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Format: C-25 Tape
Release date: 1st August 2013
Cat. no.: DSR44
Label: Danvers State Recordings (US)
Pro duplicated tapes with silkscreen bodyprints white on smoke colored cassette shell, full color double-sided xerox cover.
Limited edition of 100 copies

Concept & design by Anemone Tube 2012/13
Edited, mixed, compiled by Anemone Tube 2012
Mastering by Human Larvae 2012
Painting by Paul Hippolyte Delaroche “The wife of the artist, Louise Vernet, on her death bed” 1845/46




http://danversstaterecordings.blogspot.de

Tracklist & Notes:

1 Abstract Death 4:35
recorded 1998, previously released on V/A “Deafness Is Not A Gift” CD
(Deafborn 2002)

2 Under The Mask Of Beauty 1:26
recorded 2012

3 Screen Test Intersection 2:21
recorded 1998, previously released on V/A “Anomalous-Silencer 3” CD
(Napalmed 1999)

4 State Of Preservation 3:21
recorded 1998, previously released on “Allegories For The Future” C-50
(Loud! 1999)

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PRESS RELEASE

An EP consisting of three previously released compilation tracks from 1998 and one new composition from 2012. Harrowing industrial soundscapes that need no introduction. Pro duplicated tapes with bodyprints, limited to 100 copies. Program repeats on both sides.

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REVIEWS

"Pro done tape, amazing material, beautiful artwork (Painting by Paul Hippolyte Delaroche “The wife of the artist, Louise Vernet, on her death bed” XIX century), 100 copies = bliss! "The Transfiguration Of The Image" is the cassette ep which contains 4 songs from this unique German experimental / noise project from which two were previously released on compilations, one on an album from 1999 and a single unreleased track from 2012. The first track is “Abstract Death” which starts with a quiet static noise hitch becomes more louder while factory-like hammering can be heard over it. Brilliantly structured experimental noise track – a pure jewel. “Abstract Death” was released on the compilation “Deafness is not a Gift” from 2001 on “Deafborn”. Next up is the unreleased “Under The Mask Of Beauty” which is the shortest song on the release. Well constructed layers of noise and constant smashing metal-like sounds. Noise blasting suddenly stops and “Screen Test Intersection” begins with a spoken sample on which connects loud and harsh noise that grows into power electronics static helicopter pounding while in the background we can hear raging sounds of steel destruction. “Screen Test Intersection” was previously released in 1998 on the compilation “Anomalous Silencer 3 “ and for this occasion it was edited. “State Of Preservation” closes this release and it sounds a lot similar to the track before. Repetitive static terror, noise blasting and weird layers of various sounds. This track was previously out on “Allegories For the Future” cassette in 1999 for the legendary Italian “Loud!”. And that is the end of the journey through noisy landscapes which were created by Anemone Tube. Human Larvae mastered the entire material which does not sound as a compilation but as a single sound conceptual release which is a great plus of this tape. The Transfiguration Of The Image" is a must have! Masterpiece of experimental noise."
(Pure Nothing Worship, December 2013)

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“The Transfiguration of the Image“ ist durch Artwork und Zitat(e) konzeptionell ausgerichtet, obwohl es sich um eine Zusammenstellung teils schon veröffentlichter Tracks handelt. Das Zitat aus einem Werk über die Ästhetisierung des Todes in der Kunst im 19. Jahrhundert illustriert das Gemälde Delaroches, das das Cover ziert und auf dem der Maler seine Gattin auf dem Sterbebett zeichnete.

