Curious Music is pleased to announce the digital, cd, cd/shirt bundle release of Lunz 3 by Hans-Joachim Roedelius and Tim Story. Lunz 3 represents the fifth duo collaboration between Roedelius, one of the great titans of contemporary music, and composer/producer Story, a bit of a titan his own right.

The tracks finds the duo continuing an inspired dialogue of "two old-timers" gently pushing the envelope of eloquence and experimentalism, this time aided and abetted by the likes of Thomas Rabitsch, Lukas Lauermann, Christopher Chaplin and more.

Both the digital and cd releases come with a generous seven bonus tracks. Lunz 3 is also available in various bundle options as well.

Story welcomes us to the world of Lunz 3 -

For me, Lunz 3 is both a warm look back to our original Lunz album of 15 years ago, and a fresh extension of Joachim’s and my shared interest in the recontextualizing of truly disparate elements into new, unique musical experiences. In effect, Lunz 3 reimagines elements of music and sound that originated in a series of often unrelated ‘sessions’ – a 3-day collaboration at Thomas Rabitsch’s wonderful studio in Vienna with Thomas and Christopher Chaplin (and the chance contributions of visiting violinist Manuel Druminski), casual recordings at Achim’s home in Baden and my studio in the US, later additions by cellist Lukas Lauermann. A handmade toy kalimba device, a ukulele, Thomas’ unpredictable Publison, Achim’s creaky upright piano, even appropriated bits of the decades-old concert band recordings of my brother Mike coexist with the more traditional touchstones of synthesizers, grand pianos and orchestral strings.

In Lunz 3, what seem like longer phrases and themes are more often made up of a series of discrete, overlapping musical ‘events’, connected more by their inherent, delicate musicality than by their wildly scattered origins. For Achim and I, it’s an aesthetic we’ve explored often – indeed, Achim‘s musical beginnings in 1960’s Berlin with its Fluxus and Actionist ‘happenings’ virtually wrote the book on the restless deconstruction and recontextualizing of older forms. More recently, my Roedelius Cells project, a multichannel audio installation, explores the malleability of sound in a different way – thousands of short edits extracted from a decade of Achim’s piano improvisations, reimagined into layered, syncopated, and entirely new compositions, happily blurring the distinction between listener and composer.

But all this talk of ‘method’ probably misses the point entirely. Like the original Lunz (its successor Inlandish, and all of our music really), the experience hopefully transcends its sources and processes, and becomes its own living, breathing organism. As always, it is stumbling upon those magical, nuanced moments – Achim’s unfailing ability to find just the right note, the most distinctive, effortless phrasing – that are the true revelations for me. Embracing the still-widening echoes of our dear departed friend Moebi, straddling that knife-edge between the quirky and the ravishing. Even now, 15 years on, Lunz still resonates deeply with me, the album’s music intertwined with so many years of friendship. In Lunz 3, I hope we were able to cobble together a new little creature, one with a curious personality and a DNA all its own.