Label:raster noton
Cat-No:rastercdr143
Release-Date:27.09.2012
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With »and IV (inertia)«, Grischa Lichtenberger presents his first full length record on raster-noton.
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More records from grischa lichtenberger
Label:Raster
Cat-No:r-m207-2
Release-Date:06.06.2025
Genre:Electronic, Electronica
Configuration:LP
Barcode:4260115999071
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Grischa Lichtenberger - what lies beneath 3 arp
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Grischa Lichtenberger - what lies beneath 2
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Grischa Lichtenberger - forrest gump
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Grischa Lichtenberger - spiderman
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Grischa Lichtenberger - chilling adventures of sabrina
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Grischa Lichtenberger - mad men s04 1
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Grischa Lichtenberger - mad men s04 2
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Grischa Lichtenberger - stranger things s02 e07
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Grischa Lichtenberger - stranger things 2
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Grischa Lichtenberger - stranger things 3
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Grischa Lichtenberger - reacher s01 e07
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Grischa Lichtenberger - reacher s01 e08
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Grischa Lichtenberger - irma vep s01 e05
LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.
The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” ([?str?'njenj?j ], estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.
“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.” —Viktor Shklovsky, Theory of Prose (1925)
Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” [Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)]
This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.
OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.
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OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.
The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” ([?str?'njenj?j ], estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.
“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.” —Viktor Shklovsky, Theory of Prose (1925)
Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” [Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)]
This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.
OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.
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2LP
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Label:Raster
Cat-No:r-m171-2
Release-Date:14.05.2020
Genre:Electronic, Electronica
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CD
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Cat-No:r-m171
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Label:semantica
Cat-No:semantica037
Release-Date:02.12.2011
Genre:Electro
Configuration:12"
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No less than 7 tracks on the new Semantica. Advanced electronics with an electro/dubstep feel by Grischa Lichtenberger, know from his previous work on Raster-Noton. Limited to around 150 copies...
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More records from raster noton
Label:raster noton
Cat-No:r-m190-2
Release-Date:20.11.2020
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1
Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
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Il Quadro di Troisi - No Title
Raster presents »Il Quadro di Troisi« a project by Andrea Noce (Eva Geist) and Donato Scaramuzzi (Donato Dozzy). The record is a colorful ode of an Italian scented vision, overflowing of details and profound intensity. The contemporary world condition, the pandemic in Italy and around the world define »Il Quadro di Troisi« as a unique and right-on-time release. This record is a enigmatic collaboration between the two Italian natives Andrea Noce and Donato Scaramuzzi. Andrea Noce takes lead on the vocals, with Donato Scaramuzzi carving the dreamlike soundscapes of the record. The record was born with a correspondence between the two artists about the late actor and director Massimo Troisi, and this exchange soon became an inspirational source of identification. Andrea Noce’s lyrics are sensitive and multi-faceted, they perfectly cling to the musical phrases and flow like a filmic monologue from the oeuvre of that very Troisi. In a highly creative and confident manner, entire decades of national music history are comprehended and transformed into the here and now. The record takes its cue from the Italo-Disco, Synth Pop tradition corroborated by the contribution of artists such as the legendary Twilight Music co-founder, Pietro Micioni. With »Il Quadro di Troisi«, Noce and Scaramuzzi prove their eclecticism, and passion for their home country. »Il Quadro di Troisi« is a collaboration between Raster and the Milan-based festival Terraforma. With this release, the first with a purely Italian topic at its center, Raster celebrates its long standing relation with Italy and the Italian audience, encapsulated in the label’s project ‘Electric Campfire’ held in Rome for ten years. Terraforma is an international experimental and sustainable music festival taking place since 2014 in the park of Villa Arconati, where Dozzy has been invited at every edition in different forms, DJing, live performing both in solo and with Voices From The Lake (together with Neel).
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Label:raster noton
Cat-No:r-n118
Release-Date:20.03.2015
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1
gomila park - Leibniz
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gomila park - Ramon Llull
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gomila park - Calculus
the penultimate issue of raster-noton's unun series features »gomila park«, a new project by the two swedish musicians martin rössel and carl michael von hausswolff that started in spring 2013 in palma de mallorca. on their first ep released as a duo, they present three rather unconventional and diverse tracks. »leibniz«, for example, is characterized by a heavy rock attitude with lots of distortion and screaming guitar riffs. the b-side on the other hand, including the tracks »calculus« and »ramon llull«, is the more experimental part. considering only the track titles, »gomila park« is a homage to two of the first mathe- maticians and philosophers that helped developing the binary system and, generally speaking, the digital world. but despite all that, »gomila park« is also a matured piece of work that was held in trust for at least two years. it's once more an inspection of a fundamental possibility of music, a reference to the past. similar to mika vainio's »vandal« ep, »gomila park« echoes the tradition of rock (music) and is thus the counterpart of a younger, historically unbur- dened generation of producers like ueno masaaki or kyoka
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Label:raster noton
Cat-No:r-n117
Release-Date:19.09.2014
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1
ueno masaaki - Vortex State
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ueno masaaki - Excited State
3
ueno masaaki - Bound State
4
ueno masaaki - Supersolid State
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Label:raster noton
Cat-No:r-n151lp
Release-Date:17.10.2013
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after successful ep collapsed (r-n116) the bristol based project strikes back with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.
