Sebastian Elikowski-Winkler
[...] Bis als letzter der Zeugen das Gedächtnis verstummt.
7" (E137)




Composed by Sebastian Elikowski-Winkler
Performed by Ensemble Adapter
Recorded by Wolfgang Zamastil
Remixed by Shelley Parker [sample @ 2'23"]
Mastered and cut by Rashad Becker


[Heimliche Rückkehr]

Wie schön das war, Leben, als noch alles im Argen lag.
Verfallene Häuser, Matratzen, die unter Birken schwelten.
Eine Kindheit vor Dresden bis zum Einmarsch in Prag ...
Und der Traum restaurierte, was draußen fehlte.

Solche Ferne auf engstem Raum. Grauzone morgens,
Das fing auf der Netzhaut an, im vernebelten Denken.
Hier geboren sein, hieß nicht, man war hier geborgen.
Am Polarkreis, wer lebt da gern? Tschuktschen, Ewenken?

Staub oder Dunst oder Ruß – das Gemüt, früh bedrückt
Von der Landschaft in Bleisatz, dem Graudruck ringsum,
Federt spät erst wie Tundra, gefrorener Boden, zurück,
Bis als letzter der Zeugen das Gedächtnis verstummt.

Durs Grünbein


Sebastian Elikowski-Winkler studied composition with
Friedrich Goldmann in Berlin, Marek Kopelent in Prague
and Vladimir Tarnopolski in Moscow, and musicology,
art history and architecture in Berlin. He is the recipient
of several composition scholarships from institutions in
Moscow, Paris and Venice.
elikowskiwinkler.blogspot.de

Berlin-based Ensemble Adapter interprets primarily
new compositions across a wide range of contemporary
music in a progressive, authentic and powerful style.
ensemble-adapter.de

Shelley Parker (E154)





Edition of 200 copies




Reviews

Composer Elikowski-Winkler’s score allows the
Berlin-based Ensemble Adapter to reel out a raft
of extended techniques in serving the last rites
on reductionism. Meanwhile, Morton Feldman’s
ghost roams about misting up the Klinker Club’s
windows from the outside with his cigar exhaust,
as improvised parp and chatter resound like John
Cage passing a treadmill through the shell of a
fortune cookie. On the flip, Shelley Parker coats
the piece in a supernatural sheen, while chucking
a few extra rashers in the sizzling saucepan on
Graham Lambkin’s disconcerting hob.

Spencer Grady in Record Collector

Nice single featuring a Berlin based quintet playing
a piece by this German composer, with a remix on
the flip. The piece itself has a nice aleatory feel,
with twisting Berio-esque tonalities. The remix
by UK sound artist Shelley Parker is quite radical,
using small bits of the original to create a comp-
letely new composition. Which is what the whole
remix thing is supposed to be about, right?

Byron Coley in The Wire