AW-006: Nachtlichthof - Fluchtlaut-Kammern
Aurora Weltklang
- 1Kammer I: Unterdruck
- 2Kammer II: Fluchtlaut (Innen)
- 3Kammer III: Lichtschranke Echo
- 4Kammer IV: Schädelklima
- 5Kammer V: Türknall Konserve
- 6Kammer VI: Wärmeflucht
- 7Kammer VII: Oberlicht Moment
AW-006
•
Open edition
AW-006: NACHTLICHTHOF – Fluchtlaut-Kammern
Label: Aurora Weltklang
Catalog No.: AW-006
Format: Cassette (C42, Type II CrO₂)
Original Release Date: February 1973
Edition: 111 hand-numbered copies
Recording Location: Oberes Wehrhaus, Brixen (former alpine customs checkpoint)
Recording Dates: November 2–4, 1972
Total Runtime: 44:39
Genres: Site-Specific Electroacoustic · Industrial Ambient · Ritual Drone · Minimalist Process · Environmental Improv
SIGNAL PRESSURE REVIEW
Fluchtlaut-Kammern sounds like architecture exhaling. Tracked over three days in a disused alpine customs checkpoint in Brixen, the release marked the arrival of Nachtlichthof, a short-lived ISN cell led by Senta Lorz—part sound artist, part mechanic of space. Issued in only 111 cassettes, it’s one of Aurora Weltklang’s most physical recordings: sound as residue, environment as collaborator.
Instead of instruments, the group used the building itself. Ventilation ducts became resonators, doors were percussion, air currents shaped the tone. Their inventory—contact mics, suspended piezo discs, hand-wired delay toggles—reads more like an engineering schematic than a band setup. Recorded straight to reel on a Grundig TK 140, the result is austere but alive: the sound of surfaces learning to hum.
Side A (Ventilation Rituals) is built from low mechanical pressure and gradual revelation. Kammer I: Unterdruck creaks into motion with detuned dulcimer drones, heavy and claustrophobic. Kammer II: Fluchtlaut (Innen) finds a fragile melody emerging from within the noise—breath-flute tones threading through static hum. Kammer III: Lichtschranke Echo captures sound reflected down a shaft, distant and spectral. Kammer IV: Schädelklima closes the side with low-end tremors that seem to vibrate the tape itself.
Side B (Nocturne Egressions) explores decay and release. Kammer V: Türknall Konserve isolates the aftershock of a slammed door, its resonance manipulated until it becomes rhythm. Kammer VI: Wärmeflucht introduces a shruti box drone—warmer, devotional, but still mechanical. Kammer VII: Oberlicht Moment brings the record to a fragile resolution: Hilde Jarn’s organ slowly lifting above the noise floor like sunlight through fog.
Nothing here was edited or overdubbed; Elke T. Brandner’s real-time routing kept the improvisation raw but coherent. Every switch-flip and coil hum feels earned. It’s the opposite of performance—it’s documentation of resonance under pressure.
Fluchtlaut-Kammern remains essential not for what it “means,” but for what it proves: that sound, space, and patience can build a kind of language.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Recorder: Grundig TK 140 reel-to-reel
• Tape Format: Type II CrO₂ master reel, duplicated real-time to C42 shells
• Microphone Setup:
– Contact mic mounted in ventilation shaft
– Dual wall-mounted mono plates (opposing chambers)
– Coil mic routed through duct coil and delay buffer
• Instruments & Implements:
– Prepared dulcimer (rubber-thread binding, detuned pegs)
– Frame drum (palmed, stone-scraped)
– Shruti box (single reed drone)
– Coil-buffered delay toggles (hand-built)
– CR-1M Variant deck for loop sync (originally telemetry equipment)
• Mixing & Editing:
– Real-time toggle routing
– No overdubs or splices
– Engineered on-site by Gernot Wolff
TRACKLIST + CUE LOG
Side A – Ventilation Rituals (23:03)
1․ Kammer I: Unterdruck – 08:07
2․ Kammer II: Fluchtlaut (Innen) – 03:29
3․ Kammer III: Lichtschranke Echo – 06:26
4․ Kammer IV: Schädelklima – 05:01
Side B – Nocturne Egressions (21:36)
5․ Kammer V: Türknall Konserve – 07:41
6․ Kammer VI: Wärmeflucht – 05:47
7․ Kammer VII: Oberlicht Moment – 08:08
Total Runtime: 44:39
INSERTS & VISUAL EPHEMERA
• Standard Insert: Folded vellum J-card with typewritten session notes + signal routing diagram
• Ephemera (First Batch):
– 6×6 cm contact print of corridor junction, coiled signal wire visible
– Annotated Kammerstruktur Schema 3A (Rosa Tielsch variant)
