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Öd, the long awaited return of Institut für Feinmotorik—the 30+ year Black Forest collective known for using eight prepared turntables to playfully investigate acoustic phenomena and experimental handmade techno through everyday objects.
Sprichst du deutsch? Nein, so deferring to the Germans:
“The only thing öd about Öd (meaning ‘barren’ or ‘boring’ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm.
Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules — ‘stern,’ ‘dies,’ ‘lose’—tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound.
Which also makes Öd an unusual cross-disciplinary collaboration—at least in the field of electronic music.”
Öd, the long awaited return of Institut für Feinmotorik—the 30+ year Black Forest collective known for using eight prepared turntables to playfully investigate acoustic phenomena and experimental handmade techno through everyday objects.
Sprichst du deutsch? Nein, so deferring to the Germans:
“The only thing öd about Öd (meaning ‘barren’ or ‘boring’ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm.
Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules — ‘stern,’ ‘dies,’ ‘lose’—tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound.
Which also makes Öd an unusual cross-disciplinary collaboration—at least in the field of electronic music.”