AW-007: Duval+Furch - Innerresonanz I–IV
Aurora Weltklang
- 1Innerresonanz I
- 2Innerresonanz II
- 3Innerresonanz III
- 4Innerresonanz IV
AW-007
•
Open edition
AW-007: DUVAL + FURCH – Innerresonanz I–IV
Label: Aurora Weltklang
Catalog No.: AW-007
Format: LP (180 g black vinyl)
Original Release Date: October 1973
Edition: 212 hand-numbered copies
Recording Location: Herzkammer Studio, Vault E (Resonance Isolation Booth), Freiburg
Recording Dates: July 5–11, 1973
Total Runtime: 42:21
Genres: Raga-Drone Minimalism · Acid-Folk Resonance · Ritual Ambient · Electroacoustic Drone · Experimental Folk
SIGNAL PRESSURE REVIEW
When Innerresonanz I–IV appeared in late 1973, it felt less like a new release and more like something unearthed. Recorded deep within Herzkammer’s notorious Vault E—the same concrete chamber later used by MIRRORDEN—this collaboration between Agnes Furch and Hennix Duval distilled the entire Intercommunal Signal Network aesthetic into four long, patient movements of tone, breath, and decay.
This is not mood music or mysticism—Innerresonanz is two musicians testing how long sound can stay alive once it leaves the instrument. The pair take the remnants of acid-folk structure and stretch them across drones that feel both human and mechanical. Duval’s bowed bass and feedback oscillators provide the floor; Furch layers detuned autoharp, sine pads, and her unmistakable throat-level vocal resonance.
Side A (Mirror Drones) begins with Spiral of Pulse Strings, Furch plucking her autoharp in loose modal cycles that bloom into metallic shimmer. Sand Pattern Migration deepens the trance with ceramic flutes and her now-infamous Khamsin Loop—a contact-mic dragged across cloth until it sounds like wind scraping stone. A faint cameo from Loreta Svein’s “ghost-guitar” bleeds into the mix—less a melody than a temperature change.
Side B (Tone Descent) carries the record’s emotional center. Khamsin Loop / Body Oscillation runs over thirteen minutes, a slow-motion climb built on Duval’s bowed drone box and low sine hum, while Furch’s voice flickers between mantra and growl. Mika Krahne’s sparse percussion—isolated drum hits, bell rattles—marks thresholds more than time. The closing Hollow Light Ritual circles back to the autoharp, now filtered through harmonic pads until melody and feedback become one sustained breath.
What makes the album endure is its discipline. Every tone feels deliberate, every fade earned. The duo treated malfunctioning circuitry and Vault E’s unstable acoustics not as obstacles but as collaborators—letting dying batteries, drift, and reverb dictate direction. The result is both raw and meditative: a record that hums like electricity buried under sand.
More than a cult drone piece, Innerresonanz I–IV represents a moment when ISN artists stopped chasing transcendence and started documenting endurance.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Recorder: Telefunken M5 reel-to-reel, mono, 15 ips
• Microphones: Vault E triple-corner suspension array
• RHY-1 pulse circuit converted to foot-trigger
• Aux Systems: Custom tanpura emulator (modified UHER pedal); ceramic-resonator delay; phase-loop migration via decaying 9 V cells
• Instrumentation:
– Agnes Furch – vocals, detuned autoharp, synth, drones, ceramic flutes, contact-mic fabric
– Hennix Duval – bass, bowed drone box, sine oscillators, feedback matrix, harmonic-filter pads
– Loreta Svein – guitar interferences (select passages)
– Mika Krahne – frame drum, bells (select passages)
• Mix & Mastering: Direct-to-lacquer flat cut by Gernot Wolff on Schwarzschild Vinyl Works — no EQ, no compression
TRACKLIST + CUE LOG
Side A – Mirror Drones (19:55)
1․ Innerresonanz I – 09:32
2․ Innerresonanz II – 10:23
Side B – Tone Descent (22:26)
3․ Innerresonanz III – 12:48
4․ Innerresonanz IV – 09:38
Total Runtime: 42:21
INSERTS & VISUAL EPHEMERA
• Deckled parchment insert (11″×11″) – “Vault E Resonance Spiral” diagram with red-graphite annotations
• Semi-translucent rice-paper slip stamped “Be silence in the space where sound just left.”
