PLINKITY PLONK new release
Flim - Holiday Diary
Plinkity Plonk plink 12
CD only - 500 copies
HOLIDAY DIARY
With summer knocking on our door, Plinkity
Plonk presents you "Holiday Diary" by FLIM; the perfect
soundtrack for your upcoming holidays. The album is entirely based
on field recordings and melody sketches made during Flim's various
holidays in 2002. The whole album was put together in a single
session on september 15, 2002. The results are beautiful, laid
back sketches with a very private and intimate atmosphere.
Flim aka Enrico Wuttke was born in 1971
in Muhlhausen, Germany and has played the piano since the age
of 7. He studied fine arts and made his recording debut in 1993
with the release of some private cassettes. In 2002 he recorded
highly acclaimed albums ("Given You Nothing" and "Helio")
for the Tomlab label.
'Holiday Diary' is released in a limited
edition of 500 copies and comes in a gorgeous hand-printed sleeve
by Knust, Nijmegen, designed by Meeuw.
This CD is available for 16 euros including
worldwide shipping. You can pay with paypal. Send an e-mail to order
listen to excerpt
more info on flim: http://www.turbofisch.de
reviews
FLIM: Holiday Diary
Plinkity Plonk | plink 012 | CD
The summer arrived quickly this year. One
evening I was sitting in my apartment, wearing a sweater and boiling
a pot of water for some tea, an unmistakable chill in the air
causing some doubt as to when the warm weather might finally arrive.
I fell asleep curled up under a heavy duvet; closing my eyes I
knew the unmistakable comfort of sleeping in an immensely comfortable,
familiar bed. The following morning I awoke with a jolt, feeling
overwhelmingly warm; the air was stale, hot, humid. I flung the
duvet from my bed and stumbled, still a little sleepy, over to
the window. The sun was shining in the streets, the trees seemed
suddenly green, and my neighbours, whom I saw one by one passing
by my window, were all wearing linen. How long had I been sleeping
there, under that duvet? Did I wake up in another time, another
place, in someone else's body? Discarding these feelings of panic,
I quickly dug up my summer clothes from my wardrobe, got dressed
and stepped out, feeling the first breath of the summer breeze
on my face, and took a long, deep breath.
Even if things this year didn't really unfold
in this way (who was this "I" in the paragraph above,
anyway?), the transition into summer always comes as something
of a shock. The holidays can never arrive soon enough, if you're
lucky enough to have them, and yet they seem to pounce on our
lives like a most welcome surprise. We pack our bags in a flurry
of euphoria and run out of our homes like we're abandoning our
past lives completely, and head for a foreign land, or the nearest
coast, or simply someplace else, so long as the same four walls
don't surround us day and night, as long as we can forget our
everyday troubles, regain a certain sense of levity in our lives.
And these holidays bring us that levity, though they also bring
with them other things, filled with both sorrows and joys, thoughts
both carefree and profound, like life itself.
But all this is by way of introduction to
a discussion of a new record by Enrico Wuttke, otherwise known
as Flim, out now on Beequeen's Plinkity Plonk label. Holiday Diary
features seven pieces of music, a charming soundtrack for your
days on the beach, for your evenings swaying on a hammock. Flim
composes his music for a combination of instruments, from electronics
and field recordings to acoustic guitar, piano, melodium and drums.