Der erste Track wurde ursprünglich vor über zehn Jahren auf der „Deafness Is Not A Gift“-Zusammenstellung veröffentlicht. „Abstract Death“ zeigt Anemone Tube – dem Titel und den anderen damaligen Beteilgten angemessen – von der harschen Seite: Es brummt und zischt, gleichzeitig wird aber jede Statik vermieden, zu viel passiert innerhalb der Dissonanzen. Das ist meilenweit entfernt von so etwas wie dem die Variationslosigkeit im Namen tragenden Wall Noise. Das neueste Stück ist „Under The Mask Of Beauty“, das es zwar auf nur eineinhalb Minuten bringt, musikalisch an den Opener anknüpft und ebenfalls voller Dynamik ist. „Screen Test Intersection“, von der 1999 erschienenen „Anonomous Silencer 3“-Compilation, beginnt – passend zum Thema des Tapes – mit einem Sample, auf dem einer der berühmtesten (poetologischen) Sätze Poes zitiert wird: „The death of a beautiful woman is unquestionably the most poetical topic in the world.“ Poes Einschätzung, Melancholie und Schönheit vereinten sich eben im Tod einer schönen Frau, ist sicher seiner Biographie geschuldet. Verglichen mit den ersten beiden Stücken fällt das Stück etwas zurückhaltender, wenn auch nur bedingt weniger krachig aus: Hier scheinen die Noiseschleifen zu pulsieren und fast schon für eine Art von Rhtyhmus zu sorgen. „State Of Preservation“ setzt die (Aus)Richtung des Vorgängers fort und war auf dem „Allegories For The Future“-Tape erstmals zu hören, das passenderweise auf einem Label mit dem Namen „Loud!“ herausgekommen ist. Im direkten Vergleich mit den zuletzt hier besprochenen Arbeiten von Anemone Tube ist „The Transfiguration Of The Image“ ruppiger, aber dennoch klanglich (aus)differenziert. Dass das Tape zudem musikalisch wie aus einem Guss wirkt, obwohl teilweise 13 Jahre zwischen einzelnen Stücken liegen, spricht auch nicht gerade gegen den Erwerb dieses vielleicht nur scheinbar obsoleten Mediums."“
(African Paper, M.G., August 2013)

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"Here we have a new tape of three long out of print compilation tracks, as well as shorter new track, by Germany’s long running Anemone Tube. Active since the mid-90’s, Stefan Hanser creates his own unique blend of heavy looping harsh electronics, power electronics structures, dark ambient textures and in more recent years, field recording manipulations. That may sound like a lot to take in, but back before people became stuck in the harshly defined genre separations seen in recent years, projects were more prone to mix styles into a more personal sound. His music is very well-considered and much more cohesive than my words make it sound here. It’s interesting to take a big step back in the artist’s output after hearing recent albums to see where the foundations were laid. Danvers State did a great job with this tape. The artwork is fitting and very well printed. The pro-dubbed tapes sound fantastic and look really nice as well. My only beef would be that both sides contain the same four tracks. So this actually a C12.5 that you never have to rewind. This is fine, since it’s clearly advertised as such, but it feels like a shame not to have unearthed a few more tracks to fill out the B-side.

“Abstract Death” starts things out with a thick layer of grinding harsh noise laying the foundation for a slow metallic rhythm off in the distance. The grinding white noise builds slowly, getting harsher and louder over the first few minutes, adding bass textures in as well to fill the sound spectrum. The rhythm also intensifies, growing louder and more distorted with every hit, gradually making you forget it sounded like distant train at the beginning of the track. These aren’t cheap $20 pedals being used here. You can hear the lumbering steel boxes with wooden sides pushing out nasty frequencies with a girth and heft missing from a lot of newer projects. After building and building in volume and intensity, there’s a sudden stop, and after a brief pause we are thrown into the second track “Under The Mask Of Beauty”. This is the newest and shortest track on the tape. It starts right where the last one ended, loud moving layers of highly ground up and highly filtered searing noise. This time shifting back and forth between the speakers in a psychoacoustic manner, with added layers lurking beneath surface to lay the foundation and replace the blown out pounding metal of the first track. It feels faster and nastier. The attention to detail and use of panning give a nauseous feeling, that was obviously well constructed to hit hard and effect your senses at loud volumes. I really wish it was about five minutes longer.

After a very brief movie sample, we are thrown into “Screen Test Intersection”, a nasty full-blown gnarled electronics track. Extremely fast bass heavy synths chug away amidst a swirl of layered harsh textures feeling like a high-speed power electronics track that forgot the vocals and instead replaced them with highly distorted junk metal textures and snarling mid range feedback. The fourth and final track “State Of Preservation” continues this on after a brief pause, barely skipping a beat and sounding almost like it was originally connected to the track that proceeded it. It really does sound like he just cut the track in half for two compilations back in the day and reunited them here for the first time. It continues on with the pulsing bass, but drops some of the harsher elements and leaves more room for the raw metal sounds and some really nice creeping higher frequency synth bits to come in towards the end. A few seconds later, the tape heads pop up and your left back in the real world feeling dazed.

So what we’re left with is a short tape of nasty late 90’s harsh noise influenced industrial with power electronic-esque structuring. It clearly shows that from the start Anemone Tube has put a lot of thought into the structure of his work and the way that sounds interact with each other as well as the listener. This tape is less plodding, atmospheric or conceptual than newer albums, but considering the time it came out, it would feel right at home as harsher counterpoint to a lot of the industrial influenced synth projects of the time, without being flat-out harsh noise or typical European PE. These are heavy slabs of corroded electronics, preserved beautifully by Danvers State. "

(Existence Establishment Magazine, September 2014)