• Variant (#026): “Transit Echo Leaf” translucent insert with vocal arc diagram by Adelheid Mohr (temperature-reactive ink)
PHYSICAL RELEASE DETAILS
• Cassette Shells: Unlabeled white Type II CrO₂
• Packaging: Folded vellum J-card in clear case
• Edition: 111 hand-numbered copies
• Distribution: Commune-to-commune barter via Aurora Weltklang post routes
• Survival Rate: ~43 confirmed (many lost in 1978 warehouse flood)
SUBSEQUENT FORMATS & VARIANTS
• 1973 Prototype Cassette: 5 test copies (Herzkammer Studio, ferrochrome tape); Side B dropout from power fluctuation; one recovered in 1999 from mislabeled Voice Fog box
• 1986 Analog Transfer: Otto Meer digitization from cassette #044; no noise reduction; shelved until 2022 recovery
• Early 2000s Bootleg (Marseille): Commune Haze – Echoes from the Alps; reordered tracks, false cover photo, heavy pitch drift
OUTTAKES & UNRELEASED MATERIAL
• Kammer VIII – unreleased bonus from archive reissue (recorded November 4, 1972)
EPILOGUE
Sparse, disciplined, and intensely atmospheric, Fluchtlaut-Kammern captures a kind of proto-industrial ritualism that predates any genre label. Lorz and her collective weren’t chasing transcendence—they were documenting physics, mapping the sound of air under pressure.
The result is still startlingly modern. Its restraint makes it immersive; its minimalism feels earned rather than aestheticized. In the lineage of Aurora Weltklang, Fluchtlaut-Kammern marks the point where improvisation became architecture, and where silence started to matter as much as sound.
FOR LISTENERS OF:
• Organum – Mirror / Through the Dreaming Glass
• Éliane Radigue – Opus 17
• ZIRKEL 92 – Gemeinsprache I
• Taj Mahal Travellers – August 1974
• Anne Gillies – Chamber Breath
credits
released February 1, 1973
• Senta Lorz — guitar, electronics, saxophone, clarinet, prepared drone loops; authored Kammerstruktur Schema 3A insert
• Malte Greifenthal — frame drum, wall percussion, delay improvisations; operated dual contact plates
• Hilde Jarn — breath flute, organ, bass guitar, drones; initiated Oberlicht Moment
• Elke T. Brandner — on-site engineering, live editing, duplication
all rights reserved
Label: Aurora Weltklang
Catalog No.: AW-006
Format: Cassette (C42, Type II CrO₂)
Original Release Date: February 1973
Edition: 111 hand-numbered copies
Recording Location: Oberes Wehrhaus, Brixen (former alpine customs checkpoint)
Recording Dates: November 2–4, 1972
Total Runtime: 44:39
Genres: Site-Specific Electroacoustic · Industrial Ambient · Ritual Drone · Minimalist Process · Environmental Improv
SIGNAL PRESSURE REVIEW
Fluchtlaut-Kammern sounds like architecture exhaling. Tracked over three days in a disused alpine customs checkpoint in Brixen, the release marked the arrival of Nachtlichthof, a short-lived ISN cell led by Senta Lorz—part sound artist, part mechanic of space. Issued in only 111 cassettes, it’s one of Aurora Weltklang’s most physical recordings: sound as residue, environment as collaborator.
Instead of instruments, the group used the building itself. Ventilation ducts became resonators, doors were percussion, air currents shaped the tone. Their inventory—contact mics, suspended piezo discs, hand-wired delay toggles—reads more like an engineering schematic than a band setup. Recorded straight to reel on a Grundig TK 140, the result is austere but alive: the sound of surfaces learning to hum.
Side A (Ventilation Rituals) is built from low mechanical pressure and gradual revelation. Kammer I: Unterdruck creaks into motion with detuned dulcimer drones, heavy and claustrophobic. Kammer II: Fluchtlaut (Innen) finds a fragile melody emerging from within the noise—breath-flute tones threading through static hum. Kammer III: Lichtschranke Echo captures sound reflected down a shaft, distant and spectral. Kammer IV: Schädelklima closes the side with low-end tremors that seem to vibrate the tape itself.
Side B (Nocturne Egressions) explores decay and release. Kammer V: Türknall Konserve isolates the aftershock of a slammed door, its resonance manipulated until it becomes rhythm. Kammer VI: Wärmeflucht introduces a shruti box drone—warmer, devotional, but still mechanical. Kammer VII: Oberlicht Moment brings the record to a fragile resolution: Hilde Jarn’s organ slowly lifting above the noise floor like sunlight through fog.
