(February 2010) TYMPANIK AUDIO, based in Chicago, Illinois, was originally established as a vehicle to promote innovative new artists within the electronic music subculture. The label’s founder, Paul Nielsen, is passionate about the electronic genre and strives to step aside any known prerequisites. He continues to build Tympanik, based on firm foundations that are supported by his own infinite enthusiasm. With its vibrant presence on the internet, there’s a host of titles on offer, all creatively displayed on a classy looking, easy to navigate website.
Over the last couple of years, Tympanik Audio has proven to be the ultimate forward thinking label, offering up a lively and expansive portfolio of notable talents, which demonstrate the label’s diversity in its dedication to this genre. Those signed to the label include the likes of Totakeke, Displacer, Ad·ver·sary, Stendeck, ESA, Zentriert ins Antlitz, Unterm Rad, Pneumatic Detach, Integral, Broken Fabiola, Flint Glass, Access To Arasaka, Black Lung, SE, Disharmony, Candle Nine, Subheim, [Haven], Tapage, Zeller, Fractional, Pandora’s Black Book, Endif, Aphorism, Opposite Exhale, Famine, Lucidstatic, Undermathic, Flaque, and Autoclav1.1.
“…We want to blur the genre lines and release albums that can’t be easily pigeon-holed…” Paul Nielsen, Tympanik Audio
Today, the label strives for quality and consistency in order to bring their listeners the very best in dark, meaningful and emotional electronic music, Not only from within the USA, but from around the world. Ultimately,Tympanik defines the freedom to depart from accepted rules. Jus Forrest talks to Paul Nielsen at Tympanik about some of the initiatives behind the labels progression and expansion.
Igloo :: Tell us about the history behind your label.
Paul Nielsen :: Tympanik Audio hatched from an idea I had back in the Fall of 2007 to compile a CDr compilation of some of my favorite artists in a promotional effort for the radio program I co-hosted here in Chicago called Hidden Forms. The response from the artists I contacted exceeded my expectations so I decided to develop the project into a more substantial release under the tag Tympanik Audio. The name was only supposed to serve this initial purpose, but after the outpouring of positive response to what ultimately became the Emerging Organisms 2CD compilation release, I decided to cultivate it.
Igloo :: How do you feel the Tympanik label and their artists shaped electronic music today?
PN :: My goal from the beginning was to introduce people to a new sound; a sound that embraced many genres as a whole and blurred these boundaries while still offering accessibility, quality, innovation, and distinctiveness. I feel that we have achieved this goal through the artists we represent. Many people have been drawn towards our unique aural aesthetic and have remained devoted to the label since their first exposure to our catalog. There is a glaring gap in electronic music today and my objective with Tympanik Audio is to fill this gap. I want music lovers to come together and realize that music doesn’t have to flail amongst the confines of one particular genre, but that music is one entity and can incorporate many genres and still achieve significance and purpose.
Igloo :: How would you describe your growth over recent years?
PN :: It’s difficult to start a new CD-based label, especially in these times of digital dominance. In the beginning, we were very fortunate to recruit some amazing talents that captured the sound I sought for Tympanik Audio such as Subheim, Totakeke, and Disharmony. Through this, many other artists took notice and signed up for releases like Flint Glass, Ad.ver.sary, Pneumatic Detach, Displacer, and Endif in our first year. Through their work, it was a very rewarding and welcomed progression for our new label. Throughout our first year, I saw a loyal following emerge through album reviews and listener feedback; ultimately embracing our label’s style and mission, and to my surprise it seemed that the music community was captivated by our output. With signings by Stendeck, Zentriert ins Antlitz, ESA, Autoclav1.1, as well as many talented newcomers in our first and second year, our mission seemed to be facilitated in full force. I felt that we were filling a gap in the dying art of genre displacement and for those who were in the know and appreciate what we were accomplishing,Tympanik Audio was satisfying this gap quite effectively.
Igloo :: Tympanik Audio prides itself on bringing cutting edge electronic music from around the world to the listener. Just how far and wide do you reach in your quest to bring new music out?
PN :: To be honest, most of the artists we represent have approached us. We are very fortunate to boast talented artists who initially identified with our vision and entrusted us to represent theirs. I receive many demos, and although most do not fit in with the Tympanik sound, every once in awhile I come across something extraordinary (i.e. Tapage, Aphorism, and Opposite Exhale). I couldn’t be happier with the quality of work that each and every one of our artists has delegated Tympanik Audio to represent. We have a good family here and I very much appreciate that fact on a regular basis. We seek nothing and only accept and appreciate what feels and sounds right for the label and more importantly, our listeners.