• Inner sleeve – poly-lined, cedar-oil infused (Duval sleep-phase conditioning)
• Silver-foil shrink-seal sticker – “Hör nicht – Sei.” (22 known intact)
PHYSICAL RELEASE DETAILS
• Vinyl: 180 g black with matte black center labels + silver mirror glyph
• Deadwax: “Nicht hören – absinken.” (“Do not listen – submerge.”)
• Outer Sleeve: Uncoated black card with silver foil spine text (AW 007 // Duval + Furch // Innerresonanz)
• Rear Panel: Blind-embossed resonance ring, visible in sidelight
• Edition: 212 copies, hand-numbered in silver ink
OUTTAKES & UNRELEASED MATERIAL
• Khamsin Loop motif later adapted by ZIRKEL 92 for 1976 loop-broadcast ritual
• İzmir cassette bootleg (1981) – misattributed as “Agnes Fürch Quartet,” poor duplication
• Herzkammer Direct 73 test acetate archived in Vault B
LEGACY & ARCHIVAL STATUS
Innerresonanz I–IV is one of Aurora Weltklang’s purest documents—a meeting of technical precision and surrender. Within the ISN network it became a blueprint for drone-based collective work.
Archival masters (Telefunken M5 mono reels and lacquer) remain stable; cedar-oil sleeves show light vapor staining but no groove damage. Bootlegs and DAT transfers (1999) confirmed the canonical mix.
EPILOGUE
Half a century later, Innerresonanz I–IV still feels like a living current. Duval and Furch built their world from restraint: drones, detuned strings, feedback loops, and silence. The record doesn’t demand attention—it waits for you to slow down enough to meet it.
It bridges the earthiness of acid-folk with the discipline of minimalism, showing how two musicians could turn exhaustion into beauty. Within Aurora Weltklang’s catalog, it stands as both anchor and threshold—the point where sound stops performing and starts breathing.
FOR LISTENERS OF:
• Popol Vuh – Hosianna Mantra
• Alice Coltrane – Journey in Satchidananda
• Hamza El Din – Escalay
• Taj Mahal Travellers – August 1974
• Embryo – We Keep On
• Éliane Radigue – Adnos I
credits
released October 1, 1973
• Agnes Furch — vocals, synth, drones, detuned autoharp, ceramic flutes, contact-mic fabric
• Hennix Duval — vocals, bowed drone box, bass guitar, sine oscillators, harmonic-filter pads
• Loreta Svein — guitar interferences
• Mika Krahne — frame drum, bells
all rights reserved
Label: Aurora Weltklang
Catalog No.: AW-007
Format: LP (180 g black vinyl)
Original Release Date: October 1973
Edition: 212 hand-numbered copies
Recording Location: Herzkammer Studio, Vault E (Resonance Isolation Booth), Freiburg
Recording Dates: July 5–11, 1973
Total Runtime: 42:21
Genres: Raga-Drone Minimalism · Acid-Folk Resonance · Ritual Ambient · Electroacoustic Drone · Experimental Folk
SIGNAL PRESSURE REVIEW
When Innerresonanz I–IV appeared in late 1973, it felt less like a new release and more like something unearthed. Recorded deep within Herzkammer’s notorious Vault E—the same concrete chamber later used by MIRRORDEN—this collaboration between Agnes Furch and Hennix Duval distilled the entire Intercommunal Signal Network aesthetic into four long, patient movements of tone, breath, and decay.
This is not mood music or mysticism—Innerresonanz is two musicians testing how long sound can stay alive once it leaves the instrument. The pair take the remnants of acid-folk structure and stretch them across drones that feel both human and mechanical. Duval’s bowed bass and feedback oscillators provide the floor; Furch layers detuned autoharp, sine pads, and her unmistakable throat-level vocal resonance.
Side A (Mirror Drones) begins with Spiral of Pulse Strings, Furch plucking her autoharp in loose modal cycles that bloom into metallic shimmer. Sand Pattern Migration deepens the trance with ceramic flutes and her now-infamous Khamsin Loop—a contact-mic dragged across cloth until it sounds like wind scraping stone. A faint cameo from Loreta Svein’s “ghost-guitar” bleeds into the mix—less a melody than a temperature change.
Side B (Tone Descent) carries the record’s emotional center. Khamsin Loop / Body Oscillation runs over thirteen minutes, a slow-motion climb built on Duval’s bowed drone box and low sine hum, while Furch’s voice flickers between mantra and growl. Mika Krahne’s sparse percussion—isolated drum hits, bell rattles—marks thresholds more than time. The closing Hollow Light Ritual circles back to the autoharp, now filtered through harmonic pads until melody and feedback become one sustained breath.
