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  • Release Date 2018-04-06
  • Label Bureau B 1
  • Catalog BB290
The Uhrwald (engl. Clockwood) a place of dreams and sounds with its own sense of time. Channelled into his band Die Wilde Jagd Sebastian Lee Philipps obsession for this place unleashes a uniquely spellbinding project of minimalist tenebrous intensity. Recorded in the studio which lends its name to the sophomore album Uhrwald Orange weaves a dense atmospheric web of drama romance ecstasy and melancholy. Die Wilde Jagd released their debut album three years ago when Philipp teamed up with producer Ralf Beck (Nalin & Kane Unit 4). Beck excused himself from daily business shortly afterwards but he retains an important influence on the new LP: Not only did he coproduce and mix the tracks (joined by Australian producer Kris Baha in the final mixdown process) but his collection of vintage analogue synthesizers drum computers and studio equipment gives Die Wilde Jagd's music its unique dextrously crafted character. Philipp locked himself in Becks Uhrwald Orange studio for nights on end to transfer sonic interpretations of his world of images to tape: a nocturnal flight into the subconscious through boughs and branches of a symbolic forest the clockwood of the eponymous studio into a strange world (Fremde Welt) where ghostly creatures reside acid horses bat boys 2000 elephants (Sauregaule Flederboy 2000 Elefanten). Flemish artist Frans Snyder (15791657) provides inspiration with his painting Animals of the Night as does the 14thcentury collection of songs Llibre Vermell de Montserrat. Philipps repetitive electronic sequences include Mediterranean mandolins psychedelic bass/guitar loops Georgian choirs and rattling North African krakebs. Medieval church music mixes with European folklore and improvised jams on this aural journey through the Orient and Occident from dark Nordic woods to the Eastern dawn. Philipp offers us an insight into his hermetic world of ideas on eight tracks five of which are instrumentals three with lyrics enriched by sounds of nature captured on a trip through Portugal: he conjures up visions of desolate poppy fields and gorse valleys itinerant souls biblical motifs rapture womanhood reincarnation. Uhrwald Orange is of course also Philipps ode to the recording studio itself to the analogue gear and the ubiquitous EMT Plate reverb. This is where he could realise the sound he imagined all within Beck's own framework of compressors preamps and signal paths. Philipp has this to say about his work in the studio:I want to make the equipment in the studio sing build a world of sound in which every tone every effect has its own voice. Iron bells become galloping hooves synthesizers call like crows plate reverbs rumble like thunder. Every element can be found amongst the dwellers and natural forces of the Clockwood Orange.