aufgehoben: anno fauve
aufgehoben: anno fauve
clear 12" vinyl lp, limited edition of 200
Aufgehoben - Anno Fauve

about this release

Limited edition of 200 on heavy transparent vinyl, housed between two thick perspex plates with four interchangeable translucent paper inserts, hand numbered with photographs of real found numbers, bound with white 10/0.1 electrical cable and sleeved in a thick PVC pocket.

All pieces apart from the title track have been reworked and re-edited from the companion compact disc, released on Riot Season records (REPOSE CD05). We recommend that you buy both versions.

track listing

side A
1| Solar Ipse (mp3)
2| Avant Primitiv
3| Nō Prozess

side B
1| Hordes
2| Doxa Caveat
3| Anno Fauve (mp3)


Anno Fauve is a simmering, molten, volatile collection of brutal, extended dialogues between guitar and percussion, recorded then processed with reckless levels of distortion. The sound is close up, live, with drum fills and crackling feedback. Often holding back from full-on explosions, it instead opts for loose but ominous stand-offs with clattering percussion and scraped strings. But when they really let rip, the impact is considerable. Everything is mixed into the red, achieving a blanket coverage of raw rock noise. Though they share a similar line-up and exploratory outlook as Air Traffic Controllers, Aufgehoben go further into a spiralling internecine conflict that escalates volume until the music disintegrates, finishing in an accelerated, apocalyptic blur.
Tom Ridge, The Wire

This is a record to love and cherish and show everyone that visits. Fourier Transform are a new label who are intent on releasing their "favourite music beautifully and unusually packaged", and this they do with some style. Before I get on to the music I'm going to take a minute to describe exactly what came through my door. It's a vinyl album - that's creamy clear vinyl album. It's sandwiched between two sheets of 5mm thick clear perspex. Also sandwiched, and constituting the cover art are several sheets of 12" x 12" tracing paper on which are beautiful prints. One contains text only - all the details of the record. The others are seperate images that when combined create a lovely single picture. It's all held together with string tied in a bow. It's sublime. Simple as that.

After spending a good 10 minutes staring lovingly at the thing I was a little worried about playing the record. What if it was rubbish. Would it matter if it was. So I lit a cigarette, turned the volume up and put the needle on the record. I shouldn't have worried. Aufgehoben make a racket. A huge, noisy, boisterous racket. All freeplayed electric guitar and rattling precision-tooled drums. In parts it brings to mind the guitar splurge of Raoul Björkenheim - one of my favourites over the last 12 months. In fact there's quite a lot in common with the Scorch Trio recordings. But where Scorch Trio improvise in almost clinical bursts, Aufgehoben feel like they do it with the energy and enthusiasm of youngsters just discovering. Whether they are or not remains to be seen, but the feeling throughout this album is fresh, crystal clear and hugely energising.

Everything about this release is beautiful. The music, the look, the attitude all combine into a single whole. Investigate this record and this label. You won't be disappointed.
Kabukikore Magazine

Much anticipated and long hinted at new collection of terror by one of SALT's favourite UK underground outfits, Anno Fauve is yet more evidence that some of the most visceral and exciting new extreme music is being made on these shores (cf. Esoteric, Anaal Nathrakh and Narcosis). The tension on these real-time aural writhings mixes the sepulchral abstractions of Khanate with the blinding improvised grime of now defunct US noise unit Gravitar, firecracker drums sparring and melding with sheets of rusting guitar fields; electronic screes emit blackened shards of distortion - the kinetics of the participants are gripping from the opening moment of Solar Ipse. Elements of industrial, grindcore and blast furnaces are reconfigured here into one slithering, highly combustible disc. The legendary stereo guitarist Gary Smith (the only "known" member of Aufgehoben) again employs his nerveless skills to the most devastating effect, moving from the gigantic non-riff mayhem of Magnetic Mountain to a cold resonance that shrouds each track with a reptilian glaze. The full-on sensory thrills are held in reserve for rare moments this time around, but are delivered with glee on the title track, where you really see (and feel) the waves of feedback blast right through you. In Anno Fauve, Aufgehoben have made an album that detonates with true savagery.
Kevin McCaighy, SALT LP packaged in THE most amazing manner I have ever exquisite piece of eye candy.
Alistair Fitchett, Tangents

A blistering racket that will take the enamel off your teeth. It shreds.
Neil Gardner, Rock Sound

This is improvised rock music with thrashing guitars and two scatter-shot drummers, as visceral as the hardest hardcore punk, but unspoilt by the tyranny of rhythm or a vocalist inanely attempting to gloss the chaos.
Stewart Lee, Sunday Times

Every now and again a record comes along that defies you to ignore it, and here's one of them. This is the third album from Aufgehoben, an English outfit whose members like to remain anonymous (though it's known that improv guitarist Gary Smith likes to put in the odd guest appearance). The band never rehearse, meet only to improvise and then painstakingly edit and process the recordings of their efforts.

Let it be said, this is noisy stuff. Though there's a similarity to the distortionfests of Merzbow and the like, Aufgehoben are essentially a rock group. Their feral, faintly psychedelic assaults recall the fuzzed out meanderings of Faust or the acidic blast of Guru Guru, played back through a stereo system on the verge of collapse during an electric storm. Smith's trademark stereo electric guitar lurches from huge feedback sweeps to submarine blips or sheets of power (dis)chords. I've not found much to enjoy in Smith's previous work, but here the context seems just about right as Aufgehoben's twin drummers spar with each other or lock into monumental psych-rock patterns that Smith tries to force apart with jagged bursts of noise. Nice.

There are slivers of electronics too, but Aufgehoben's approach to the studio (which essentially means turning everything up to 11) makes it hard to tell who's doing what. It also makes for a deeply satisfying rush at times, particularly when their sludgy rock pulse is accelerated into viscous gobs of noise or howls of feedback. If you know what Francis Bacon did to Velazquez's portrait of Pope Innocent X, then you'll have some idea of what Aufgehoben are doing to rock music; reducing it to a violent, nightmarish smear of a thing. It's cathartic, ugly, beautiful and hard to ignore. You might not want to listen to it everyday, but there'll be times when nothing else will do. Nasty, brutish and short.
Peter Marsh, BBC Experimental Music Online

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