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after successful ep collapsed (r-n116) the bristol based project strikes back with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point.
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Label:raster noton
Cat-No:r-n152
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Label:raster noton
Cat-No:rastercdr149
Release-Date:28.06.2013
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SUPER.TRIGGER is an absolute trove of percussive tensions and frequency driven finesse and deals mainly with the basic principles of any modern music: rhythm. frank bretschneider takes his, never simple, but all the more heartfelt relationship to rhythm and its complexity, to an intense inventory and, this time, works less out of suspenseful abstract sounds, than out of grooves. there is a real sense of perpetual evolution and coiled tightness to the pulsating rhythmic programming, while the subtle sheets of noise that fill the void behind the beats compete against the rhythm and their own sonic purity for a higher state of energy — a constant flux of tension and release. SUPER.TRIGGER comes again in bretschneider's signature style of ultra-clean bleeps and bouncing machine beats with terseness and precision, and a preference for high-voltage sounds halfway between noise and tone. the combination of programming, composition and construction is connected with his very idiosyncratic aesthetic of digital sound: controlled and objective. the whole follows simple mechanical states — on/off, up/down, soft/hard, slow/fast, loud/quiet — and is characterized by the absence of any romanticism. still this return to the elementary, the fundamental, does not diminish the music to dance-floor functionality, instead bretschneider always stays emphatically musical and manages to generate sophisticated and complex rhythm-structures, which respectively induce minimal deviations in frequency and timing relationships to generate a surplus of funk. in all, SUPER.TRIGGER is bretschneider's most straightforward, clear and compact work yet. frank bretschneider works as a musician and composer in berlin. since 1996 he has published a number of albums for raster-noton, such as RHYTHM (r-n082) & EXP (r-n108). SUPER.TRIGGER is essentially a collection of various studio improvisations and was created between 2012 and 2013.
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Label:raster noton
Cat-No:rastervyr148
Release-Date:30.05.2013
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AOKI takamasa continues his long- term project that focuses on the modulation of rhythms and grooves.
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Aoki Takamasa continues his long- term project that focuses on the modulation of rhythms and grooves
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Label:raster noton
Cat-No:rastercdr147
Release-Date:13.03.2013
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AtomTM's electronic quintessence: a blend of pop, electronic abstraction and powerful grooves
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Cat-No:rastercdr139
Release-Date:24.01.2013
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a further exploration of his approach to rhythm-driven, electronic music.
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Cat-No:rastercdr144
Release-Date:22.11.2012
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Eight new songs which allow the listener to dive into delay's cosmos of deep and likewise organic sounds.
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Label:raster noton
Cat-No:rastervyr116
Release-Date:04.10.2012
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Cat-No:rastervyr141
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Vladislav Delay's EP "espoo" features two new conceptual, rhythm-intense tracks. Whereas the groove of the opener "olari" derives from a sound loop which is manipulated by filters and echoes and finally brings forth the intensifying beat, the reverse is done with "kolari" on the B-side. Starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent vacation-like melody, close to terry riley's minimalistic concepts. Both tracks share a linear increase in density, and because of their break with the common four-four time, they create a certain folkloric atmosphere. Like with "vantaa", the experienced music producer Vladislav Delay continues his search for dance-floor compatible, yet unique and fresh music.
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Label:raster noton
Cat-No:rastervyr142
Release-Date:16.05.2012
Configuration:12"
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Label:raster noton
Cat-No:rastervyr142
Release-Date:16.05.2012
Configuration:12"
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With "dazed", senking continues his exploration of the abysses of sound to create dark and gloomy atmospheres.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:raster noton
Cat-No:rastercdr140
Release-Date:13.04.2012
Configuration:CD
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Label:raster noton
Cat-No:rastercdr140
Release-Date:13.04.2012
Configuration:CD
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"Winterreise" is the audio soundtrack to a series of photographies with the same name produced by AtomTM.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:raster noton
Cat-No:rastervyr115
Release-Date:08.02.2012
Configuration:12"
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Label:raster noton
Cat-No:rastervyr115
Release-Date:08.02.2012
Configuration:12"
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:raster noton
Cat-No:rastervyr130
Release-Date:08.12.2011
Configuration:2LP
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Cat-No:rastervyr130
Release-Date:08.12.2011
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Byetone's music tries to create associations without really fulfilling the expectations.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore