"An endemic prologue, with compressed splinters, in order to approach to a complementary quagmire of electrocardiogramming sonorities. The fatalist evolution of torrential modulations are increasing with cruel draining to ultimate an abyssal synthesis. At the end, sombre and misshapen sounds are piercing the ovular prediction, with impregnated overlappings exhalating the salubrious transparency.
At the beginning, trembling noises in a misanthropic hegemony, flavour some bloody waterfalls of concrete sculptures, to develop quivering perceptions. The nourishing electroacoustic waves impose pulmonary frustrations with extremistic disruptions to decongest carbonized bacteria. The medical epilogue reveals subversive verdicts for an astigmatic experience in the neurotic weaving."
Maurizio Bianchi, January 2020.
"During one of the many afternoons I spent with Andrés Noarbe at his house in Malasaña (Madrid), back in 1987, he showed me a letter he had just received from a guy named Siegmar Fricke from Northern Germany. It contained a demo-cassette and a short biography.
Eager to give out my first tape"Orfeón Gagarin" outside our borders, I wrote him and proposed an exchange of music and knowledge. That was the beginning of a long friendship, which still endures. What I could hear from his cassette really amazed me, since with very few elements (low-cost samplers, 4-track portastudio) he got a curious mix of pop-electronics with an undoubted influence of the German groups of the 70s and 80s but with a sense of humor that brought an unmistakable “Frickian” label. Shortly after we began to collaborate, together with our Italian friend Stefano Barban as the amazing trio “Ambulatorio Segreto”, delving deeper into the surrealist collage, impossible loops and voices taken out of context from German or Italian radio and TV programs.
Fricke soon began to diversify his production, in parallel to electro-pop-cassettes such as "Plastic Music", "High tech" or "Robomatique" (these last two published in my Toracic label) developed a refined style with a strong influence of environmental noise by artists like Maurizio Bianchi or Giancarlo Toniutti, in his project Bestattungsinstitut (in Spanish something like "Funerary") with which he published between 1988 and 1993 around 10 cassettes full of gloomy ambiences, dotted with strange mechanical cadences, twisted processed voices, such as film-soundtracks of devastation and despair in a future of machines that have already ended any hint of humanity. I have heard works of a similar style in the late 80s, because the result of the exchange of my productions with Toracic I got a good number of them, but few, in my humble opinion, reach the level of the emotional / descriptive depth that Fricke achieves in Bestattungsinstitut, since the precariousness of the media is substantially compensated with a lucidity and an imagination that leaves behind many boring attempts within the scene."
Miguel A. Ruiz, February 2020.
supported by 4 fans who also own “Glandular Formations (1988 - 1990)”
At first it seemed that the tile track would be the favourite one, after repeated listens the ending of the album definitely takes the throne. Wonderful collision of synth melodies and noise elements. Top notch stuff Kuba