“Fließgewässer” (alias of Heinzel’s personal sonic expression) is intentionally mysterious, playful electroacoustic music, originated from random conversations about a generally uncertain future that always obliges to improvise and needs to adapt to its surroundings.
Genre wise the music oscillates between Ambient, NoFolk, Noise and Punk.
After being in one extreme – years of (creative) isolation and introspection, now turning towards the other extreme – becoming a small part of bigger things – examples being EGO and Gamelan Barasvara.
Besides being in Mexico from 3rd of October till 12th of November, I’m mostly home in Barcelona in the next months and always happy to play (spontaneously).
Upcoming Concerts solo or with others 2024:
06.10 Bacal – cdmx (with Mono & Stefan Voglsinger)
12.10. Kiosko Ya Ñu’u Tikue’e – Yodocono, mx (with Stefan Voglsinger)
13.10. MACO – Oaxaca, mx (with Stefan Voglsinger)
18.10. Radio Nopal – cdmx (with Stefan Voglsinger)
28.10. Collectivo Hueco – Puerto Vallarta, mx (with Mono & Stefan Voglsinger)
01.11. Los Naranjos – Yelapa, mx (with Naranjo, Mono & Stefan Voglsinger)
02.11. Mestizo – Puerto Vallarta, mx (with Naranjo, Mono & Stefan Voglsinger)
07.11. Mar Báltico – cdmx (with Stefan Voglsinger)
09.11. Cafe Kosmos – Tepoztlán, mx (with Stefan Voglsinger)
18.11. Plug in the Gear – Benicarló, es (as “HA” – Heinzel and Aki Nakata)
30.11. NIU – Barcelona, es (as EGO)
Passed Concerts solo or with others 2024:
Vic, es; Sant Feliu de Guixols, es; Barcelona, es; Benicarló, es; Borriana, es; Madrid, es; Don Benito, es; Badajoz, es; Lisboa, pt; Coimbra, pt; Porto, pt; Bragança, pt; A Coruña, es; Xixón, es; Bilbao, es; Zaragoza, es; Novi Sad, srb; Belgrade, srb; Skopje, mk; Prishtinë, xk; Krakau, pl; Nürnberg, de; Münster, de; Alcanar, es.
I’m very thankful for letting us/me play as Fließgewässer or Teresa c.f.r. or Domet or Temenos or in other collaborations in 2022 and 2023 in these places:
’22: Amposta, es; Barcelona, es; Lleida, es; Zaragoza, es; Montpellier, fr; Stuttgart, de; Wien, at; Budapest, hu; Novi Sad, srb; Banja Luka, bih; Niš, srb; Belgrade, srb; Skopje, mk; Kumanovo, mk; Chania, gr; Fethiye, tr; Karaburun, tr; Varna, bg; Plovdiv, bg; Sofia, bg; Kriva Palanka, mk; Bucarest, ro; Timisoara, ro; Zagreb, hr; Rijeka, hr; Tarbes, fr; Alcanar, es; Santiago de Compostela, es; A Coruña, es; Xixón, es; Pilsen, cz; Berlin, de; Würzburg, de; Warsaw, pl; Málaga, es; Madrid, es; Parla, es; Bilbao, es; Sieso de Jaca, es; ’23: Berlin, de; Leipzig, de; Stuttgart, de; Barcelona, es; La Guixa, es; Girona, es; Sofia, bg; Kratovo, mk; Kumanovo, mk; Pchinja, mk; Štip, mk; Struga, mk; Bitola, mk; Skopje, mk; Prishtinë, xk; Prizren, xk; Vic, es; Sieso de Jaca, es.; Bilbao, es; Zaragoza, es; Azkoitia, es; Toulouse, fr; Bremen, de; Hamburg, de; Würzburg, de; Nürnberg, de; Linz, at; Wien, at; Graz, at; Novi Sad, srb; Belgrade, srb; Timisoara, ro; Oradea, ro; Subotica, srb; Budapest, hu; Brno, cz; Ostrava, cz; and Clermont-Ferrand, fr; Avilés, es; Pontevedra, es; Lisboa, pt; Montemor-o-Novo, pt; Don Benito, es; Hervás, es; Parla, es
Bist du jetzt ein Kosmopolit?
