Audiac’s 2003 debut, Thank You For Not Discussing The Outside World (Klangbad), was produced by Hans-Joachim Irmler of Faust and continues to maintain a top-20 ranking on rateyourmusic.com’s trip-hop chart between Portishead and Massive Attack. The sound occasionally recalls the radio-ready freeze-dried chansons of Bowie or Björk, but its emotional nudity anchors it firmly in the tradition of performance art. With hooks, of course – Alexander Wiemer and Niklas David may be slaves to the self-assigned task of designing a musical universe from the inside out, but they have no intention of inhabiting it alone.

The new album – due out in September 2017 – takes the duo even farther into the realm of musical abstraction. David weaves keyboards, samples and synthesizer into landscapes of shimmering harmony, then deconstructs them with powerful gestures of dissonance. Wiemer’s dynamic, jazz-inflected vocal stylings skate across frozen lagoons of polyphony or draw on the power of interjected rhythms. Ringer Anja Füsti provides commentary in the language of classically trained percussion. The only constant is drama.

“Beats are all about getting into a zone and staying there,” David explains. “To me, melody and harmony are the interesting part.” Increasingly, he says, Audiac takes its inspiration from Romantic and classical music. But there is nothing classical about their sound. Audiac has made a clear commitment to keeping art rock firmly straddled on the cutting edge of technology. As Greg Lake so eloquently put it, “You can change the world, but if you lose control, they will take away your T-shirt.”

Audiac’s live shows are legendary. As a performer, Wiemer melts women’s hearts and makes men’s balls cramp to the size of hazelnuts, a boon to bartenders everywhere. Only the necessity of staring fixedly at a bewildering array of sound generators saves David from sharing the audience’s fate: As his wife can attest, his T-shirt never leaves his body. The last time I saw Wiemer, I think he was wearing a stiff, transparent vinyl blouson over his erect nipples. But I can’t really say because I went blind that night. That is, if you get a chance to see where Audiac’s music comes from, don’t miss it. Headphones only tell half the story.

AUDREY SUMNER

collapsing-pop

releases:

ghostandthesong_escapades
http://www.mediafire.com/?qa88d0du8yq4qvu

ghostandthesong_escapes
http://badpandarecords.wordpress.com/2012/03/26/badpanda120/

ghostandthesong/chris rehm_unschärfe/ shimmer [C30]
http://dztapes.bandcamp.com/album/unsch-rfe-shimmer

track "eastern danger" on "Decoder Magazine #1" compilation
http://crashsymbols.bandcamp.com/album/decoder-magazine-1
.

contact:maze.k at <a href="http://gmx.de" rel="nofollow" target="_blank">gmx.de</a>

 Klangbad for :::seltsame Musik:::

If one were to capture the release policy of the Klangbad-label in a nutshell, one could say: no stereotypes. It seems that there is no such thing as the typical Klangbad-sound. Although it would not be hard to create a 'sound of the family' against the backdrop of the Krautrock icons that faust are. And in the sense of a 'corporate identity' do exactly the same thing with each new release. People in marketing think that way. Creative people don't.

With Klangbad, Cornelia Paul and Jochen Irmler have created their own creative biotope. At the core of this creative cell they are themselves. Their built-in studio plays a leading role in all their artistic processes. It's here that Jochen Irmler together polishes and hones future releases. It is also the place where the dialogue between the artists and their label takes place. Not only the 'product' and its marketing according to certain trends are the focus of attention, but the creative process. Like faust as a band have always done. The research and exploration of new sounds that the band started, is now carried on by the label.

So in a way the sound of Klangbad does exist, but not as a fulfilment of stereotypical clichés. On the contrary, it is the incalculable, the non-stereotypical and the surprising element which is at the core of Klangbad's catalogue. Intricate Psychedelia, Rock with a cutting edge, intelligent HipHop, Electronica - the curiosity is boundless and they are not afraid of exploring new horizons.

Faust, Circle, Dälek, Cluster, Christy&Emily, nufa, FM Einheit, Ole Lukkoje, Kangaroo Moon, Nista Nije Nista and the others: as varied as their individual music may be, everything sounds original and unmistakable. Because boredom is death. Welcome to the sound of Klangbad!

In 1996, the musicians of faust were fed up with the nuisance of dealing with most of the profit-orientated record companies. Out of this realisation, Klangbad was born. A musical project by faust of the same name in a swimming pool helped to find the name for the new label.

Today they have extended this idea. With the Klangbad Festival, which was started in 2004 as a "thank you" party for all volunteers who helped to built up the FAUST Studios, they have now everything done to work on the above mentioned process. Festival, Label and the Studio are the combination, which allows us to work independent and to create our own sound.

More info: www.nilsfrahm.com

Management: 
felix(at)agentur-grimm(dot)com


Klangbad is following