released October 2, 2020 | Recorded live at the Rotunda, Philadelphia September 29, 2012 at the Event Horizons electronic music concert series. This performance was part of the Umlaut-Tour 2012 of Tim Motzer and Bernhard Wöstheinrich.
Tim Motzer – guitars, electronics
Bernhard Wöstheinrich – keyboards, laptop
Recorded live at the Rotunda, Philadelphia 2012 by Tim Motzer
presented by the Event Horizons electronic music concert series.
Mixed and Mastered by Markus Reuter, Berlin November 2015
post-production editing by Tim Motzer, November 2016
special thanks to Dejha Ti and Erik Silverson for colours and visual projections as the evening and the music were better for it.
Cover design by Bernhard Wöstheinrich
cover photographs by Tim Motzer
P 2016 one k music co. (BMI)
“On the stage of the Rotunda, Motzer and Wöstheinrich created one long, circuitous performance. Wöstheinrich sat on the right hand side of the stage behind a computer and some controllers while Motzer sat on a stool, stage center, playing his guitar with a video camera mounted on the headstock. The camera is important because it was part of the elaborate set of projections performed by Dejha Ti who sat stage left with her partner, mixing live camera feeds with an array of designs from trees to abstract patterns. Projected on six irregular screens set at different depths, it seemed to embrace the music of Motzer and Wöstheinrich in an immersive shifting cocoon.
As Motzer’s music goes, this was on the more accessible, chilled side as Wöstheinrich set up a palette of electronic rhythms, sometimes evoking Terry Riley’s ‘A Rainbow in Curved Air’, Tangerine Dream circa Phaedra and electro beat bongo bands all put together like the blocks of Tetris. Across this abstracted electronic field, Motzer sometime played his guitar in tandem, dropping blips and bleeps from his effects laden instrument, once playing it with a bow to set up drones. Like the visual patterns of Dejha Ti, Motzer’s guitar wove into Wöstheinrich sound design, moving from foreground to background depths and a few times emerging with scintillating solos where everything seemed to coalesce around his guitar like a magnet drawing the electronic fragments together.
Motzer and Wöstheinrich are incorrigible experimentalists not afraid to go to the edge of sound without a safety net. But, as evidenced by Motzer’s NuCultures and Wöstheinrich’s The Redundant Rocker, they are also connected to rock streams past and present. At the Rotunda, experimentalism won out as they sculpted exotic Kandinsky-like sound worlds that sometimes eschewed any center, but it was the rock and melodic side that allowed it to occasionally coalesce around a locus of control in the psychedelic storm.”