da pöschl - half ghosts

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Coincidences are not equal to coincidences, and because Kurt Schwitters already knew that when a door slams shut, this can be a thoroughly active, i.e. consciously induced, course of events for the door in question, there are often more forces at work in aesthetic (in the present case) musical coincidences than even those involved may realize. But even with aleatoric-random dice rolls, the old rule of dice poker applies: not all rolls count. Because whenever it seems to be clear where a track is now moving, where and how it will probably continue, a pick is hit or something gets in the way, which could well come from another track, but here now leads less to collisions than to changes of perspective. In short: music like mobiles, which always balances itself, but without ever wanting to reach a balance (of whatever). On the opener "Vian" the master Boris Via was not just simply sampled, but beamed from the jazz age into the techno age. The second track "Don t́ touch me ever again" has Russ Meyer and his juicy dialogues from his films as its theme. Similarly "cinematic" it continues with "Come & Go Dub", "Don_t Stop The Music" flirts with Marvin Gaye's "Sexual Healing", but gets lost in a rather gray milk glass sky landscape and ghosts with fogged up windows through the landscape where then with "No Night Touch" dodgy in the traffic circle pirouettes are turned. On the other hand, "Beneathe The Surface" and "Absynth" are so spun and convoluted as if John Carpenter had been inspired to a new horror soundtrack by nightly "Der Kommissar" scenes. With "Bebopalula Bepop" there is electro rockabilly in a sympathetic moped version and with "Dark Time" the leaden 70s look melancholically over one's shoulder like cunning tricksters. And as coincidences go: This is at the moment exactly the music of the time as it is, but also a music for and from a (still) different time. that may sound like a lot on the shoulders, but da pöschl masters that with a left hand. Didi Neidhart