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Short note on Leimer
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Leimer Name Meaning
occupational name for a worker with clay, from an agent derivative of Middle High German leim ‘clay’. habitational name from any of several places called Leimen in the Palatinate and Baden.
Since the mid–1970s, electronic composer K. Leimer has produced a rich and vast body of work. It has often, if somewhat hastily, been referred to as ambient—that is, when it has been referred to at all. While some of his albums do exhibit certain tropes of that drifting, sometimes unnerving calm, the more comprehensive truth is more complicated, and more interesting, than that tag might imply.
Leimer’s work is content to veer. If stillness is a recurrent theme in his work, so is agitated motion. One can certainly draw links to the golden mid–’70s of German Kosmische (Cluster, in particular), the more tuneful sides of This Heat and Throbbing Gristle, the “Fourth World” explorations of Jon Hassell, and the malfunctioning computer funk of Eno’s collaborations with David Byrne as well as Fripp and Eno’s tape loop experiments. In his systems–based pieces, a strange collision of sounds and influences hold free reign.
Based in Seattle, but inspired by what he heard coming from the UK and Germany, in the mid-’70s Leimer bought a Micromoog and a tape machine and set off. Geographically marooned, in a sense—such interests were very much off the grid in the pre–Grunge Pacific Northwest at the time—he and his peers created an infrastructure of independence, with Leimer establishing his own label, Palace of Lights, in 1979 and releasing small edition recordings, not to mention stockpiling a good many unreleased reels of tape.
A new collection of archival recordings, A Period of Review (Original Recordings: 1975-1983), curated and produced by Matt Werth for his label RVNG Intl, brings to light a rich, expansive, and time–specific body of work. As such, Leimer fits into a particular territory Werth seems to seek out: music that is clearly connected, in time and tone, to ’70s and ’80s Cosmic and Avant–Garde, but for one reason or other did not fit into the dominant paradigms of the time. Werth has also reissued music by Harald Grosskopf (of Manuel Göttsching’s Ashra) and Franco Falsini (of Italian ensemble Sensations ’ Fix). Werth first encountered Leimer’s work in The Land of Look Behind, Alan Greenberg’s documentary about Bob Marley’s funeral in Jamaica and that country’s remote Cockpit Country. Leimer’s score for the film locates an uncanny, eerie atmosphere, and stands out as a brilliant juxtaposition to the film’s images—in that it occasionally calls to mind Popol Vuh’s soundtracks for Werner Herzog’s 70s films. Since 2003, Leimer has lived in Maui. He and his partner Dorothy grow olives and citrus for local restaurants. He continues to make music, working in his studio every day.
i hope it help you
Thanks for
Kiran Prajapati
your Ans
✍️✍️✍️✍️✍️
Leimer Name Meaning
occupational name for a worker with clay, from an agent derivative of Middle High German leim ‘clay’. habitational name from any of several places called Leimen in the Palatinate and Baden.
Since the mid–1970s, electronic composer K. Leimer has produced a rich and vast body of work. It has often, if somewhat hastily, been referred to as ambient—that is, when it has been referred to at all. While some of his albums do exhibit certain tropes of that drifting, sometimes unnerving calm, the more comprehensive truth is more complicated, and more interesting, than that tag might imply.
Leimer’s work is content to veer. If stillness is a recurrent theme in his work, so is agitated motion. One can certainly draw links to the golden mid–’70s of German Kosmische (Cluster, in particular), the more tuneful sides of This Heat and Throbbing Gristle, the “Fourth World” explorations of Jon Hassell, and the malfunctioning computer funk of Eno’s collaborations with David Byrne as well as Fripp and Eno’s tape loop experiments. In his systems–based pieces, a strange collision of sounds and influences hold free reign.
Based in Seattle, but inspired by what he heard coming from the UK and Germany, in the mid-’70s Leimer bought a Micromoog and a tape machine and set off. Geographically marooned, in a sense—such interests were very much off the grid in the pre–Grunge Pacific Northwest at the time—he and his peers created an infrastructure of independence, with Leimer establishing his own label, Palace of Lights, in 1979 and releasing small edition recordings, not to mention stockpiling a good many unreleased reels of tape.
A new collection of archival recordings, A Period of Review (Original Recordings: 1975-1983), curated and produced by Matt Werth for his label RVNG Intl, brings to light a rich, expansive, and time–specific body of work. As such, Leimer fits into a particular territory Werth seems to seek out: music that is clearly connected, in time and tone, to ’70s and ’80s Cosmic and Avant–Garde, but for one reason or other did not fit into the dominant paradigms of the time. Werth has also reissued music by Harald Grosskopf (of Manuel Göttsching’s Ashra) and Franco Falsini (of Italian ensemble Sensations ’ Fix). Werth first encountered Leimer’s work in The Land of Look Behind, Alan Greenberg’s documentary about Bob Marley’s funeral in Jamaica and that country’s remote Cockpit Country. Leimer’s score for the film locates an uncanny, eerie atmosphere, and stands out as a brilliant juxtaposition to the film’s images—in that it occasionally calls to mind Popol Vuh’s soundtracks for Werner Herzog’s 70s films. Since 2003, Leimer has lived in Maui. He and his partner Dorothy grow olives and citrus for local restaurants. He continues to make music, working in his studio every day.
i hope it help you
Thanks for
Kiran Prajapati
Hello r u civil engineer......?
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