In January and February of 2010, Cologne’s Kunst-Station Sankt Peter hosted a composite multimedia installation, described in detail – in German – on the cover. Its soundtrack was created by Polish artist Maciej Sledziecki with the local “contemporary organ”. This instrument is endowed with a series of features that distinguish it from a regular “classic” church organ, the most important of which is its full MIDI controllability. Through the interaction of the composer with the computerized peregrinations of the various registers (comprising percussion instruments such as “xylophone, xylodur, chimes, glockenspiel, harp and psaltery”), the resulting music is an outlandish assortment of mystery, playfulness and chaos that, contrarily to what the blurb suggests, doesn’t elicit memories of Stockhausen, Ligeti or Nancarrow but lives an autonomous life between irksome and majestic. Picture a drunken Bach whose delirium tremens includes bad-tempered clavichords and spinning wheels with bionic hamsters desperately puffing and huffing to keep a bizarre logic going. The huge walls of slanting chords heard in the second and third movements are still the most impressive parts of the record, though; and, as usual, nothing beats the direct participation to the event.

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