music, surreal links to unknown emotions
planet has been traveled extensively. We all know that
its a globe. Everywhere the presence of humans
left its marks. Never again will there be a planet without
these traits. Even that which we call "natural"
is affected by the total humanization and presents a
new face. We can look back to nature, as its the past
from which we emerged but, back to nature
is not an option anymore. In the present age of the
human world innocent nature is but a myth.
a contemporary composer wishes to express human feelings
and if he wants to sound modern in doing so, he has
to pay tribute to the fact that the old naturality of
feelings has been lost. The living world of humans is
not nature anymore but, humans now live in their own
world in which they themselves are the centre. The composer
therefore has to abandon the old techniques which sought
to imitate nature, those of singing about and visualizing
it, and makes use of new ones. He wants to be spontaneous
and subjective. The new compositional techniques are
derived from his mode of living. The composer doesnt
write his material, no score is laid down. To the contrary
the composer acts as a purely technical composer"
adhering to the skills he got to learn through the total
humanization of the planet. These techniques are those
of processing and distributing information. They are
essentially techniques of the media brought about by
the electronic revolution.
even the "technical composer" has feelings.
Although his emotions are under the technical spell
they remain subjective; they are his own. And, in them
there remains a future to be explored. It is to sense
in what way we will or will not be able to cope with
the new technical subjectivity. And, whether we will
be able to cope with ourselves, really.
the "technical composer" plays his instruments
now he is placed in his own technical living world.
Listening happens in this technical space. The technical
space even effects the internal condition of the composer.
His inner self becomes the place for new dreams. Therein
new feelings are born that mythically look back to nature
and also the technical heart is there. This new heart
can do nothing but hope for the future. It still is
the residue for musical thoughts today. But the composer
captures those thoughts and transforms them into a technical
music. The emotional taking in of nature is thus replaced
by a world of emotions that have become technical themselves.
And it is only those technical emotions that populate
the new living world of humans today.
know about all this. Their music contains thoughts which
stem from the technical living world. It sounds technical
because TROUM use instruments that are successors of
informational technology. Their music is created under
the spell of this technology. A technology that has
slammed the doors to nature shut. Their music has to
reflect the fate of natural emotions.
means dream. TROUM chose this Old Germanic
term to be able to remember the old and to save the
option of looking back even though a returning remains
impossible. TROUMs music tells us about the pain
that is here to stay.
are "GLITSCH" and "BARAKA[H]" , a duo out of Bremen
who search the nature of the pain of what it means to
be locked in a technical living world for many years
now. For their compositions they prefer to choose technical
means that can be manipulated spontaneously and in a
colourful way. The music is fully soaked by all aspects
of the living worlds fate. It contains those thoughts,
feelings and unconscious affects that the living world
provokes as responses especially from young people.
In return these young people - through making the music
they make and no other - free themselves from all notions
of a return to the mythical world of pure naturality.
Their music works on that myth. It bears the marks of
humans who accept their fate as a common guilt.
wants to be understood. Even if the musics dark
it can be precise. The listener can comprehend TROUMs
music through accepting the reality of the technical
spell. Like the musicians themselves do. If the listener
succeeds in doing so he will be granted access to the
feelings which grow out of the completeness of the technical
spell. It is the musicians courage and youth that
enables them to explore this spell in the subjectivity
of their music. Through their courage the listener can
hope to reach for the unconscious feelings of which
he would otherwise remain unaware of.
produce nautical music. TROUMs music dives into
the unconscious. The unconscious is not concerned about
nature or about the old humanity. Today humans handle
technology unconsciously; likewise their unconsciousness
can be explored and revealed through technical means
and devices. TROUM deliver the news about the unconsciousness
of the technological living world. In a living world
that drowns in information TROUM poses the chance to
remember for the listener by utilizing the technical
means of the flooded living world. Even if the music
may appear alien at times it is not.
nautical music leaves marks too. The listener feels
that there is a new unconscious to be discovered. Uncomfort
and suspense befalls the listener. This is due to the
experience of our young musicians which they can rely
upon and which ignores all kitsch notions of false naturality.
More and more TROUMs music borrows from psycho-active
techniques. A technical knowledge of our fate is generated.
A fate which is dictated by the technical living world.
This living world itself is psycho-active, it puts weight
on the emotional life of its inhabitants and also on
their physical condition. It is the psycho-activeness
that defines the increasing distance TROUMs music
has to the New Age musics that seem to be the result
of a misunderstood naturality. TROUM seek to redefine
psychology and psychomusicology. The old discussion
about the body and the spirit wont suffice anymore.
The stress is now on the concept of the body having
lost its conceived naturality and defining humans anew
through the technical spell that acts upon it.
work on the understanding of the technical human being
through their music. The music tells us of nautical
experiences, about humanitys fate and that of
its emotions in a living world completely governed by
technique. Young musicians fully experience the spell
that is emanating from this world and which no-one can
Schridde, Hannover, February 1998
to Till Kniola for the english translation !