Igloo :: Is there any part of the world, which jumps out and hits right now as being at the forefront of electronic subculture?
PN :: Geographically? If this is what you meant I would have to say Germany, which, when we are talking about electronic music innovation, goes without saying. I think a lot of great electronic works have come from the United States and Canada over the past 10 years or so as well (strangely enough). France is another good example. Many years ago I felt like Germany was the only real point of reference for innovative electronic music but as my musical tastes evolved and my quest for new and inventive sounds widened, I realized that exceptional music can originate from any place on this earth – it is all around us, every single day. Music is a rich and vast tapestry, with much history and obscurity, and as a whole affects everything we listen to.
Igloo :: You have a large portfolio of artists – you must be very proud of your extensive portfolio?
PN :: Indeed I am. I feel very fortunate to represent our current roster of artists. Each of our artists is extremely talented and distinctive in their sound design and has ultimately given Tympanik Audio its enduring reputation. To go from a DJ, music journalist, and avid electronic music fanatic, to a record label owner who has the privilege of representing such extraordinary artists and their works, is truly a dream come true for me.
Igloo :: Where did it all begin – for you as an electronic music enthusiast and for Tympanik as a label? Was there anything in particular that started the ball rolling?
PN :: As far back as I can remember, I have been a fan of dark, emotional, and beat-driven music and had the desire to share my enthusiasm for this with the people around me. In 1985 I first heard New Order’s “Blue Monday” and Depeche Mode’s “People Are People;” from then on I was addicted to the electronic sound of music. I sought out and discovered other bands and artists that paralleled the electronic sound over the years and delved deeper and deeper into the Industrial, Synthpop, and underground Rock cultures. I made numerous mix tapes and CDr compilations for my friends in an attempt to spread the word about the music that I had come to adore. My desire to introduce people to these fantastic sounds led me to found my own music review website in 1998 called Purist Online. From there I was offered a live on-air radio slot on Chicago’s WNUR 89.3FM called Perfect Dark in 2001. Through this early morning radio program, I showcased mostly IDM and Ambient music but my true love remained in the many crossover subgenres of Industrial and Technoid styles, so I moved on to an existing show on the same radio station in 2003 called Hidden Forms. While hosting Hidden Forms, I found myself playing an eclectic mixture of dark Ambient, IDM, Technoid Industrial, and Electronica. I began to realize that these styles mixed quite well and wondered why more labels weren’t embracing this incredible fusion of sounds. Ultimately, starting a record label seemed like the ideal response to this.
Igloo :: What are the specific challenges of a label like Tympanik in this day and age – I assume its got easier now with the increase in exposure available via the internet?
PN :: Well, it has never been easy to keep an entity like this alive, but yes, the internet has played a major role in facilitating the label’s day-to-day functionality. Most of what the label accomplishes is done through the internet and email. I can’t imagine maintaining a venture like this without these resources. I spend hours in front of my computer every day; hours that I don’t have, in order to keep this massive machine running. I have a day job, I have kids, I have other responsibilities, but I also have a desire to maintain this creature that I have created and I want to work to perpetuate it, simply because I believe what we are doing here is important to the music community as a whole and worth working for.
Igloo :: Do you feel you have made your mark in this genre with what you have to offer?
PN :: I believe we have. If you asked me this question a year ago, I wouldn’t know what to say, but based on all the positive feedback from music journalists, DJs, and listeners, I think Tympanik Audio is well on its way to achieving our mission. We have released 36 CDs in 2 years, each one a unique and exceptional work that has ultimately met and even exceeded my expectations for the label’s vision. I am very proud of what we have accomplished and hope that our listeners continue to enjoy the output of our artists for years to come.
Igloo :: You advertise ‘signed artists’ and contributing artists – what’s the difference?
PN :: Ah, you mean what we have listed on our Myspace? This simply means that “signed artists” are the artists we have released on CD in our current catalog. “Contributing Artists” refers to anyone that has remixed or collaborated on one of our releases.
Igloo :: What is the heart and soul of the label, is there a distinct theme to the artists you bring onto the label, any personal favorites?
PN :: The heart and soul of the label is the music we release – it’s that simple. Tympanik Audio wants to represent artists that have an ear for unique and accessible electronic sounds. We want artists that are passionate about what they produce and demonstrate a style of music that is unlike anything that has been presented so far. How can one define the Tympanik Audio sound? Is it IDM? Industrial? Electronica? Ambient? Rhythmic Noise? No one can really say and I want to keep it that way. We want to blur the genre lines and release albums that can’t be easily pigeon-holed. I don’t have any personal favorite artists in our roster – each artist has their own unique style and I respect each and every one for their individual work – they are all exceptional.
