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CD/DVD
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POTOMAK 919812
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2008 release. Einstürzende Neubauten guitarist Jochen Arbeit presents a collection of 10 years of his solo works for film, theater, performance pieces, and installations. Some of the highlights include: "Burlesque," made for the film Die Unerzogenen by Pia Marais, and recorded in 2006. The piece was ultimately rejected and was subsequently used in a Stupid Green art performance. "Piece For Adidas" was used in a sound-installation for Adidas at the "Bread And Butter" fashion fare at the "Kraftwerk," Berlin 2007. The company commissioned the building of a wellness room with foot massages, beds, interactive monitors, etc., in a completely white room. This piece ran there for 2 days straight. Arbeit's work is richly detailed and often looped -- dark bass and reedy electronics mingling with rough guitars, Rhodes, vibraphones, Chinese zithers, saarang, computer-generated voices, and other accoutrements. Also included is a DVD containing 4 videos and 3 Surround Sound mixes. Housed in a tri-fold, 6-panel deluxe digipack, including a fold-out poster insert of the cover art, with liner notes on the reverse.
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CD
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GROB 657CD
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"'Arbeit' [in German, 'work'], the Frankfurt group of Marcel Daemgen, Oliver Augst and Christoph Korn (active in Blank last year, see GROB 538 and GROB 653) asked themselves this question in the scope of a project made possible by German Radio. What has remained unredeemed of the questioning of the revolutionary workers? Movement and its aesthetic intervention? What has not worn down in the course of time via the demoralizing strategy and party development discussions? What stands for a utopian-critical content, which points beyond historical material, that lifts [aufhebt] it in all three meanings of the word [annul, lift and compensate]? Daemgen, Augst, Korn and their guests do not deal with the material squeamishly, but rather bet on the necessary radicalism. Their music is brutish, noisy, nerve-racking and shrill, or the exact opposite of this: nearly inaudibly quiet. 'The International' sounds like a pop hymn, 'Off, off to fight' shudders with fear via an apocalyptic foundational tone, Franz Fanon is cited and Tony Cliff, a communist dissident. It is a matter of the construction, albeit in vain, of a better Germany, of the German Democratic Republic and of the (hidden) self doubt in all the pathos of construction. The band uses its musical means freely and sovereignly. They know the improvisations, the hard rock, the new music and the Frankfurt techno of the larger discos. But never does this freedom fall into any old way. Marx is hard, but still joyful work (sic!) on the material."
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