KARL BÖSMANN – Euphoria Mitte

Monochrome Vision

Very first encounter of yours truly with this German artist, of whom Rigobert Dittmann says that “he irritates” to start his liners. Maybe this is a reference to the frustration of defining the music without recurring to terms such as “nonfigurative”, “lawless”, “erratic”? Because if that’s the case, I’d be willing to be annoyed like this more often. Let’s just say that Bösmann’s mix of mechanical torments, sarcastic anxiety and electroacoustic hotchpotch – generated all by himself through unspecified instruments and processes – is fresh and reinvigorating. It does show facets of society, particularly by means of human voices and field recordings; yet they’re blended with acoustic manifestations that include degrees of thunderous menace, unsuspected irony (the symphony of half-cat-half-men cyber creatures in “Japanese Garden” is a tiny wonder) and a distinct ability in choosing what to tell and when. A cross of absurdist funniness and introspection, showing a clear unwillingness to obey to codes and rules and an evident lack of interest in belonging to those shallowly cerebral sects that – even in this “forward-thinking” area of expression – have by now taken command, imposing what’s hip and what instead must be compulsorily discarded despite an incontestable value. And yes – fans of Nurse With Wound could love this CD quite a bit, especially after having heard the dramatically warped “One Hour Howard Beach Train Extrakt”, a disturbingly gorgeous piece of audio-depicted mental illness.

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