Hajsch ‎– 1992

Sonig ‎– sonig 24cd
CD, Compilation

Tracklist Hide Credits

1 Akasa
Cello – Charlotte SchwalbClarinet – Dirk MüllerNoises [Field Recordings, Concrete Sounds], Melodica, Music By – Monika WestphalSynthesizer – HajschViolin – Michael Dartsch
2 Nagual (Pt.1)
Noises [Bicycle, Concrete Sounds], Melodica – Hajsch
3 Nagual (Pt.2)
Noises [Bicycle, Concrete Sounds], Melodica – Hajsch
4 Nagual (Pt.3)
Sampler, Synthesizer – Hajsch
5 Für Cleo 3
Saxophone – Dirk Müller


  • GuitarHajsch (tracks: 1 to 3, 5)
  • Music ByHajsch
  • Noises [Field-recordings]Hajsch (tracks: 1 to 3)


Previously released on LPs on Quiet Artworks (QA 08 (Hajsch - "Nagual (Für Silvio Manuel)") & QA 09 (PFN ‎- "Akasa / Für Cleo")).



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July 19, 2012
Like many of today's serious artists Hajsch's work is settled somewhere in between experimental electronic, electro-acoustic and concrete music and tries to break free of these categorizations.

This Reissue of two limited vinyl only albums originally released in 1992 on his own
Quiet Artworks label still sounds contemporary and challenging.
All pieces have been remastered and the original Nagual LP is framed
by the original PFN (Hajsch and collaborators) album which makes it easier accessible.

"Akasa" is a quiet but intense opener - a 16 minute journey starting off with concrete sounds, synthesizers and field recordings to build up slowly an electrifying atmosphere that finally reaches it's peak when an almost classic ensemble of viola, cello and clarinet
"Nagual (Part 1)" is nearly of equal length and takes again use of sharp contrasts.
Water sparkling and early morning birds are bound in an nearly dream-like atmosphere.
Pts. 1 and 2 consist mainly of sounds taken from a bicycle (!) a melodica and a hardly
recognizable guitar. In "Nagual (Part 2)" the mood changes to a more unsettling ambience.
Which comes not really unexpected, at least for those who've read Carlos Castaneda where
the concept of Nagual stands contrary to Tonal, that represents all our known territory,
material and immaterial. "Nagual (Part 3)" is an otherworldly, nearly harmonic short appendix created with Synthesizer and samples only.
"Für Cleo" finally is a nice mellow piece to end. A quiet guitar drone meets a melancholic Saxophone, very atmospheric and cinema like.

Hajsch's music requests close attention listening and throws the listener in an aural environment of great clarity. His strength lies besides the careful arrangement of seldom heard sounds in the purposeful use of volume and timing.

The fact that these recordings are already 10 years old doesn't terminate them at all.
1992 is stimulating and serious which proofs once more that music can be timeless no
matter how styles and technical possibilities change.

[Reviewed for The Brain in 2003].