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Archives: Dezember 2014

Sommerlich warme Winterstrandkörbe („electrified beach chairs“) sind die vorläufig neueste Kreation unserer Wohlfühl- und Erlebniskultur. Wo sich aber kein Raum für das Surreale öffnet, verpuffen all diese Wellness-Kreationen wie jede andere kurzfristige Luxuserfahrung auch.

Das Surreale kann manchmal die Gestalt heimlicher, keinesfalls heimeliger, eher unheimlicher, Stille annehmen, Peter Zumthor hat auf diesem Gebiet Bedeutendes geleistet – nicht ohne Grund wurden einzelne seiner Kreationen schon mit erlesener Ambient Music von Paul Schütze, Thomas Köner oder Brian Eno akustisch angereichert, in kleinen Zeitfenstern, um dem eigentlichen Geräusch der Stille Raum zu lassen.

Vor dem Bergpanorama Graubündens träumte einst, in den Neunzigern, eine kleine Gemeinde von einem Erlebnisbad, aber niemand aus dem Ratshaus schien geahnt zu haben, worauf man sich bei dem Schweizer Architekten eingelassen hatte. Kein opulentes Wellenbad, keine Wasserrutschen mit geliebtem Kindergekreisch! Die Ruhe, die einen hier in Vals kalt erwischt, erinnert eher an Klöster und Totengedenkstätten. So wurde die Therme bald unter Denkmalschutz gestellt, und Leute, die gerne ihren Sekt korrekt trinken, oder Wörter wie „stylish“ und „handysh“ benutzen, würden hier rasch von subdepressiven Schwingungen heimgesucht.

Die Stille gibt den Ton an, wenn man den streng rechtwinklig geformten Raum betritt, geformt aus jenem grau-silbrig schimmernden Gestein, das unweit des Ortes abgebaut wird: Quarzit. Kritiker haben schon garstige Worte gefunden für die Therme und vom „schönsten, überlebensgrossen Sarg Europas“ gesprochen, „in dem man sich frei bewegen könne, und nur selten auf andere Untote treffe“.

Andere belassen es bei ihrer Sprachlosigkeit, aber natürlich gibt es auch hier Esoteriker, die alles, was Stille verspricht und solches Versprechen auch gnadenlos umsetzt, gleich „mystisch“ nennen, oder „spirituell“. Mal fällt der Blick auf einen rostigen Wasserlauf, mal auf die Bergwelt draussen. Einem Cronopium, das dort verweilt, könnte eine Zeile aus einem alten Talking Heads-Song in den Sinn kommen: „Heaven is a place where nothing really happens“.

2014 4 Dez.

Jan´s and Ian´s Top Twenty 2014

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Hilary Hahn & Hauschka: Silfra


 
 
Ulrich Schnauss: A Long Way To Fall
Kate Bush: Aerial
Wolfgang Riechmann: Wunderbar
Daniel Lanois: Flesh And Machine
Moebius/Plank/Neumeier: Zero Set
Jon Hassell: City – Works Of Fiction
Moebius & Tietchens: s/t
Gong: I See You
Leonard Cohen: Popular Problems
Asmus Tietchens: Humoresken und Vektoren
Hans Zimmer: Interstellar (Soundtrack)
Ursula Oppens & Bruce Brubaker: Meredith Monk – Piano Songs
Lawrence English: Wilderness Of Mirrors
Gottfried Huppertz: Metropolis (Soundtrack, RSO Berlin, Ltg. Frank Strobel)
Hans-Joachim Roedelius: Roedelius Plays Piano
Hilary Hahn & Hauschka: Silfra
Boris Blank: Avant Garden I – IV
Klaus Dinger: Japandorf
Keith Jarrett & Co: Sleeper
Gary Burton Quintet & Albert Mangelsdorff: NDR Jazzworkshop 114, Dec 9, 1975
 
 
Jan Reetze
 
 
 
 

Harold Budd: Jane 12-21


 

  1. Syro – Aphex Twin (Warp)
  2. Tin Roof – Charcoal Owls (Night School)
  3. Landmarks – Brian Blade & The Fellowship Band (Decca)
  4. Lay-by Lullaby – Janek Schaefer (12k)
  5. Electroacoustic Sludge Dither Transformation Smear Grind Decomposition nO!se File Exchange Mega Edit – Russell Haswell & PAIN JERK – (Editions Mego)
  6. Ghost Stories – Coldplay (Parlophone)
  7. Jane 12-21 – Harold Budd (Darla)
  8. There’s A Blue Bird In My Heart – Anders Parker (Recorded & Freed)
  9. Lion – Peter Murphy (Nettwerk)
  10. Synthesist – Harald Grosskopf (Bureau B)
  11. High Life – Eno/Hyde (Warp)
  12. My Krazy Life – YG (Def Jam)
  13. Korrupt Data – Korrupt Data (Planet E Communications)
  14. Black Metal – Dean Blunt (Hostess Entertainment)
  15. Asiatisch – Fatima Al Qadiri (Hyperdub)
  16. Church of Anthrax – John Cale/Terry Riley (Esoteric)
  17. Tremors – SOHN (4AD)
  18. Yellow Memories – Fatima (Eglo Records)
  19. Music For Robots – Squarepusher (Warp)
  20. Big Music – Simple Minds (Simple Minds)

 
Ian McCartney

 


 
 
 

We sat in Cafe Beckmann, in Dortmund, and one guy in our class had always been looking for strange, leftfield music. We all loved the Beatles or Stones, and my No.1-band were The Kinks, but this guy, P.S., came up with early Charles Lloyd, with Caravan and Soft Machine. One afternoon he gave me his copy of Soft Machine’s THIRD, and this was the beginning of a long-time relationship with Robert Wyatt’s music. All four sides of that double album were killers, but Robert Wyatt’s MOON IN JUNE overwhelmed me with its surreal beauty and his singing. I don’t know how often I had heared it during my late teenager years, but I think I belonged to the Top Ten or Twenty of German MOON IN JUNE-listeners.

Years later I stood in DIE SCHALLPLATTE, a record shop in Dortmund. The man in the shop (that was very small but seemed to contain the best music of the world) looked like Jimi Hendrix, and the woman was so much older than I was then, and sometimes I dreamed of her fucking me all day and all of the night. She was no. 10 of my masturbation charts. Both knew a lot about music, there I bought my first ECM album which must have been SART or RUTA AND DAITYA – and now there stood a guy in the corner. I knew him only a little bit, but I knew he was a music freak of highest order. So I approached him from the side and saw that white-grey album in his hands, ROCK BOTTOM. – He fell out of a window, he said to me, but now he’s back. Immediately I took another copy, had to wait much too long for the bus, ran home with that album in my hand, and put it on the record-player. I was stunned.

From that year on I always got a new Robert Wyatt-album as soon as it appeared in the shops. Often there were long breaks between his solo albums, but it was always worth waiting. The next album nevertheless was released quite fast after ROCK BOTTOM, and it was called RUTH IS STRANGER THAN RICHARD. By that time I had a little cassette record player with batteries, and on my holiday with U.U. in the Bretagne it was nearly the only music we heared in the car, the other one was HOTEL HELLO with Gary Burton and Steve Swallow. Musically spoken, these were days of wine and roses and Camembert and baguettes, but we were young, not really in love, the sex was so la la, and even when we returned via Paris, we couldn’t live up to the cliche of „the city for lovers“: the only real magic of those days was looking at the sea for hours, swimming at rocky coasts, sitting quietly in a famous little parc in Paris, and listening to Robert’s and Gary’s music.

 

 
 
 

Tord is the man for the beach chairs on the coastline at Rantum’s dog beach. In December he is sitting there alone reading old Simmel novels. Before closing his office in the dunes, he sold me one of his special beach chairs (one of three only between December 1st and December 15th). Here on Sylt they have high-tech beach chairs in winter time calling them „Winterglut“ similar to this crazy tea promotion selling „wellness teas“ with smooth names like „Abendglühen“, „Zimttraum“ or „Waldlust“. Names for future Till Brönner theme records!

These new beach chairs guarantee summer temperatures (inside) with built-in electricity making no noise at all. I went down to the sea looking for „Winterglut No. 3“. The other two ones were already deserted. No, there was one person sitting in another one („Number 2“) waving a hand. I waved back. Strangers in the evening. Darkness came slowly. I sat down, followed the simple instructions, and warmth surrounded me within minutes. The water was near, small waves, ice-cold temperatures outside. I remembered my bathing accident at the Algarve and decided to make this evening a purely meditative experience. No suicidal impulses for ice bathing.

When I started sweating I took out my clothes, only wearing underwear in the end. A mellow red light inside the chair. After enjoying the sounds of the sea for a while, and after drinking two glasses of a fine Cabernet Sauvignon, I put on my headphones and listened to Thomas Köner’s new album (on Denovali Records). One hour passed with grace – a strange light show of red light, black sky and white waves was the perfect ambience, like a psychedelic dream. Finally the person from „Winterglut No. 2“ approached me, a middle-aged woman with blue eyes (a kind of blue that cuts through darkness), and she said: „A bit weird, all this, isn’t it? May I join your red light district, Mister?“

2014 3 Dez.

Ulrichs Top Twenty 2014

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Flying Lotus: You´re Dead!


 

Bohren & Der Club of Gore: Piano Nights
Steve Lehman Octet: Mise en Abîme
Flying Lotus: You´re Dead!
Actress: Ghettoville
Erik Honoré: Heliographs
Watter: This World
Wanda: Amore
Sebastien Tellier: L´Aventura
Polar Bear: In Each and Every One
Møster!: Inner Earth
Fennesz: Bécs
Christina Vantzou: #2
Økland/Lie/Haaland: Lumen Drones
Arve Henriksen: The Nature of Connections
Anja Lechner & Francois Couturier: Moderato Cantabile
Jeff Ballard Trio: Time´s Tales
Robin Williamson: Trusting in the Rising Light
The Gloaming: s/t
Marissa Nadler: July
Die Zimmermänner: Ein Hund namens Arbeit
 
+ Some Older Stuff
 
Diverse: Calypso. Musical Poetry in the Carribean 1955-69
Diverse: Tropicalia ou Panis et Circensis
Bob Dylan & The Band: The Basement Tapes Complete
Jon Hassell & Brian Eno: Possible Musics, Vol. 1
Die Zimmermänner: Die Wäscheleinen waren lang
Diverse: Science Fiction Park Bundesrepublik.
German Home Recording Tape Music of the 1980s

 

2014 3 Dez.

the 12 manafonistas

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Music from different angles, different genders, different places, flowing through the air
 
 
VINTERHYMNE
 
 
 

 
 
 
AT NIGHT IN HANOI
 
 
 

 
 
 
El MONDO
 
 
 

 
 
Photo VINTERHYMNE © Ziga Koritnik
 

 

 
 
 

  1. Zwischenaktmusik zu Goethes Erwin und Elmire – Komponistin ist Anna Amalia von Sachsen Weimar Eisenacht. [Weil ich mich unheimlich freute, dass die Amalienbibliothek in Weimar nach dem Brand wieder benutzerfaehig ist]
  2. Isabelle Huppert singt in dem Film von Francois Ozons: „8 femmes“.
  3. Wiegenlied von Franz Liszt
  4. Charles Yves: The unanswered question
  5. Eggs laid by tigers: High on a hill
  6. T Bone Burnett: Hang me, Oh hang me
  7. Captain Beefheart: Dachau Blues
  8. Lucio Dalla: Piazza Grande
  9. The Kinks: Muswell Hillbillies
  10. Lucinda Williams: Blue

 
Lajla Nizinski

 
 
 

 
 
 

  1. Molvaer/Oswald: 1/1 (2013)
  2. Fennesz: Bécs
  3. Lumen Drones
  4. Jokleba: Outland
  5. Burnt Friedman and Daniel Dodd-Ellis: Cease To Matter
  6. White Noise: An Electric Storm (2007)
  7. Jon Hassell: City Works of Fiction (1990)
  8. Polar Bear: In Each And Every One
  9. Bill Callahan: Have Fun With God
  10. Brian Eno: Nerve Net
  11. Ben Frost: Aurora

 
Martina Weber
 

 
 

Einen Blumenstrauss fuer Botho Strauss


 

 

 
 

Ich glaube, so ungefähr wie die 5-Sterne-Besprechung von Mike Barnes in der Dezemberausgabe der MOJO, hätte meine Besprechung für ein deutsches Magazin auch ausgesehen. Es ist ein Buch, das auch dem Robert Wyatt-Conoisseur viele interessante Einblicke in das Leben dieses (in seiner Musik) exzentrischen und zugleich so ungemein menschenfreundlichen Songartisten gibt. Himmel und Hölle. Höhenflüge und Abstürze. „What makes this biography so compelling and entertaining is the broadness of its context, as the narrative moves through, pop, jazz and avant garde music, drumming styles, songwriting, revolutinary politics, cultural history, pataphysics, disabled access, and the changing face of Britain, particularly from the ’60s to the ’90s. Wyatt’s opinions are never just pat and he always has a cogent explanantion for his singular take on the world. Much of Marcus O’Dair’s „Different Every Time“ is also very funny. And Wyatt has the last laugh.“ Mike Barnes traf ich vor Jahren einmal in Kristiansand, er ist einer der wenigen Wahlverwandten, die ich in Englands Musikjournalistenschar noch ausmachen kann. Richard Williams schreibt ja nur noch selten.

 
 
 

 


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