Nonplace can be grasped as the antithesis of commonplace or also in terms of quantum theory. The whole is always more than the sum of its parts. In this respect, Nonplace is the counter-programme to the ubiquitous striving for higher redundancy (simplification by digitalization, coding and administration).The
attention shifts away from the individual contribution of any one instrument or player, away from the defining hook and towards the micro-elements of the groove with its patterns of linkage that inhabit the musical forms. In music of this kind, the role played by subjects and grand gestures is no longer central.
The best-known label project is Friedmann’s collaboration with Jaki Liebezeit. They joined forces in order to quietly transgress musical idioms without demonstrative gestures of destruction and deconstruction. In spite of rules and binding expressive forms, the strangely abstract, improvised ritual music that results falls somewhere between trance, dub, differentiation and reflection. Since Hayden Chisholm (wind instruments) and Joseph Suchy (electric guitar) began working with Nonplace in 2000, they have made their mark on numerous label releases. Moving steadily away from jazz into unknown territory, Chisholm authors The Embassadors and pops up on numerous other Nonplace tracks.
The compilation also features five tracks by Flanger. This cooperation between Atom™ and Friedmann began in Chile in 1996 with Atari computers, samplers, Akai MPC 3000 and resulted in three programmed post-jazz album releases on Ninja Tune. Since 2005, Flanger has been publishing on Nonplace. Rashad Becker, the label’s resident mastering engineer, not only mastered the anniversary CD but re-mixed three back-catalogue tracks at the same time. In addition, Mark Ernestus (rhythm & sound) mixed and co-produced a previously unreleased Embassadors title.