a blog about obscure muzik & graphix,random thoughts and free minds.

Saturday 9 February 2019

P16.D4 & Swimming Behavior Of The Human Infant–Nichts Niemand Nirgends Nie! -(Double Vinyl-Selektion-Germany-1986)

P16D4 was a German band whose music bordered on the industrial and on the cacophonous. On their debut album "Kühe In 1/2 Trauer" (Selektion, 1982) they managed to fuse the playful irrationality of dadaism and the oppressive tones of expressionism. Roger Schönauer and Ewald Weber focused on an austere art and technique of loop and tape manipulation. Stefan E. Schmidt joined the ensemble on Distruct (Selektion,1984), a deconstructed remix of sound sources provided by friends in the industrial scene. The double album Nichts Niemand Nirgends Nie (1985) delved into musique concrete and electronic improvisation. Tionchor (Sonoris, 1987) collects revised rarities.
Swimmign Behaviour Of The Human Infant is Achim Wollscheid a media artist whose work over the past 20 years has been at the forefront of experimental music. He has performed and presented installation projects internationally. His work in sound has led to an interest in the relation between sound, light and architectural space, which he pursues through public, interactive and electronic projects. He is a founding member of SELEKTION, an organisation for the production and distribution of information systems. His book, The Terrorized Term, was published by SELEKTION in 1999. Today he still works as an artist for light and sound installations in Frankfurt/Main.(info from Discogs)
German label (Frankfurt-based) for mainly experimental music and musique concrete. Evolved out of the art-punk-label "Wahrnehmungen", which ran in 1980-1981. Many electronic releases of various kinds. Run by Achim Wollscheid and Ralf Wehowsky.Their actual webpage is here.


Packaged in gatefold sleeve with 12-page booklet and A4 handicraft insert.

Sides A and B feature both projects individually in the studio using raw material, transformed tapes or finished songs of the other.
Side C features cooperative live works, improvised on the spot.
Side D features further transformations: D1 used material from A1 to C3, D2 uses material from A1 to D1, D3 uses material from A1 to D2.


  1. I was quite impressed when I first heard SBOTHI's 1989 LP, CAN THE SOUND CHANGE, etc.. I was unaware at the time of the connection to P.16 D.4, and I've been a fan of the resounding change ever since.