THINKING ABOUT TOMORROW, AND HOW TO BUILD IT
November 2017 on Bureau B
“THINKING ABOUT TOMORROW, AND HOW TO BUILD IT” was composed in Tehran, a metropolis of 12 million people and the capital of Iran, often portrayed in the western world as the “Heart of Darkness” or “The Land of Fear”, notoriously located on the “Axis of Evil”. In the winter of 2016/17, Andreas Spechtl spent two months here, during which time he played ten shows in his Tehran studio. Meanwhile, in his adopted home of Berlin, a terrorist attack took place at the Christmas market on Breitscheidplatz. Temperatures in a Tehran winter can drop to minus 10° Celsius. It snows too. Taxis thread their way through dense traffic, ferrying passengers from one private apartment to another. In Tehran, private space becomes public space, whilst public space is traversed as quickly as possible: “Hidden Homes”.
We hear: traditional Persian percussion and string instruments, sampled by Andreas Spechtl, rearranged and treated with contemporary beats, filters and effects. Aural structures rise up in space, as complex as they are fascinating and disorientating. Nevertheless, even-tempered rhythms mark out a more familiar path approaching narratives in recent electronic music.
Walter Benjamin wrote in his Moscow Diary that you learn to see your home more clearly from a distance. This simple observation can be laid like a matrix over Andreas Spechtl’s record. In reflecting on the other, he reflects on himself; ruminating on Tehran turns his thoughts to Berlin, from his own to the unknown.
The record he has made holds a mirror to the certitude that we need not live in fear of the future – a central motif in these ten new songs, articulated through track titles such as “TMRRW” and “Future Memories”. The citizens of Tehran are not afraid of the future. They understand that things can only get better. Until then, they will continue to party and celebrate creativity behind closed doors. And Andreas Spechtl found himself doing the same.
“I have always been enchanted by the beauty of language”, explains Andreas Spechtl, who grew progressively quieter on “Africa Blvd” in the Persian winter. The less he spoke, the more music became his language, which is why his new album is predominantly instrumental.
First and foremost, the future so optimistically envisioned in so few words by Andreas Spechtl is created through friction. Thomas Bernhard once wrote about a terribly flawed Austria and gleaned his poetry from this friction. Andreas Spechtl left behind the contemporary comforts of a frictionless Berlin for a place where language was elusive, yet the intrinsic friction energy of the place was tangible, transformable into hybrid, at times ambient music. In a country where so much is forbidden, the future promises unlimited possibilities. Repressive tolerance, where an individual anything goes stands in isolation, is a lead weight pushing down on Germany, but not on Tehran.
“THINKING ABOUT TOMORROW, AND HOW TO BUILD IT” is both document and witness, a grand, opulent field recording collated in ten diary entries.
out on bandcamp June 2017
These two improvised live sets of electroacoustic noise were played & recorded by Andreas Spechtl (Ja Panik etc.), Claas Großzeit (Saal-C etc.) & Dirk Dresselhaus (Schneider TM, Angel etc.) on 11th & 12th of July 2015 in a former hog house during the Octavist International Festival in Heimsen, Germany.
All self-made instruments & sound sources were based on found objects, animals & buildings of the village of Heimsen.
Grosszeit / Schneider / Spechtl are members of the Octavist International.
Andreas Spechtl: found objects, thielekings harp
Schneider TM: found objects, field recordings, effects
Claas Großzeit: found objects, electric motors
Mixed & mastered by Dirk Dresselhaus June 2016 at ZONE, Berlin.
Andreas Spechtl – SLEEP
July 2015 on Staatsakt (Caroline International)
Listen to the Album on Spotify:
Text by Jörg Heiser:
Sleep is a record of the night, when eyes are closed and breathing is slow. It’s a record of the wee small hours of the morning, when the sky turns from black to blue. And it’s also a record of those shimmering hours when, in the flickering light of street lamps, people roam the streets in search for a hotel bar still open. It’s the piano tinkles of whispered thoughts and strangers’ voices, with basses and interference noise throbbing like repressed desire at the back of your mind, and horn section stabs coming in like headlights of passing cars, lighting up the darkened room. It’s a record of the in-between, when your mind is too tired to not be receptive for the unexpected. When place and time seem to stretch and contract, following the strange logic of dreams.
