Incredible Familiar Music, Absolute Relative Music
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Incredible Familiar Music – Die Taubnessel 7
“Our daughter Marion Myra is 13 now and in full puberty. Looking, no, listening back she can’t identify with herself as a little child doing these recordings. But I can: A childlike joy in all that is moving and sounding inspired me since many years. So from time to time we took several objects, which are not used as instruments normally like lids of pots or toys, together with regular instruments like guitar and violin, flute and drums, african balafon and indonesian metalophon, not to forget the Yamaha Porta Sound PSS-190 from the garbage pail, in short: all what was suitable for several musical family encounters. The beginning of our selection (with the tiny top on battery basis which was done after that performance) and the end of it (me playing the violin the first time in my life) already lead to ‘absolute relative music’ (Die Taubnessel 8).
Doing these recordings it really was ‘a child’s play’ for two grown-ups and a three to nine year old kid, definitely marvellous, a work of fancy. Following our subtle intuition, we just needed flair and empathy. So, I guess, equalizing the levels of sound intensity, your own noises like washing dishes or whatever, may just fit in while listening to our music. Try it…” (Arnulf Meifert, Hohengebraching, 2012)
Absolute Relative Music – Die Taubnessel 8
“Silence and deliberateness are luxury today. Most relevant music now is speedy and noisy, fuel and gas for the rot-machine called modern civilization. All has become a style and is designed for a special audience. Recording our musical pieces was just ‘fun’, we had no intention, we will not repeat it. We had and have no ambition to be avant or post or what else. In fact I can’t play violin or piano, I cannot read any notes. As a drummer, I’m an old-fashioned self-taught person and have no intention to change that at age 69. Same thing with my wife Franziska, playing guitar and flute quite a little… Our music has no concept, no plan, no composition, it’s all improvised and a form of communication and, as far as that, ‘primitivistic’. Music is communication, with others or oneself: You whistle in the woods or in a street at night when you’re afraid, you shout with joy or squeak in your orgasm.
Of course my few months with ‘Faust’ 1971 were a good apprenticeship after my drumming 60ies with all kinds of jazz and soul music. Then for 35 years I had other things to do, with the exception of ‘Panisches Liederbuch’ 1988 for the 50th birthday of Günter Brus.
On that afternoon in spring 2008, some years after we did ‘incredible familiar music’, we had only a few hours before going to the movies. We put a very old recording machine on the table of our living-room, a tape-recorder so technically simple that you had to press the trigger all the time for moving ‘fast forward’ or ‘rewind’… We began to play our first piece, then I had the idea to counterpoint it with a machine piece on Tilo Ettls apparatus and just went on with the a/b alternation of mechanical sound and unplugged music on several instruments, toys etc. till it was time to go.” (Arnulf Meifert, Hohengebraching, 2012)
The two Meifert & Family record LPs (Taubnessel 7&8) come as a 2LP set, also including a book by Klaus Holzmann, edited by Arnulf Meifert and including an essay by Franziska Meifert. The first anthology ever issued of drawings by this controversial artist, published by Comme des filles in collaboration with Das Hohe Gebrechen.
Limited edition of 150 copies.