The field recordings used here were provided by the artists from
the Infrequency collective (Jamie Drouin, Lance Olsen, Jeffrey
Allport and Tim Olive). A beautiful motif for acoustic guitar,
a melancholic drone that bursts into blistering feedback, a piece
for solo piano that speaks of something so simple yet utterly
arresting, a sudden burst of jazzy drums, another drone, more
piano.... Holiday Diary, I must admit, is a record that is difficult
to write about except indirectly. I've listened to it in the dark,
in the morning, at night, in headphones or on my hi-fi, in the
car, in the pouring rain, and it fills me with something unspeakable,
all the while speaking to a certain part of me that knows both
sorrow and joy, the joyful melancholy of past holidays, to memories
that come to the surface when I feel the summer breeze, or encounter
a certain climate, a certain ray of sunlight, a patch of greenery
in the garden. All that is left for me now is to give my most
sincere and enthusiastic praise for this music, and I give it
gladly, a true prize in my collection. [Richard di Santo]
from: www.incursion.org
FLIM Holiday Diary (Plinkity Plonk, plink
012): Hinter Flim steckt der 1971 in Mühlhausen geborene
Enrico Wuttke, der 2002 für zwei Tomlab-Veröffentlichungen
Lob einheimste. Dass seine Urlaubserinnerungen auf dem Beequeen-Label
auftauchen, ist wohl der dialektischen Subtilität F. de Waards
geschuldet, der den durch Kormplastics-Muziek blutig gekratzten
Ohren hier Balsam auf die Wunden cremt. Flim lässt im ferienparadiesischen
Dolce far niente ganz entspannt seine Gitarre plinken, während
ihm sanfte elektronische Brisen durch die Haare streichen. Eine
weich dröhnende Sonnenorgel sorgt für 30° im Schatten.
Mit schlaffer Geste pflückt er versonnene Pianotrauben aus
den Tasten. Der Aufschwung in federnden Minimalrock kommt dann
fast unerwartet. Das Piano beginnt mit kreisenden Repetitionen,
kippt dann aber um in leicht melancholisches Einfingergeplonke.
Ein Akkordeon greift diese süße Wehmut auf, die zu
einem dichten, von Grillen durchzirpten Drone verklumpt.. Der
Wind frischt auf, zerrt und rumpelt am Fahnenmast und unser Urlauber
sieht zu, dass er rechtzeitig das Hotel erreicht, bevor es zu
Stürmen beginnt. Flim versteht es nicht schlecht, sehr weit
weg von pauschaltouristischen Sommerhits Eindrücke und Stimmungen
vor 'Augen' zu führen, wobei wohl jeder das 'sieht', was
er sehen will.
(Bad Alchemy 42)
Flim, "Holiday Diary", Plinkity
Plonk, 2003
This is a limited edition
of 500 copies that the seal Plinkity Plonk publishes - directed
by Dutch the Freek Kinkelaar and Frans de Waard - which is a sublabel
of Korm Plastics, label founded by of Waard [aka Goem, Beequeen,
among others projects], in addition responsible for the mythical
label and distributor Staalplaat. Then, Enrico Wuttke [interviewed
in loop] with his third disc, in my opinion, has a structure less
pop than "Helio" [Tomlab, 2003], although by the way
occupies also acoustic instruments like piano, organ, guitar and
drums in addition to electronics and field recordings. Nevertheless,
his approach with this album is more classic - own of its formation
like pianist when he studied Fine Arts -, which becomes in "Current
description" evident with that austere and minimalista piano,
to grief that "Lime" also it has that cautious character
of the organ, is interrupted by an uproarious sound. "Above
seagulls" with its magnificent cadence of jazzy drumming,
environmental organ and melodic keyboards, invite to us again
with "Home" to delight to us of a beautiful piece of
piano that denotes the exquisite taste by melodies of Wuttke.
Evocative of a last time "No guitars please", it is
a very provoking romantic song by that charming timbre that has
that organ. And finally, in "Ecstatic Brown" there is
perfect combination of classic and experimental; with field recfordings
that seem to be a wind that strikes some metal grate and the slow
piano with its and harmonic one to undulate. In sum, it is a splendid
album, made with taste, a taken care of and rigorous production.
More info in kormplastics (from: http://www.loop.cl
FLIM - HOLIDAY DIARY (CD by Plinkity Plonk)
This is a lazy afternoon recording made by Enrico Wüttke
under the guise of Flim. If I weren't looking I could easily mistake
this for something on the Canadian Constellation label, though
the quiet moments are seemingly more austere. On "Murmer
Room", the repetitive strings are at first mesmerizing but
slowly wear themselves out, even with a quite appealing, separate
track of twitches and squeaks used as an additive. "Lime",
is a sleepwalk through musty caverns, tranquil yet murky, especially
when a bassline is introduced. The drama is all in the fuzzy moments
where digital and analogue collide. While there are certainly
beautiful passages where the piano is ethereal such as on "Current
Description", programming the blandly mainstream "Above
Seagulls" right after it marginalizes its splendor. "Holiday
Diary, seems like a hit and miss record from beginning to end.
