabbit’s Logbook’ is a very recent work, recorded on April 30th of this year and the cover says ‘with five sounds for every finger’. What these five sounds are, we don’t know. We hear drones, made out of highly processed organ chords as well as of an orchestral nature, with deep atmospheric and dramatic effect. Early in the piece there is also some vague obscure acoustic rumble. I’m not sure if I counted five or more, or less. However it’s a pretty strong, perhaps too short piece of drone music, using just the right amount of sound effects, field recordings and the other usual ingredients of drone music. Uhlig’s work here can easily match with the best in this field, especially Mirror. It’s about time someone made him a real CD and launch his career properly.."
Frans de Waard

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