Is going to be the new album.
Below are the first three journeys of this album. They are the one’s resembling closest the mood of the current concerts and, like the rest, my own and shared moods in specific times and places during the last years.
“Söğütlüçeşme Blsazphemy” is a blsazphemic recording from May 2022. I didn’t change strings in oneandahalf years before that and played very distorted, even the söğütlüçeşme camii imamı (the imam from the söğütlüçeşme mosque in Kadıköy on the oposite side of the street) joined in via loudspeakers (judging from what he sang, he wasn’t complaining).
“Sve se vazhi” are the first registered moments in (at least) the third life of my friend Christian’s mandoline [I’m being stupid], which is heard here in El Refugi, La Guixa/Vic with everyone there and Nemanja Tasić in various other locations and in Macedonia together with Boban Docevski and others and en el Turó de la Rovira.
“Ausbruch” is a more elaborated version of a piece that is part of the “veintinueve” (Distopía Audiovisual) soundtrack and a personal outbreak ending with motivation and more hope than in quite some time. Seems like I’ll spend more time with the santur now finally.
Will be released DIT-way through friends’ labels on a Tape in 2024.
Feel free to write me if I forgot to ask you and you’d like to participate in releasing it 🙂
Other stuff friends and I are doing:
Older Releases and stuff:
On 20/03/2022 we released Ακούσματα Απομόνωσης _α collaborations via krimskramz and alibikonkret
In Summer 2021 I luckily did some Open air therapy.
Link is to Youtube Playlist. One example:
Firat | Dîjla Tape was released on Otomatik Muziek on 21/04/2020:
“I think I’ve recorded the improvised bases with the Prologue almost a year ago, not even using an interface or something, since I just received the synthesizer and didn’t really have equipment except a zoom, recording simply the synthesizer plugged into our hi-fi system haha”
After that “An impromptu session with Marta Morant on clarinet and Nicolas Dobson on drums that started after watching a documentary on the ruthless building of dams in south-east Anatolia by Turkey’s demagogic president Reccep Tayyip Erdogan, with additional synth work overdubbed afterwards, turned into a stream of free-flowing new age sounds with references to anatolian folk music popping up here and there, tender percussion improvs and refined clarinet expressions.
The sole track on the B-side of the tape – „Below the stork’s nest“ – is a sombre elegy, alternating between an endless dulcimer rite, surfacing field recordings, a trumpet resembling the cornet work of Cosey Fanni Tutti and: a violin. The original version of „Firat | Dîjla“ featured a lot of quotes from the BBC-produced documentary „So Water is Turkey’s Oil“. Shying away from the fear of copyright infringements, we asked Heinzel to remove them; about half a day later, in true Fließgewässer fashion, he sent a whole new set of files with him playing a deranged violin instead of the original quotes. That was the final point, the being-struck-by-lightning-moment when we knew this one was perfectly finished. Glimpses of Hassell’s fourth-world music spelled out over european post-industrial music like Coil, and, within the flushes of deeply honest consternation which interweave the whole recording, a very political set of songs.” – Franz Joseph Kaputt
Fließgewässer / Ivette Díaz-Espín – Enllaç Tape and Fanzine
“Die muffigen Tage sind vorbei” was the first time we tried to jam with poetry, our voices with background ambience (an open window), a casio, a trumpet and a looper after having participated improvising in an open mic session.
This lead to creating the album “Enllaç”, an improvised experimental ambient record, which has been duplicated on 100 tapes by EDisco in Portugal and was released by Formes Diverses de Vida and Krimskramz.
“Besides our voices we mainly used a Casio SA-1, looper, trumpet, violin, contact microphone, cirrus spatial-temporal modifier and some field recordings.”
The cassette is acompanied by a fanzine of 7 small chapters, made up from the poems and illustrations, printed by Yosil here in Hospitalet.