A theme for ballerinas entitled "Home" seems as if it
might be sourced from a completely other artist, and knowing that
this along with some of the previous tracks were recorded on a
single day either proves genius or insanity. Whimsy divides the
almost oompa-loompa-like traditional harmonies of "No Guitars
Please", by far this diary,s stand out track. Wüttke
has learned from the soundtracks of Philip Glass, and it is clearly
evident here. By sampling unique field recordings by Jamie Drouin,
Lance Olsen and others Flim has used sources that are unfamiliar
ground to many listeners. With vague resemblances to The Grassy
Knoll, this is anything aside from out jazz. This is in many ways
a hammer and nail type job, back to basics, a learning work-in-progress,
refreshing but sparse material that may be a good base for future
greatness. (TJN)
Address: http://www.kormplastics.nl
(Vital Weekly 385)
FLIM -HOLIDAY DIARY [PLINKITY PLONK /KORM
PLASTICS ]
Ein neues Flim-Album,Hurrah!Und,hey,kann bei so einem Labelnamen
was schief gehen?Plinkity Plonk also ein neues Sublabel von Kormplastics,das
leider nur 500 Stück dieser wundervollen Flim-CD gepresst
hat,also schnell sein.Wunderbar luftig und leicht loopt die Gitarre
gleich zu Beginn,aber das bleibt nicht so. "Lime " zum
Beispiel dreht den Verzerrer nach einer sanften Einstimmung an
der Orgel voll auf und lässt nur ganz vage die piepsenden
Zupfer durch. Dann steht das Klavier ganz für sich allein,trumpft
stolz auf,spielt traurig den Horizont ab und wir sind gefangen."Above
Seagulls " ist die Flim BigBand und eigentlich sollten wir
hier gar nicht so reden und schreiben,denn hat Flim einmal angefangen,kann
man sich sowieso nicht mehr vorstellen,auch nur eine Sekunde ohne
diese kleinen, schüchternen Ohrwürmer verbringen zu
können.Alles völlig undenkbar. Tracks wie "Home
" oder "No Guitars Please " treiben einem die Tränen
direkt in die Augen.Alles ist so wunderbar.Einfach alles.Mit oder
ohne Verzerrer.
www.kormplastics.nl
THADDI ooooo
Flim - Holiday Diary (CD Plinkity Plonk)
Chitarra acustica che ricama un giro bucolico con accompagnamento
di suoni trovati e pianola per Murmer Room, una distesa ambientale
trapssata da un estatico bordone che si sfalda chiesastico in
Lime, note di piano romanticamente appoggiate sul nulla con Current
Description e Home, giusto interrotte dall'inusitata robustezza
ritmica di above Seagulls, un organetto e poi ancora un bordone
come un'immensa apertura alare mentre ci si avvia al finale. Forse
non minore ma indubbiamente più intimista degli album che
l'hanno preceduto, questo 'diario delle vacanze' pubblicato da
Enrico Wuttke aka Flim in sole 500 copie è destinato a
restare affare privato degli aficionados; agli altri tutti, raccomando
ancora una volta di rivolgere l'attenzione al precedente "Helio",
tra le uscite migliore dell'anno che volge al termine. (rated
7 out of 10)
Stefano I Bianchi in Blow Up 65, october 2003)
Flim - Holiday Diary [Plinkity Plonk; 2003]
Rating: 7.3
The phrase "thrown together" denotes carelessness, but
it's not always so. It's possible to be both spontaneous and reverent.
