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"It had been four years since "Juxtaposition", our last record and one
year of a self-chosen absence from the stage, that we met again to work
on "Chimeric". This break was a necessary step to leave any routine
behind us, to restructure the working process, to rethink the concept of
this band and its music. It was always a driving force within the
band´s history to enter new territories, like it happened with the
transition from the self-titled EP to the abstract minimalism of "TG11"
and finally in the more colourful rhythms of the "Rec.Extern" and
"Juxtaposition" period. But this was done and we needed to go further,
exploring forms and sounds we had not been dealing with so far - and
adapting them to our system.
"Chimeric" is not a polished album. Within our context it is raw,
broken, even dark sometimes. Steady, multiple rhythms, layered on top
of each other disappear into chaos and turn back into discreet
structures in the next moment. References of rock music, executed with
the precision of a sequencer; mutated, restructured. A lot on this
album is about control and the loss of control. The risk of failure.
This was probably always in our music, but kept in a very stable form,
sometimes even hidden.

But "Chimeric" is much more free. Some of the longer pieces are
composed of very different parts and different colours along a
continuous timeline. They tend to evolve in a narrative form and are
moving through various scenes and surroundings, which is also present in
the spacial relationship between the instruments. One could see the
album as one continuous story, where some elements are passed from one
piece to the next and then serve as the base for a completely new
scenario. The result was something unpredictable and unstable, even for

The connection to electronic music is relatively loose. Short passages
of drums, guitar and bass have been recorded live in our rehearsal space
and re-organized on a computer. Like on our previous two albums, the
editing process is comparable to extensive work with a tape machine.
Cutting the recordings into small snippets or longer sequences, twisting
and turning them around and putting them together in a new context.
Pieces like "Git Cut Noise" benefit from this method. On the other hand
we played whole sequences almost entirely with just our acoustic
instruments like in the second part of "Feedback Mikro/City Lights".
It's two quite different methods but most of the time we used a mixture
of them.
In addition, a few electronic manipulations have been made to the sound,
both through Stefan's synthesizers and Martin´s computer. A
synthesizer sound has been placed on top here and there, but over all we
tried to preserve the raw energy of the recorded acoustic/amplified
instruments. It depicts much more the individual musicians and their
energy within a moment. We left it like that, if only to keep this
polarity among three very different persons.

- Martin Brandlmayr, Stefan Nemeth, John Norman (Radian)"
From: http://www.thrilljockey.com/artists/index.html?id=10037