Artist：März
Album：Wir Sind Hier
Release Date：2004-10-25
Label：Karaoke Kalk
Country: Germany
Genre：Electronic, Pop
Style： IDM, Experimental
Tracklisting:
| 1 | Forever Never (4:20) | |
| 2 | März Im Park (3:31) | |
| 3 | The River (5:13) | |
| 4 | Tropige Trauben (4:20) | |
| 5 | Blaue Fäden (6:40) | |
| 6 | Some Things Do Fall (3:18) | |
| 7 | Biber & Enten (Plattler) (5:00) | |
| 8 | Welt Am Draht (3:38) | |
| 9 | Oktober Im Park (4:44) | |
| 10 | The Pop Song (4:36) | |
| 11 | Wir Sind Hier (4:05) |
簡介。。。。。。
官方網站：http://www.maerzmusik.net
成員：Albrecht Kunze, Ekkehard Ehlers
"Wir Sind Hier" ("We Are Here") is MÄRZ's follow-up to their 2002 debut "Love Streams" on Karaoke Kalk. Eleven new songs by Albrecht Kunze and Ekkehard Ehlers, two having already made an appearance on the 10" limited edition "The River" / Blaue Fäden" ("Blue Threads") in June 2005. Describing music is always personal, and in the case of März new album this is particularly true. It's a fact that whenever one is writing about music, one is also writing about oneself. Music is something uniquely personal, both for the people who make it as well as for those who listen to it, precisely because it can help to place one in the here and now and in so doing, emotions are constantly being set free, though not necessarily those inherent in the music (and ones which may be dependent upon our own respective mood and/or location).
Representations of the world, like the world itself, are the works of humankind; humankind describes them from its point of view, which it then confuses with the absolute truth, as Simone de Beauvoir wrote in The Second Sex. Even though the original context might have been different, this idea can be transferred to the contemplation of music and indeed, proves itself to be beneficial when addressing the central theme, the central message that is of MÄRZ's new album "Wir Sind Hier".
It's all about positioning, i.e. the question of where you / I / we are standing now and here and in this particular moment; and MÄRZ's songs describe the Here from their own personal perspective. It would seem to be the aspect of someone looking out from a park, if the titles "März Im Park" ("Park in March") and "Oktober Im Park" ("Park in October") are anything to go by; and yet it remains uncertain as to whether the fenced-off area of a park, with its circumscribed freedom – simultaneously including and excluding – is a place of relaxed tranquility, (deceptive) security or indeed a place of pacification. Places both conceivable and inconceivable superimpose themselves upon one another, and what remains is a feeling of uncertainty as to whether one should like to stay here or not.
MÄRZ seem to value the tension, which such unclear positions generate; or, put another way, they seem to want to endure it, for in the manner of a counter-design to this uncertainty, "Wir Sind Hier" evinces them continuing to fashion their inviting and seductive landscapes out of folk, pop and club influences: explicit, prodigal, subtly differentiated, but also displaying a greater desire to take risks than on "Love Streams", so much so that only an idiot would chose not to tarry here a while. Tarry in the interstices of their world, between song and track, guitars and glockenspiel, banjos and bass drums, hounds and Hawaiian guitars, plug-ins and trombones...
A musical world however, which does not try to emulate the park itself - a separate, enclosed area; and yet is aware of the danger of being fenced-off and occupied, which is why MÄRZ keeps the borders open, both musically and lyrically and provides enough space for typically hymnal offerings, such as Biber & Enten ("Beavers & Ducks") (which moreover considerably augment their arsenal of strange and self-generated sounds) as well as space enough for improvisation and songs, which proclaim: "was uns verändert / holt uns am Ende ein / was uns verändert / könnte ein Anfang sein". ("the things that change us / will catch up with us in the end / the things that change us / could be just a beginning")
Songs, which, for all the self-evident guise of High Pop, perpetually pose the question about positions, about themselves, itself, and thereby about us as well; songs,which circle around the question of position, of place and the quality of that place and thereby circle and encircle us until at some point or other (and almost automatically so), their question is my question: where am I – here?