After beginning his recording career with the intensely focused
Given You Nothing, which consisted mostly of solo piano, Flim's
Enrico Wuttke has loosened up and started to experiment. Most
of the limited edition Holiday Diary (500 copies were pressed)
was recorded in a single day, pieced together from field recordings
and melodic fragments played by Wuttke on guitar, organ, piano
and accordion. By definition, Holiday Diary was thrown together,
perhaps, but there's something interesting at work. Wuttke has
a knack for making seemingly incongruent sounds work together.
The opening "Murmer Room" is built around a loop of
a plucked acoustic guitar, and Wuttke layers keyboard and percussive
sounds, the random banging of a drunk navigating a darkened room.
The following "Lime", one of two tracks recorded in
2001, opens with shifting chords on what sounds like a pipe organ,
eerily evocative of Popul Vuh, and then a massive, distorted power
chord shatters the meditative mood until the organ eventually
resurfaces. "Current Description" is a dark and sad
piano solo with just a faint wisp of processing, and here Wuttke's
25 years of training are apparent, as he squeezes every drop of
feeling from the gulf-like spaces between the notes.
Holiday Diary is a back-and-forth kind of record that jumps between
sounds and styles, but it works. Shifting gears yet again, "Above
Seagulls" displays Wuttke's oft-stated love for Talk Talk's
Laughing Stock, with loose, booming drums and a circular chord
structure ribbed with tension. Then it's back to piano for "Home",
a minimalist piece that could have come from Philip Glass' solo
piano record. "No Guitars Please" is a short piece for
accordion, and then "Ecstatic Brown" is a return to
field recordings, piling identifiable scrapes and bumps with throbbing
organ chords in the manner of C-Schulz & Hajsch before releasing
the tension by folding in a delicate piano melody.
Kid606 and his ilk brag of being able to make an album in one
night, but Holiday Diary is different. It feels like a backlog
of ideas assembled quickly for posterity, yes, but somehow the
slapdash nature of the project seems perfect. It feels organic,
simultaneously random and unified. I'm not going to call Wuttke
a genius, but after hearing three albums I will say that his music
is unusually fresh and unique. Who else is combining the most
trad acoustic sound possible (untreated piano) with heavy electronics?
His music is generally serious with a faint whiff of academia,
but Wuttke keeps his eye on the ball and moves to maximize the
effectiveness of each individual track. And most importantly,
he sounds like no one else, which, these days, counts for a lot.
-Mark Richardson, December 2nd, 2003
in: http://www.pitchforkmedia.com/record-reviews/f/flim/holiday-diary.shtml
(review from Remix Magazine, Japan)
FLIM Holiday Diary CD (Plinkity Plonk, NL,
2004)
...corpulent lobsterized flesh cascading over baggy tablecloth
shorts...slit-faced Gap girls with meaningless henna tatts...the
occasional waft of sizzling meat grease...bathed in the hazy rays
of an all too shy sun - Anytown, Britain, 2004.
For now it might be more advantageous to refer you instead to
Flim; otherwise known as German electronicist Enrico Wuttke (who
previously recorded for Tomlab). His new collection consists entirely
of field recordings and impressionistic melodic flourishes, captured
from various holidays taken a few years back. And if this set
mirrors those balmier times, it suggests less of a sedentary (and
therefore poss. carcinogenic) and more of an investigative one
amongst galleries and old ruins; which suits me fine. Like 'Lime',
for instance, which potters around churchy organ-tones and dust-moted
atmospherics, which are buffeted by progressively stronger weatherfronts.
'Ecstatic Bison' (??) - you'll hafta excuse the question marks
as the track listing is written like a doctor's prescription -
has its pensive tones disrupted by some incongruous blobs of bilious
'tronix. 'Ancient Description' (??) is contemplative and tentative
in its approach, with drawing room piano tinkling away in a dimly
lit room, while 'No Guitars Please' has the ambling gait of a
serialist sea shanty. So yeah...a pretty varied & ear-pleasing
work for sure. Made all the better when expectations of perky
sequences & bright spangly colours (see label name) are confounded.
(SP)
(Adverse Effect Volume 3, number 2)
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