Even Older Releases and collaborations:
“Kurobe” tape are the first attempts of creating ambientes, where the river becomes a metaphor of an imaginary journey in time and space. Involved in “Kurobe”: Silvia – packaging. Heinzel – recordings. Available as black tape with unique embroidery on black cotton, 200 gr metallic paper, inlay print on 170 gr grey paper here. Kurobe has been released in August 2018. |
This second release “Sonstige I” consists of miscellaneous sounds, field recordings from Siurana (a small village in Catalonia), Πλατύκαμπος (a small village in Greece) and a jam from Αθήνα (Greece), blazoned with midi-sounds. Involved in “Sonstige I”: Menelaos – guitar on “Πλατύκαμπος και Αθήνα νύχτα”. Matthias – drums on “Πλατύκαμπος και Αθήνα νύχτα”. Heinzel – midi/field recordings. Available on black tape here. Sonstige I has been released in October 2018. |
The focus of this release are recycled old recordings, which have been wrapped up in spherical midi-sounds and underlined with rainy field recordings. Involved in “Recycling I”: Matthias – pedals on “Habitación mediana”. Silvia – midi piano on “Emilia Est”. Adrián – higher organ melodies on “Floridablanca”. Andreu – accompanying commentary on “Floridablanca”. Matthias – guitar on “Habitación pequeña”. Heinzel – remaining instruments, midi- and field recordings. Available on recycled tapes with covers made from toilet paper rolls in two variations here. Recycling I has been released in November 2018. |
“?Es ist höchste Zeit¿” are all analog recordings of guitar, organ, harmonica and voices using just a Zoom H4N recorder. The guitar riffs and harmonica sounds have been recorded in Berlin in September 2018 without having thought of a purpose for them at that point. In essence this recording is a collage of these recordings with overdubbings of organ improvisations and voices. Involved in “?Es ist höchste Zeit¿”: Orestis – text and voice on “Δίψα για αίμα = Greed”. Silvia – voice on “Realisation”. Heinzel – guitar, organ, harmonica, remaining voices and field recordings. Available on black tape here. ?Es ist höchste Zeit¿ has been released in January 2019. |
| Winter Ambient 1 is an improvisation with a Korg Minilogue, I’ve had borrowed from Rafel (thanks again!) from February 2019. Besides that you can hear some balcony recordings playing back construction work sounds. Winter Ambient 2 is an improvisation with a Korg Prologue from February 2019. Besides that you can hear some recordings of waves at los gigantes and from our balcony. Winter Ambient 3 is an improvisation with a Korg Prologue from February 2019. Besides that you can hear some recordings from the Anemone Geysers and the Grand Geyser, which are in the public domain as “Yellowstone National Park Sound Library” by “National Park Service” and recordings from our living room. “Winter Ambient” has been uploaded in March 2019. |
| These almost 30 minutes of music resulted from a not even 3 minute long beat Alicia (Glitchgirl) sent me. This beat is implemented in Part 2. Alltogether Hinterwäldler flush is an ambient/drone improvisation based on the atmosphere of the original beat created by Glitchgirl using mainly a Prologue synthesizer, somewhere hidden a Thomas Californian organ and additional recordings made with a Zoom H4N. Part 2 was released on Glitchgirl‘s compilation DESPACITO V3. Compilation of international underground artists produced by Glitchgirl and Glitchgirl covers produced by other artists! “The idea of this completely DIY compilation is to visibilize the artists that Glitchgirl likes, to motivate who just started to play or are not known, to challenge the creativity of artists that had stopped playing or played less music lately, to learn from the rest and to have a good time. Well. It’s mainly about having fun, isn’t it? (ALSO A R T & F R I E N D S H I P)” Here’s the full compilation: glitchgirl.bandcamp.com/album/despacito-v3 |
“Klinker auf XLR” by Zement. Among many other interesting projects, Fließgewässer participated in this release by reinterpreting the song “C2S” from their album “Klinker”. Here’s the full record: https://verydeeprec.bandcamp.com/album/klinker-auf-xlr Available on tape here. Has been released in November 2019. |
All Creative Commons material: Attribution 3.0 Unported (CC BY 3.0)
No rights reserved. Feel free to get in touch and let me know of usage (just out of interest): fliessgewaesser@krimskramz.com
old Tapes:
