2. Hello to another senseless war!
But first, I can say: the record is CATHEDRAL. It is an underwater-record. It is a night-record. It is a red-wine-record. It is a Dancer-In-The-Dark-record, also because the music very often is machine-like. It is a retreat-record, I think, it sounds like it, maybe even a fleeing-record, an escape from the social, the general
social, into the self, where only the special and the particular people are allowed and where work is possible (to be accomplished) - this record - that serves itself. Because, outside of this inner place, that you have to create yourself, that you have to occupy, that is not given to you but steadily challenged, it's more like Severin Heilmann
writes in Streifzüge No. 65 :
'The purpose of work is rarely the work itself, it rather equips one financially to recover from it in his or her free time. Thus one's free time has not itself as content but one's maintenance for work. Which inevitably entails that neither in work nor in free time one can devote oneself to playfulness...'
('Der Zweck der Arbeit ist aber kaum je die Arbeit selbst, vielmehr bemittelt sie dazu, sich in der Freizeit von ihr zu erholen. So hat dann aber auch die Freizeit nicht sich selbst zum Inhalt, sondern eben die Instandsetzung und Instandhaltung für die Arbeit. Was unweigerlich zur Folge hat, dass weder in der Arbeit noch in der Freizeit sich jemand ernstlich dem Spielerischen widmet...')
Still in my own place, that is, my flat, as I was actually
listening to the record, I thought: Crne Vode. I was let down in a diving bell - glockenspiel - on an iron drone - madness protects as fever does. I was lying on my bed like an unborn floating in his mother's womb. The ultimate retreat. Retreat from this world which screams Hello to another senseless war!
From my small notebook:
We are living in a world, in which a huge part of the media is serving to create a narration of Good and Evil (most obvious example in the last days: recurring negative reports from Russia and about Vladimir Putin, whom I do not want to defend here, I just want to point out that the narrative has chosen another villain). We depend on this media, there are few alternatives. We know that the news transport lies and that seemingly and former respectable media have chosen or had to choose a side in this (great) game. We accept reluctantly or willingly the lies that serve those who exercise power as an argument to legitimize their acts – and in accepting we legitimize the power-exercising and the destructions and poverty they create.
Where in these power struggles on global and provincial scales, can one situate such a record, such an honest, I think, music-album, that therefore appears as not from this world. How put it in relation with society? And even more important: How does it create this relation itself?