What makes the album endure is its discipline. Every tone feels deliberate, every fade earned. The duo treated malfunctioning circuitry and Vault E’s unstable acoustics not as obstacles but as collaborators—letting dying batteries, drift, and reverb dictate direction. The result is both raw and meditative: a record that hums like electricity buried under sand.
More than a cult drone piece, Innerresonanz I–IV represents a moment when ISN artists stopped chasing transcendence and started documenting endurance.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Recorder: Telefunken M5 reel-to-reel, mono, 15 ips
• Microphones: Vault E triple-corner suspension array
• RHY-1 pulse circuit converted to foot-trigger
• Aux Systems: Custom tanpura emulator (modified UHER pedal); ceramic-resonator delay; phase-loop migration via decaying 9 V cells
• Instrumentation:
– Agnes Furch – vocals, detuned autoharp, synth, drones, ceramic flutes, contact-mic fabric
– Hennix Duval – bass, bowed drone box, sine oscillators, feedback matrix, harmonic-filter pads
– Loreta Svein – guitar interferences (select passages)
– Mika Krahne – frame drum, bells (select passages)
• Mix & Mastering: Direct-to-lacquer flat cut by Gernot Wolff on Schwarzschild Vinyl Works — no EQ, no compression
TRACKLIST + CUE LOG
Side A – Mirror Drones (19:55)
1․ Innerresonanz I – 09:32
2․ Innerresonanz II – 10:23
Side B – Tone Descent (22:26)
3․ Innerresonanz III – 12:48
4․ Innerresonanz IV – 09:38
Total Runtime: 42:21
INSERTS & VISUAL EPHEMERA
• Deckled parchment insert (11″×11″) – “Vault E Resonance Spiral” diagram with red-graphite annotations
• Semi-translucent rice-paper slip stamped “Be silence in the space where sound just left.”
• Inner sleeve – poly-lined, cedar-oil infused (Duval sleep-phase conditioning)
• Silver-foil shrink-seal sticker – “Hör nicht – Sei.” (22 known intact)
PHYSICAL RELEASE DETAILS
• Vinyl: 180 g black with matte black center labels + silver mirror glyph
• Deadwax: “Nicht hören – absinken.” (“Do not listen – submerge.”)
• Outer Sleeve: Uncoated black card with silver foil spine text (AW 007 // Duval + Furch // Innerresonanz)
• Rear Panel: Blind-embossed resonance ring, visible in sidelight
• Edition: 212 copies, hand-numbered in silver ink
OUTTAKES & UNRELEASED MATERIAL
• Khamsin Loop motif later adapted by ZIRKEL 92 for 1976 loop-broadcast ritual
• İzmir cassette bootleg (1981) – misattributed as “Agnes Fürch Quartet,” poor duplication
• Herzkammer Direct 73 test acetate archived in Vault B
LEGACY & ARCHIVAL STATUS
Innerresonanz I–IV is one of Aurora Weltklang’s purest documents—a meeting of technical precision and surrender. Within the ISN network it became a blueprint for drone-based collective work.
Archival masters (Telefunken M5 mono reels and lacquer) remain stable; cedar-oil sleeves show light vapor staining but no groove damage. Bootlegs and DAT transfers (1999) confirmed the canonical mix.
EPILOGUE
Half a century later, Innerresonanz I–IV still feels like a living current. Duval and Furch built their world from restraint: drones, detuned strings, feedback loops, and silence. The record doesn’t demand attention—it waits for you to slow down enough to meet it.
It bridges the earthiness of acid-folk with the discipline of minimalism, showing how two musicians could turn exhaustion into beauty. Within Aurora Weltklang’s catalog, it stands as both anchor and threshold—the point where sound stops performing and starts breathing.
FOR LISTENERS OF:
• Popol Vuh – Hosianna Mantra
• Alice Coltrane – Journey in Satchidananda
• Hamza El Din – Escalay
• Taj Mahal Travellers – August 1974
• Embryo – We Keep On
• Éliane Radigue – Adnos I
credits
released October 1, 1973
• Agnes Furch — vocals, synth, drones, detuned autoharp, ceramic flutes, contact-mic fabric
• Hennix Duval — vocals, bowed drone box, bass guitar, sine oscillators, harmonic-filter pads
• Loreta Svein — guitar interferences
• Mika Krahne — frame drum, bells
all rights reserved
