I am thinking of the adjective “circuitous”.
After decades of conversancy with sounds engendered by the members of MKM (Norbert Möslang, Jason Kahn, Günter Müller) – usually extracted from more or less functioning circuits of some kind – I’m still at a loss for words in front of the apparent contradictions of a music that, on the contrary, triggers unambiguous intuitions in my innermost lamina.
Perhaps this has to do with your host’s eagerness to progressively disaffiliate himself from a (theoretical) reality recounted by someone else, either by the media – let’s just forget about “learning”, then – or by humans. The latter case translates as a surplus of egomaniacal yackety-yak typically associated to varying degrees of cerebral disorder.
At any rate, and rather depressingly, the process of so-called “communication” keeps being carried out through verbal transmission. Namely, an inefficient means.
Utilizing electronics, iPods, radio and hands-on synthesis, MKM are constantly on the ball when it comes to originating soundscapes capable of stimulating productive responses in a pragmatic audience, their interaction exploiting potentials exclusively attainable with the layering of diverse typologies of signal. A joint responsiveness is incontestably at work here; we sense the trio’s unshakeable trust in whatever result a given move could bring.
There are several junctures in this set where a specific sonority graphically depicts the feel of hopelessness conveyed by a forlorn industrial area. One moment later, a subsurface tremor indicates a way out towards a blinding light; and when you’re finally there, chances are that the auricular membranes will remain discombobulated by a skilful mix of controlled feedback, electric violence and analog creaminess. You may be disconcerted by some of its physical repercussions, but the recognition of the multidimensional alternatives suggested by teplo_dom eventually projects the self into the “benumbed inexplicability” zone.
At that point, leave the talking heads on mute.