ANIMA SOUND Baummusik LP/1987 Germany/Avant-garde/Free Improv./Nurse With Wound

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ANIMA SOUND 'Baummusik' LP (Italy, Alga Marghen, Catalogue #plana-A 55NMN182) Brand new/unplayed copy of limited year 2025 Alga Marghen label LP edition of previously unreleased session from 1987 of wild Avant-garde Free Improv music by Paul and Limpe Fuchs (aka Anima / Anima Sound.) Early '70s original Ohr label-era avant-gardists who are perhaps most well known for their Nurse With Wound connection via their involvement in the 'An Afflicted Man's Musica Box' compilation LP released on the United Dairies label in the early '80s.

(NOTE: ALL RECORDS ARE PACKED AND SHIPPED IN PROFESSIONAL, SUPERIOR QUALITY RECTANGULAR SHAPED, CORNER PROTECTING CORRUGATED CARDBOARD RECORD MAILERS WITH FILLER PADS. SATISFACTION GUARANTEED!)

(NOTE: BRAND NEW/FACTORY SEALED ITEM!)

(NOTE: LIMITED VINYL EDITION OF 300 COPIES ONLY!)

Paul and Limpe Fuchs at the peak of their creativity and power, tense and radically pursuing freedom with every texture, tone and beat. This LP issued in an edition of 300 copies finds Anima-Sound at the crossroad between sound art/sculpture, radical free jazz and the German sonic avant-garde. Anima-Sound has been defined as "finding authentic sound combinations together" -- and you can hardly describe it tighter. The music of Paul and Limpe lives on such dialectical tensions in many ways, as these 1987 recordings in the municipal gallery in Rosenheim demonstrate. Tension in the musical dialogue between the two, tension between traditional music and the spontaneous sound formation that arises from the moment, tension between conventional instruments and Paul Fuchs' "sound sculptures," tension between the sound of instruments and voice, between metals and woods, between strings and membranes. In order to create as much freedom as possible, Paul and Limpe developed most of the instruments themselves. Sound sculptures like the "pendulum strings," heavy metal rods that hang from piano wires under resonating drums. When struck, bowed or plucked, bell effects, flooding or rough rubbing surfaces of sound are created. Sometimes the vibrations and beats become more concentrated, as if there was a constant cloud of sound over the room. Or the "fox horns," boldly looped wind instruments that again resemble the shape of prehistoric animal horns, or the "tube drums" and other idiosyncratic percussion instruments, such as the circular saw blade used as a cymbal or a simple, flexible bronze plate with a sliding tone scale when brought to swinging with the drumsticks from Limpe, held by Paul. As Limpe recalls: "In the Anima duo with Paul Fuchs beside the drum set I used iron tools and metal sheets from the workshop. Instead of the hi hat cymbals I had a metal ring with five strings and plucked them by foot with a plectrum. Paul had built the Fuchsharp with two pickups and glided up and down the scale." Paul and Limpe Füchs in Baummusik managed to maintain the creative tension, a deeply resonant space and sound, throughout the whole performance: a rise and fall of dynamics and rhythmic intensity, the change of the respective "leading sonority," the choice of timbres were so obvious, as if this music were the reflex of organic life, like breathing. And both the moments of complete silence as well as the outbursts of uncontrolled chaos fit logically into the flow of the music.

- Paul and Limpe Fuchs at the peak of their creativity and power, tense and radically pursuing freedom with every texture, tone and beat.
- This LP issued in an edition of 300 copies finds Anima-Sound at the crossroad between sound art/sculpture, radical free jazz and the German sonic avant-garde.
- Paul and Limpe Füchs in Baummusik managed to maintain the creative tension, a deeply resonant space and sound, throughout the whole performance.

Tracks on this LP are as follows:

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