All diese gewalt welt in klammern

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Very quietly – or, an ext accurately, very loudly – and almost totally unnoticed von Germany"s network des indie home builders (mainly based an Hamburg und Berlin), Stuttgart, a wealthy southwestern city now governed by a green mayor, has developed a number des notable alternative musicians and labels. A an excellent introduction zu this "scene" ist the 2013 sampler aptly titled von Heimat kann sein Man hier Nicht Äußerung (“One can"t really talk of home here”). And, if even national newspapers are now starting kommen sie react to the supposed emergence of a “Stuttgart school”, one character has actually received specific attention.

Max Rieger is the vocalist of acclaimed post-punk trio das Nerven, and being involved in several various other projects together as ns drone-dub outfit Jauche, und producer weil das a number des indie bands. He records as a solo artist under die All Diese aufstand (“All this violence”) moniker, and has deswegen far exit one EP – 2014"s kein Punkt mehr Fixiert. His debut album, Welt bei Klammern, “World an Brackets”, released bei September von the renowned Staatsakt label, zu sein a fine popular music gesture coming somewhat unexpectedly from someone known for guitar noise und a type des lyrical punk-expressionism somewhat common zu a far-reaching amount des German absent bands native the belastung 30 years or so.

Du schaust: All diese gewalt welt in klammern

Welt in Klammern ist a break, or perhaps in intervention: there"s not viel noise, hardly any kind of superficial gegenwärtig despair und a near-complete abstinence native cramped loud-quiet dynamics in these ten songs. Many von the tracks resemble approximately music and the an ext repetitive side of the post-rock spectrum; bands choose Tortoise, zum example. Because this un-rock"n"roll yet vaguely psychedelic music comes from Germany, die anglophone welt might it is in tempted zu attach that to the profitable kraut-rock label, however Rieger cites steve Reich together one significant influence and as a compositional strategy this uses well to the layered und richly textured compositions driven über intermingling synthesizer arpeggios, drum computers, und sometimes, bass lines evoking a dark neu wave disco sound. One or two lied – an especially opener "Wie es geht" – möchte bring zu mind the xx, however it"s a happen association. Ns overall form of ns album mutates indigenous climatic buildups to more dream-like, floating states. Lieder glide into each other, und though Rieger had zu choose native a big number von finished recordings zum the album, die whole point sounds coherent, together though written as one continuous piece, through one certain idea in mind.

Rieger"s voice, bearing probably die greatest similarity kommen sie his previously work, zu sein heavily present. Yet here, it sound somehow different, an ext reflective: monotonously, he sings und repeats verses that seem to refer zu forms und objects, and also to bei unidentified "You". Significantly, though, die lyrics don"t cling kommen sie a traditional narrative "I", something Rieger has experimented with, but an Die Nerven has actually mostly held kommen sie convention, to cliché even, that sing “In meinem kopf spielen sich jene ab ns keiner ich verstehe / die keiner werden will” (“In mine head there"s sachen going on that no one möchte understand / the no one wants to understand”).

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There ist a sense des calm, stemming from the fact the we room either too far within or too far outside to hear ns storm. At die same time, ns album is affected with an omnipresent feeling des fading out. Rieger has said that he write his lyrics in between places, when waiting weil das someone to turn up, or after absent a train. This lyrical rootlessness, a lack of place und of a clear association with the centered subject, zu sein palpable, especially on more ambient tracks such together "Klang" or "(Ohne Titel)". No Future, sure, but so no past.

All of this makes weil das a very beautiful und melancholic ride, one mostly devoid of individualist tropes choose anger, paranoia or despair. In a way, it is in album around passive discovery. That ends v vague hopes for tomorrow in "Morgen alle Neu", followed by the close up door "Geister" – a hauntological folk lied where a helium-tinged voice, reminiscent von Quasimoto (and his German tantamount Marsimoto), zu sein heard sighing something about a important distance. A installation way des ending bei album by someone who möchte hopefully continue to make music as moving und focused together this.


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