Kreidler - Mosaik 2014 (2009)

Mosaik 2014 toys with the notion that putting oneself beyond time can be
enlightening. Kreidler champion a kind of Godardian futurism in which the 20th
and 22nd centuries merge. Science fiction and modernity: ╗Alphaville½ was
also a combination of these two principles, and Godard shot parts of his film
at Orly. Indeed, that crystalline manifestation of the future, a labyrinth of
glass, steel and marble, is the very same airport I had made my way through
two days earlier, on my way to Berlin Sch÷nefeld.ö (Max Dax, Dissonanz, day
five)

The thrill behind every fantasy is the fear that it could actually come true,
and become dangerous. My secret wish was that the new Kreidler album
would merge the harmonic richness of the Eve Future albums with the
directness of Kreidler live onstage. ItÆs a picture, an abstraction, without the
slightest clue of how it might sound.

Mosaik 2014 - thatÆs how it is meant to sound. Arrangements that feel right,
without me being able to map them out because all of the lines are woven
together so intricately, and because the album was recorded mainly in a week
of live sessions. Above all, this record has more. More rhythm, drums,
percussion. More keyboards, better yet synthesizers that are immediate and
cannot be turned away, sounds that demand something and yet retain great
mystery. More off-kilter loops and more electrical storms. But it is all there to
serve the same purpose: to make this the best Kreidler album of all Kreidler
albums. There is a directness, and things come to the point while still leaving
enough free space. There is longing, solace, fulfillment. In other words, big
emotions.

Mosaik 2014 - the record to put on before going out; the record to get you
euphoric in anticipation of things to come. Then in the club, a surprise, the DJ
plays Impressions dÆAfrique. That whistle is new. The dance, a fury of drums,
is bathed in sweat. At 5 a.m. in the taxi: please turn it up a little, I know this
track. ItÆs Mosaik, that melancholy feeling after the party, the slight
intoxication, memories of the glances and the contact on the dance floor, as
if by chance. The rattling accompanies me through the staircase and to the
door. The night is somewhat restless. Luminous Procuress. A sÚance.
Tableaus are carried past. It is not really threatening, but unsettling
nonetheless. WHAT IS HAPPENING TO ME? Les lettres du blancà […sur les
bandes du vieux b/pillard]. Doom Boys is evil, but not the overt, obvious kind
of evil - this is not a Michael Moore record. ItÆs about the cusp, the swell, the
hidden, and forbidden, that which we do not know, but suspect, and the
erotic. Borroughs, Brus, Crowley, Cronenberg - perhaps here we might agree
on Kenneth Anger for fear and Lovecraft for love. European Grey and
Marauder are the type of disco that got an entire continent swinging, from
northern Italy via Marseille to West Germany. It is another idea of Europe,
one which David Lynch would so much have liked to present to his American
audiences. Zero - the set, gravity, tolerance. Griffith, von Sternberg,
Morrow. Which culture was it again that founded algebra? And donÆt I finally
have to mention AndrÚ Breton? Awaken - Brass Cannon, the brass colliery
that sounds the alarm and blows fanfares. The Chase. In hot pursuit through
the streets of San Francisco, not by coincidence with the initials SF: Heinlein
lights the fuse. Dystopia û there are so many independence days. Which
ones should we forget about? Where should we start? And while weÆre here,
only somewhat further south is High Wichita. ItÆs not yacht rock, but it might
be Los Angeles. I climb into the elevator from Venusia to Mercury Station.

Mosaik 2014 - Music which ignores the 21st century. Music that simply glides
from the 20th to the 22nd century. Music in the here and now. And for
tomorrow. (Text: V. Luxemburgo / Translation: Alexander Paulick)

Music & instruments: Thomas Klein, Andreas Reihse, Detlef Weinrich.
Recording: Shed in the Park Cologne; Additional recordings: ThomasÆ La
Noisse. Mixing: Tu▀mann St., D³sseldorf; re-mixed with Ralf Beck; Mastered
by Emanuel Geller. Artwork: Detlef Weinrich with Suse Giring. Thanks to the
Dead, the Alive, and the Others. Rosamie for the Shed and all, Alexander
Paulick, Jutta Bõchner, Ralf Beck, Volker Berthelmann, Markus Schmickler,
Suse Giring, Marc Knauer, Christian Morin. Maya, Petra, Julika & Maxim, Thea
& Nika Onno NoÙl, Salon des Amateurs, Philipp Maiburg, Klaus Dinger, Thomas
Brinkmann. Berlin A-Z, Cologne A-Z, D³sseldorf A-Z, London A-Z, Tbilisi A-Z,
World A-Z: we love you.