"Wir Sind Hier" is an album, which talks to me. Also because in marked contrast to the previous one, it is more song-oriented, which in turn makes you listen more intently(to what is being sung about) and furthermore: because this "Wir Sind Hier", which seems to be so sure that it thinks it doesn't need to name where it's at, is conversely continually questioning itself throughout the course of the record... which circles with us around itself, around you, me, everyone and around the question of where we are actually standing; and the only handicap with this (imagined) circling being not to return to the point of departure.
Representations of the world, like the world itself, are the works of humankind; humankind describes them from its point of view, which it then confuses with the absolute truth, as Simone de Beauvoir wrote in The Second Sex. Even though the original context might have been different, this idea can be transferred to the contemplation of music and indeed, proves itself to be beneficial when addressing the central theme, the central message that is of MÄRZ's new album "Wir Sind Hier".
It's all about positioning, i.e. the question of where you / I / we are standing now and here and in this particular moment; and MÄRZ's songs describe the Here from their own personal perspective. It would seem to be the aspect of someone looking out from a park, if the titles "März Im Park" ("Park in March") and "Oktober Im Park" ("Park in October") are anything to go by; and yet it remains uncertain as to whether the fenced-off area of a park, with its circumscribed freedom – simultaneously including and excluding – is a place of relaxed tranquility, (deceptive) security or indeed a place of pacification. Places both conceivable and inconceivable superimpose themselves upon one another, and what remains is a feeling of uncertainty as to whether one should like to stay here or not.
MÄRZ seem to value the tension, which such unclear positions generate; or, put another way, they seem to want to endure it, for in the manner of a counter-design to this uncertainty, "Wir Sind Hier" evinces them continuing to fashion their inviting and seductive landscapes out of folk, pop and club influences: explicit, prodigal, subtly differentiated, but also displaying a greater desire to take risks than on "Love Streams", so much so that only an idiot would chose not to tarry here a while. Tarry in the interstices of their world, between song and track, guitars and glockenspiel, banjos and bass drums, hounds and Hawaiian guitars, plug-ins and trombones...
A musical world however, which does not try to emulate the park itself - a separate, enclosed area; and yet is aware of the danger of being fenced-off and occupied, which is why MÄRZ keeps the borders open, both musically and lyrically and provides enough space for typically hymnal offerings, such as Biber & Enten ("Beavers & Ducks") (which moreover considerably augment their arsenal of strange and self-generated sounds) as well as space enough for improvisation and songs, which proclaim: "was uns verändert / holt uns am Ende ein / was uns verändert / könnte ein Anfang sein". ("the things that change us / will catch up with us in the end / the things that change us / could be just a beginning")
Songs, which, for all the self-evident guise of High Pop, perpetually pose the question about positions, about themselves, itself, and thereby about us as well; songs,which circle around the question of position, of place and the quality of that place and thereby circle and encircle us until at some point or other (and almost automatically so), their question is my question: where am I – here?
"Wir Sind Hier" is an album, which talks to me. Also because in marked contrast to the previous one, it is more song-oriented, which in turn makes you listen more intently(to what is being sung about) and furthermore: because this "Wir Sind Hier", which seems to be so sure that it thinks it doesn't need to name where it's at, is conversely continually questioning itself throughout the course of the record... which circles with us around itself, around you, me, everyone and around the question of where we are actually standing; and the only handicap with this (imagined) circling being not to return to the point of departure.我的碎碎唸。。。。。。評價指數：7.6/10
在Last.fm上居然沒有關於他們的資料，我現在很喜歡dotshop.se這個網站，因爲我縂能在上面找到我需要的資料。聼這張專輯的感覺，很輕鬆，電子營造了很輕鬆很歡快的氛圍，在這個基礎之上加入jazz，folk等元素。不錯的，而且男聲也很有磁性，很lo-fi。
去豆瓣上看看。。。。。。
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1 comment:
Hi Valerie,
it's really nice and a pleasure that we've made it even up to china.
So you're working in the agriculture?
Then MÄRZ is obviously the right choice.
All the best,
Albrecht
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