Nichts Niemand Nirgends Nie! (Nothing Nobody Nowhere Never!)

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For its previous project, Distant Structures (released as the album Distruct), the post-industrial P16.D4 exchanged raw sonic material with 14 other groups for various sorts of transformations. For this project, the band worked exclusively with one other group (S.B.O.T.H.I, which includes many of the same members as P16.D4) and devoted its energies to the different types of transformation within this more finite framework. This double LP documents the results, with each of its first three sides presenting one aspect of the material and the fourth side serving as the culmination that brings it all together. Side one contains four pieces by P16.D4 composed in the studio, and the pieces set the tone for the whole proceeding. As an example, the opening piece, "Passagen-Kryptokontur," has an ascending figure on electric organ combined with various buzzes and rattles and harsh electronics (suitably lo-fi). Side two is similarly composed in the studio, but by the other group, S.B.O.T.H.I. Side three brings both groups together for live improvisations, and the final side combines pieces from the other three sides in various ways.

Although the entire album has a consistent lo-fi and abrasive sound, the range of transformations is striking. To pick one other example, "Rotron 2" (from the live side) is actually a piece for two conductors, two tape operators, and two percussionists, and its metallic screeches are heard in combination with the organ figure from "Passagen-Kryptokontur" on the first track of side four, "The Other Cellophane Upsurge." The accompanying booklet includes sections of scores for several pieces, which is sufficient to demonstrate the intentions behind this project. Although this album hasn't been reissued on compact disk, it has served as the primary source for two other albums, SLP (a piece for four turntablists and electronics featuring transformations of side four) and Ralf Wehowsky's solo album Revue et Corrigé, and has also provided the source for a piece by Peter Duimelinks and Roel Meelkop on the album Verklärte Tage (for which this original album serves as a ghost).

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