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Augst - Carl - Korn
Preis / Price : 15.08 €
Bestell-Nr. / P/O No. : FMP CD OWN-90013
 
 
Oliver Augst vocals, electronics, drum-machine, percussion
Rüdiger Carl claviola, accordion, clarinet, keyboard, drum-machine, percussion
Christoph Korn guitar, electronics, musical clock, mouth organ
 
01.
 Mitropa 04:12
02.
 Polke 01:23
03.
 Leihwitz 02:46
04.
 Finger für Deutschland 02:41
05.
 Doppelmittel 02:31
06.
 Die gute Stille 03:53
07.
 Voce 03:02
08.
 Tanganjika 01:04
09.
Köche 01:20
10.
 Paris-Fulda 02:27
11.
 Turnmusik I 01:22
12.
 Ende siehe Stempel 02:12
13.
 Hausmeister 01:07
14.
 Arm dran 04:13
15.
 Arno 03:16
16.
 Kenntnisnahme etc. 03:56
17.
 Kaiserdom 02:44
18.
 Überfallhose 04:10
19.
 Nico 03:52
20.
 Vectra 02:56
21.
 7 Messer 02:19
22.
 Sarmatien 02:48
23.
 Westkreuz 01:57
24.
 Hosenwurm 02:44
25.
 Nelly 04:06
 
 Total time:  69:01

All music composed by Augst/Carl/Korn
Words by Oliver Augst
Recorded July 27-28, 1999 at Performance-Studio, Frankfurt/Main
Recording and mastering: Walter Brüssow
Produced by Rüdiger Carl and Jost Gebers
Artwork: Günther Förg
Photos: Dagmar Gebers
Liner notes: Felix Klopotek
 
First published in June 2000
 
Excerpt from the booklet:
The musicians come from Frankfurt. At first sight, you can call the work of the Frankfurt School the re-entry of form (as tradition, quote, intertextuality, concept, etc.) into improvisation. Re-entry insofar as the classical understanding of music thought of improvisation as an escape from form, thus resulting in the characterisation as "off the cuff playing" and "free fantasy".
The group gives a practical answer to the reproach that exactly because of the highly reflective musical practice which re-couples the chlichés (=imitations) to a concrete process of discussion with form, the music lacks authentic expression (=bloodlessness) (a reproach which, strictly speaking, confirms the clichés and therefore agrees with this kind of ´music practice´). First of all: they do without gestures of distance, they do not demonstrate the openness and ambiguity of their musical design through failure (an entirely overdone term!). They transform their refusal to adapt typical improv-dynamics directly into an independent form of expression which has overcome the relationship between "given structure/denial". Or, to put it another way: the music is direct, dynamic, expressive without perpetuating once again the dead history inherent in these terms. They not only bring form into their music, they also liquidize it again, they do not see a quote as a quote but also as material. This calls to mind Thelonious Monk for example, of whom it was said that he valued incorrect transcriptions of his pieces and that he even included them in his repertoire. It is about discovering the ´alien´ in your own material and to, well, adopt it as something of your own - form becomes content or, to be more precise: it is about saying good riddance to the contents/form dichotomy.
This is why the popular music echoes which wander through their music, hefty techno attacks, expressive guitar playing, melodies of nursery rhymes are not attitude. It would be impossible to separate them from the core of the interactions - they are this core. And this core mutates, provokes harsh contrasts and abrupt breaks and a simultaneity of different actions which constantly trips over itself and therefore moves out of phase with itself. You never know if the short pieces could have gone on endlessly or if in the three, four minutes (by the way: the characteristic length of a good pop song) everything has in fact been said.
The musicians escape from the dominance of the reference. By exactly these means.
Felix Klopotek
 Translation: Isabel Seeberg / Paul Lytton
 


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