This release explores the mental processing of a profound disruption that has, for now, resolved favorably.
It is an exploration of normality and its withdrawal, despair as well as one’s own finiteness and the establishment of a new normality that carries all of this within itself and perpetuates it.
Easier listen than digest is a meditation on a ride through hell: both in slow motion and at the speed of light.
A very interesting and elaborate sound is found in the darker overtures, while there is a sense of distinction commanded from the more ornate folk trappings. The sparse expanse that narrows on the sound adds a heightened sense of resolve which allows a more alternative style to be embraced. The ambience that collects is suitably mature and it endears the way everything travels through here.
The way the music is developed is reflected in the expressive touches which are well considered here. It is able bodied with the the textured elements cleverly processing the folds in a way that is highly calculated here to accommodate the balance that the intention of the artistry accommodates.
Most certainly an intriguing listen that allows a more explorative musical style to assimilate on the tracking each time to fine effect.
——review by unsigned & independent, online fanzine“Don’t count with your brain, count with your gut.”
That was Markus Wolf's, alias Klingt Eastwood’s, answer to my question about how he approached the soundtrack for Sönke Held’s silent film.
In collaboration with Doris Rottler, “this counting with your gut” resulted in a piece of music that is sensitively woven around the rhythm of the film, which was composed entirely from scratch for this competition and recorded in real time. The song does not get lost in details, but focuses on the essentials, allowing the images to unfold their greater power and capturing the film’s dark, eerie mood with surprising ease.
The 20min|max Film Music Award 2012 goes to Markus Wolf and Doris Rottler, alias Klingt Eastwood.
Congratulations!
——Jury statement / laudatory speech by René Arbeithuber.Criticism suspects everything, accuses everything, and judges everything. It is thus part of a tradition: first, in religion, God judged humans; then, in theodicy, humans judged God; then, in criticism, humans judged themselves.
The judgement of criticism is therefore self-judgement, and that is exhausting: that is why criticism chooses the way out of not being the accused, but the accuser; it exonerates itself by judging, so as not to be judged.
——Odo Marquard: Farewell to Matters of Principle.
Does the forest smell like shampoo,
or does the shampoo smell like the forest?