ESP Institute artist Bartellow, one third of the project Tambien and otherwise known in the Contemporary Classical sphere as Beni Brachtel, returns to the label with his second full-length release, 'Noosphere'. While currently heading the SVS label and residency series out of Munich, Beni’s resume expands well beyond electronic music to include immersive sound installations such as 'The Adventure Of The Empty House' (solo live performance across seven floors of Walter Henn’s Deckelbau building), a slew of compositions for the Bavarian State Opera (for which he doubled as conductor), and a prolific career of over twenty-five theater scores for institutions such as the Münchner Kammerspiele, Schauspiel Basel, Maxim Gorki Theater Berlin, Berliner Ensemble, Schauspiel Köln, Schauspiel Graz and with directors Ersan Mondtag, Alexander Eisenach, Jessica Glause and Tobias Staab among others.
	'Noosphere' is a compendium excerpting from theatrical scores 'WUT' (Elfriede Jelinek, at Schauspielhaus Köln, directed by Ersan Mondtag, 2020), 'Ödipus and Antigone' (Maxim Gorki Theatre Berlin, directed by Ersan Mondtag, 2017), 'Der Zauberberg' (Thomas Mann, Schauspiel Graz, directed by Alexander Eisenach, 2017), 'Hass Tryptichon' (Sybille Berg, Wiener Festwochen / Maxim Gorki Theatre, directed by Ersan Mondtag, 2019), 'Wonderland Ave.' (Sibylle Berg, Schauspielhaus Köln, directed by Ersan Mondtag, 2018), 'Die Verdammten' (after Visconti´s film, Schauspielhaus Köln, directed by Ersan Mondtag, 2019) and 'Roi Ubu' (Alfred Jarry, Theater Neumarkt, Zurich, directed by Alexander Eisenach, 2018). 
	The work traverses homages, infusing everything from Baroque to Impressionism, and while these types of references are certainly built into the canon of Theatre as a discipline, here we gather historic layers in an even wider net. Under the self-referential thumb of Contemporary Classical music, this sort of "hindsight" approach has been largely avoided, however, in today’s all-access arena, the constant stream of historic causal-chained events has opened a delta where anything is possible. This defines Bartellow’s stance among his colleagues as well as his cultural position as a composer.
	Beni considers beauty a fleeting objective in the arts, that expression is often expected to follow notions of Destructivism or the unfulfilled. Art will pore over wounds, collective angst, mourning a loss of natural habitat or a fear of technological invasion, yet there is a bitter irreverence for the friction or salvation in beauty itself. Acknowledging this subjectivity — what one audience considers superficial pleasure may be deeply profound to another — he leans into musical instinct as if composing via divine conduit.
	'Noosphere' conjures a array of suspense, ecstasy, melancholy, and dread, but in isolating the work from its theatrical component, Brachtel directs our focus toward formal qualities, clearing unimpeded space to conceive fresh narratives and examine dynamism and interconnectivity. In sympathy with often difficult theatre pieces, the passages can be dark and transgressive, but more importantly they remain relative to Brachtel’s circumstances at their time of creation. The title 'Noosphere' speaks to the evolution of human thought and knowledge, opening a door to subjective points-of-view. For example, 'Nexus II On The Beach' refers to both Roberto Musci’s 'Water Messages On Desert Sand' as well as the film 'Bladerunner', invoking the image of a android enjoying the sunset, but whether or not this abstraction may be considered beautiful depends the listener’s cumulative life experience and perspective.
	This is hybrid chamber music, augmented by electro-acoustic layers, juxtaposing various periods and successively processing their residual themes into a trans-generational rendering of “now.”

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~ unusual as usual ~

sound addict without limits back from the death



There is no god, only people using the others' need of finding purpose in their insignificant existence.

There is no satan neither, satan is creation of the "holy" people to keep the believers scared, and thus easily controlled, obeying the true demons which those preachers serve - also people like you and me.

Hell is real, and it is on Earth. If you don't get what I mean, you are either part of the lucky minority or too stupid, or probably both.

The true evil does not like those educated in a way to be able to tell right from wrong without their shepherd.

Being kind to all and everything is purpose good enough. The evil always comes as an angel of light and gradually prevails. Those who truly believe that their purpose is to lead the others in the right direction are to be feared the most.

Providing proper education is fighting against evil. Perhaps your mother or first grade teacher is the real hero - those who fight in wars kill people.

p.s. They might say I'm fucked up.  Some like and pay to watch movies that scare them shitless, often involving a lot of blood and murder – isn’t that fucked up? These days, I can listen to 70-80s and nowadays truly good music more and more rarely. Actually, I have never had my own TV. Тhe TV news I catch in friends or relatives usually make me sad. It seems most people are interested in others' suffering more than anything else - the majority of them definitely deserve their faith.

p.s.2 This is my current view and I don't pretend it is right. It might change, everything changes.

"Le temps détruit tout."