Nothing here was edited or overdubbed; Elke T. Brandner’s real-time routing kept the improvisation raw but coherent. Every switch-flip and coil hum feels earned. It’s the opposite of performance—it’s documentation of resonance under pressure.
Fluchtlaut-Kammern remains essential not for what it “means,” but for what it proves: that sound, space, and patience can build a kind of language.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Recorder: Grundig TK 140 reel-to-reel
• Tape Format: Type II CrO₂ master reel, duplicated real-time to C42 shells
• Microphone Setup:
– Contact mic mounted in ventilation shaft
– Dual wall-mounted mono plates (opposing chambers)
– Coil mic routed through duct coil and delay buffer
• Instruments & Implements:
– Prepared dulcimer (rubber-thread binding, detuned pegs)
– Frame drum (palmed, stone-scraped)
– Shruti box (single reed drone)
– Coil-buffered delay toggles (hand-built)
– CR-1M Variant deck for loop sync (originally telemetry equipment)
• Mixing & Editing:
– Real-time toggle routing
– No overdubs or splices
– Engineered on-site by Gernot Wolff
TRACKLIST + CUE LOG
Side A – Ventilation Rituals (23:03)
1․ Kammer I: Unterdruck – 08:07
2․ Kammer II: Fluchtlaut (Innen) – 03:29
3․ Kammer III: Lichtschranke Echo – 06:26
4․ Kammer IV: Schädelklima – 05:01
Side B – Nocturne Egressions (21:36)
5․ Kammer V: Türknall Konserve – 07:41
6․ Kammer VI: Wärmeflucht – 05:47
7․ Kammer VII: Oberlicht Moment – 08:08
Total Runtime: 44:39
INSERTS & VISUAL EPHEMERA
• Standard Insert: Folded vellum J-card with typewritten session notes + signal routing diagram
• Ephemera (First Batch):
– 6×6 cm contact print of corridor junction, coiled signal wire visible
– Annotated Kammerstruktur Schema 3A (Rosa Tielsch variant)
• Variant (#026): “Transit Echo Leaf” translucent insert with vocal arc diagram by Adelheid Mohr (temperature-reactive ink)
PHYSICAL RELEASE DETAILS
• Cassette Shells: Unlabeled white Type II CrO₂
• Packaging: Folded vellum J-card in clear case
• Edition: 111 hand-numbered copies
• Distribution: Commune-to-commune barter via Aurora Weltklang post routes
• Survival Rate: ~43 confirmed (many lost in 1978 warehouse flood)
SUBSEQUENT FORMATS & VARIANTS
• 1973 Prototype Cassette: 5 test copies (Herzkammer Studio, ferrochrome tape); Side B dropout from power fluctuation; one recovered in 1999 from mislabeled Voice Fog box
• 1986 Analog Transfer: Otto Meer digitization from cassette #044; no noise reduction; shelved until 2022 recovery
• Early 2000s Bootleg (Marseille): Commune Haze – Echoes from the Alps; reordered tracks, false cover photo, heavy pitch drift
OUTTAKES & UNRELEASED MATERIAL
• Kammer VIII – unreleased bonus from archive reissue (recorded November 4, 1972)
EPILOGUE
Sparse, disciplined, and intensely atmospheric, Fluchtlaut-Kammern captures a kind of proto-industrial ritualism that predates any genre label. Lorz and her collective weren’t chasing transcendence—they were documenting physics, mapping the sound of air under pressure.
The result is still startlingly modern. Its restraint makes it immersive; its minimalism feels earned rather than aestheticized. In the lineage of Aurora Weltklang, Fluchtlaut-Kammern marks the point where improvisation became architecture, and where silence started to matter as much as sound.
FOR LISTENERS OF:
• Organum – Mirror / Through the Dreaming Glass
• Éliane Radigue – Opus 17
• ZIRKEL 92 – Gemeinsprache I
• Taj Mahal Travellers – August 1974
• Anne Gillies – Chamber Breath
credits
released February 1, 1973
• Senta Lorz — guitar, electronics, saxophone, clarinet, prepared drone loops; authored Kammerstruktur Schema 3A insert
• Malte Greifenthal — frame drum, wall percussion, delay improvisations; operated dual contact plates
• Hilde Jarn — breath flute, organ, bass guitar, drones; initiated Oberlicht Moment
• Elke T. Brandner — on-site engineering, live editing, duplication
all rights reserved
