This triple disc release documents Stefan Goldmann's earliest electroacoustic works. These clear-cut algorithmic compositions, mostly created between 1999 and 2001, were built entirely with the TC Fireworx processor's internal synthesizer and effects. Generated and recorded anew for this release with the original programs, a central component of Stefan Goldmann's sound aesthetic is revisited and becomes available in pure form for the first time. His proprietary Fireworx algorithms feature prominently in a multitude of tracks and long-form works, including Phraselab (2005), De-Gauss (2015), Voices of the Dead (2008) and Live at Honen-In Temple (2012). The automated synthesis and effects chains utilize a few layered basic functions to drive kaleidoscopic sound environments which are simultaneously stable while constantly changing: Electric rivers of sound flowing continuously through the same bed, while never repeating themselves quite exactly. Artwork by Thomas Demand.

This triple disc release documents Stefan Goldmann's earliest electroacoustic works. These clear-cut algorithmic compositions, mostly created between 1999 and 2001, were built entirely with the TC Fireworx processor's internal synthesizer and effects. Generated and recorded anew for this release with the original programs, a central component of Stefan Goldmann's sound aesthetic is revisited and becomes available in pure form for the first time. His proprietary Fireworx algorithms feature prominently in a multitude of tracks and long-form works, including Phraselab (2005), De-Gauss (2015), Voices of the Dead (2008) and Live at Honen-In Temple (2012). The automated synthesis and effects chains utilize a few layered basic functions to drive kaleidoscopic sound environments which are simultaneously stable while constantly changing: Electric rivers of sound flowing continuously through the same bed, while never repeating themselves quite exactly. Artwork by Thomas Demand.

Stefan Goldmanns Input translates electronic music into formats for human players of acoustic instruments. The standard remix process is thus inverted, by providing the electronics first. Then composers backwards- engineer what they hear into scores for ensemble. The original, synthesized version isnt available for the audience: Its hidden shape can only be guessed at through its acoustic translations. By collaborating with multiple composers, the process of direct auditory comparison allows for multidimensional insights. It reveals common traits in unlikely places and highlights differences between individual approaches. Ambiguities of sound/score relations, emergent parallelisms and unexpected congruencies become part of the sensory and cognitive experience. The three versions in this release - by Daniel Chernov, Adrian Pavlov and Lukas Tobiassen - were recorded at Sofias 180 Degrees Festival and performed by the stellar group of musicians from Bulgaria, France and Switzerland which came together in Ensemble 180°. The pristine live recordings were further processed by Stefan Goldmann and now represent a stunning sonic hall of mirrors, with multiple vectors of transformation embedded in this dialogue.