Andreas Spechtl recorded Sleep over the course of two years. Spechtl, Austrian-born and based in Berlin, is the writer and singer of rock band Ja, Panik. In 2014 they released their much-acclaimed fifth album Libertatia (it was number one record of the year in the readers’ poll of Spex magazine).
Any comparison of that kind is inevitably flawed: but imagine The Clash’s Sandinista! transposed to the present, translated into German with poly-lingual references thrown in, listened to by a post-optimistic generation of urbanites tired of the phony imperatives of neo-liberalism and the ‘Creative Class’, ready to ruffle feathers, ready to change something because you know something is going to happen but you don’t know what it is, yet.
Also imagine that Sandinista! hadn’t been a double album, but two separate ones. One being a collection of all the sharp-edged, stirring tunes; and the other one of all the fuzzy-edged, dubby tunes. In a way, this is how Sleep relates to Libertatia: it’s that other side of the rule of reason, when sexy slogans and catchy hooks have faded away and intoxicated tiredness turns into another state of perception.
But as said, the comparison is flawed. For one, Spechtl recorded Sleep largely on his own. Also, rather than dabbling in genre like The Clash did with Reggae or Rockabilly, Spechtl elegantly bypasses genre. In Duérmete Ninõ, for example, it’s like Brian Eno and Ryuichi Sakamato had telepathically agreed to send each other slow, searching piano and synth motifs over short wave radio, across the globe – and then suddenly a Spanish post-war mother’s lullaby interferes, before Dub-like warping echo sounds enter as well, and a saxophone eulogy. But this is neither Ambient, nor Dub, nor Folklore. It’s not Trip-Hop either. Sometimes you start to think: this could turn into Bhangra, but then it doesn’t. Or into film music, but then it doesn’t. These are fundamentally hybrid non-genre tunes following, as said, the logic of strange dreams and ghost-like appearances – not the logic of tradition and its appropriation.
Spechtl recorded not only over the course of two years, but also in two layers. The first layer, and starting point, where field recordings Spechtl habitually does when on the road with the band or traveling on his own. Anywhere from Saarbrücken on the German-French border, to Cadiz in Spain, to Accra in Ghana, and back to Dresden or Munich. The main reason he keeps carrying around the small recording device with him at all times is to be able to make audio sketches of ideas for songs and lyrics. But doing so he keeps recording background noises, the humming of taxi motors or the summery nighttime chatter in front of a bar. Commented on with simple lines like “No one lives in these cities, no one but Sleep” (Sister Sleep), or: “Germans, they get dangerous after dark, so watch out in Dresden, München, Berlin” (After Dark), encapsulating the ambivalence – and contiguity – between post-reunification xenophobia with ugly phenomena such as the Dresden-based Pegida movement, and the “dangerousness” of Berghain hipsters looking for intoxicating kicks and thrills. But then again: “Sleep came here to stay, sheep came her to lay you down” (Duérmete Ninõ).
These background noises of politics, machineries and everyday chatter were the actual starting point – the ambience which Spechtl recorded, and gradually turned into tracks. Interrupted by the recording sessions and touring for the Ja, Panik album, Spechtl returned to these tracks in early 2015, recording the second layer consisting of sparse dabs of vocals, drums, bass, guitar, piano, and occasional brass (Spechtl has played everything himself except the latter, contributed by guest musicians). Nothing is programmed here, but either played live or collaged from field recordings. Following the strange logic of dreams.
Dreaming, strictly speaking, is an in-between state: we’re not awake, but not in deep sleep either. Our eyes are moving back and forth. It’s what we share, across all antagonisms. The sleep of reason produces monsters, as Goya depicted and put it in 1799, in the aftermath of the French Revolution. But the sleep of reason also may produce strange, beautiful creatures – the antidote to the false certainties of reason. You’re headlessly in your head. Welcome to Sleep.
Jörg Heiser, July 2015