Igloo :: Typically how many releases pass through your label each year?
PN :: Well, if you look at our current catalog, you can see that we have released approximately 18 CDs in each of our first two years. I did not intend to release this many CDs each year, but the talent and drive that was presented to me was irresistible – there is too much extraordinary music out there that deserves to be heard. I wish I had more money to release more music, but I think we are doing enough so far.
Igloo :: What can we expect from Tympanik in 2010?
PN :: As with previous years, we are going in a new direction, but at the same time continuing our focus on sounds that Tympanik Audio listeners have come to expect. You can anticipate more abrasive, fractured, and mind-bending CD releases by Fractional, Tapage & Meander, Zeller, and Famine, as well as more down-tempo and complex works by SE, Candle Nine, and Anklebiter. Look for our new free label sampler Approach Lights 2010 available this Spring as well. After that, time will only tell, but I can assure you: the best is yet to come. Stay tuned and keep your headphones on…
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Tympanik Audio’s current picks ::
(Opposite Exhale :: Nothing Lasts) With this debut album, Nothing Lasts, Opposite Exhile exhibits an uncanny ability to compose rich haunting atmospheres that swirl amongst a torrent of cinematic and classical compositions. Cello, epic piano movements, beautiful string, and heart wrenching melodies are all carefully accented by moments of distorted beat work and complex song arrangements.
(Access To Arasaka :: Oppidan) New York’s amazing new young talent maintains a steady momentum of buzz from fans and critics over the past year. Oppidan is a futuristic journey of a cerebral nature, demonstrating a virtual equinox of expert beat Vowork and densely layered atmospheric explorations. Dark, cinematic and fascinating to no end.
(Undermathic :: Return to Childhood) Poland’s elusive talent Undermathic emerges with an unapologetic collage of surging rhythms delicate piano compositions and true sonic purity. Saturated in beautiful organic rhythms and a virtual tide of sophistication, Return to Childhood easily stands on its own ground offering an immense album full of life and vision that transcends genres and ultimately arrives as a genuine preview of the future of intelligent electronic music.
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Jus Forrest’s pick ::
(Autoclav1.1 :: Where Once Were Exit Wounds) While still absorbing praise from his critically acclaimed 2008 release Love No longer Lives Here, Autoclav1.1’s Tony Young reached even deeper into his seemingly endless bag of talent to unleash a new collection of work. Fusing together a hybrid of broken beats, ambient, industrial and alternative eclectic electronica, Tony Young, responsible for all instruments, music, programming and lyrics, proves an artful composer. With many interwoven piano melodies, strings and electronic excursions, this album is a melting pot of modern beat programming, effective arrangements consisting of classical instrumentation, aggressive guitar work, gentle strings, plus the emotional backdrop of atmospheric electronic. Read full review here…
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In summary ::
Tympanik recently issued their highly anticipated latest compilation album, Emerging Organisms Volume 3. Featuring thirty tracks over two CD’s and showcasing many of the artists who have become associated with the label, it proves an enlightening introduction to the fruits of Tympanik, however, its in no way a pigeon hole.
“Chrono” by SE is a mysterious breeze of electronic and atmospheric pulses – an illusion of vastness. Heading towards soundtrack style is Access to Arasaka with “Kill Recorder” – spacious and organic followed by a furious outburst of techno haven. The unconventional “Beziehungsohr by Klangstabil is one of the most dramatic and extravagant – its deep and buzz like sounds are extremely sci fi and futuristic, finished with an operatic touch on the subtle vocal sample. It has immense depth and is both rich and metallic. Liar’s Rosebush’s “You Are Here” is an eastern inspired backdrop integrated most uncommonly against pulses of drums and bass. “Blood” by Fractional is more traditional and recognizable in that it’s a fiery flashback to the historic house scene. Pointing towards the more obscure is “Untitled10” by Raoul Sinier. Resembling yet another eclectic mix – this time a folk turns electronic slanted trip. Some unusual and slightly dissonant string textures in here, until its folk like theme becomes stretched into a chaotic drama of conflict.
In part, this compilation could be a trip back to the underground clubs of the late 1980’s, as the seeds of house acid and techno were nurtured to expand into the family that has come into being today.
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For more information about Tympanik Audio, visit their website at tympanikaudio.com.
