interview "american - culture shock magazine" ant-zen / s.alt

klangstabil is deconstruction and assembly, again and again, like a never-ending cicle, like life and death. klangstabil is one of the germany's most innovative techno-projects, who combine the power of pure analogue electronics compared with arsh rhythm structures. their sonic output is a melting of early industrial music (like thobbing gristle, spk) combined with modern techno elements. also to state that their way is just another evolution of industrial music for industrial people. klangstabil was founded in 1994 by maurizio blanco and boris may. the name, klangstabil, more or less came off the top of their heads, but it fit quite well for both of them. they were merely researching personal expression and their main inspiration was and is
still kraftwerk. not after long, they were performing in small live-acts which resulted in a record-label showing interest in them. their first production was released on vinyl, and you can expect to see more of the same in the future. klangstabil's work ethic can be accurately defined as: one step back, two steps forward. with this attitude, klangstabil is creating their own niche by taking principal elements of the very beginning of electronic music and relating these elements to the modern times today. in order to understand what surrounds us day by day, one has to see things from the perspective of creation. as more progress is made, more questions arise. to put it simply: how does a tune get created, what is it's meaning and what is its sound there for? in order to understand, one has to go and live through the decades of a wide musical spectrum. klangstabil continues to give an acoustic answer to the uestion: "what's next?" because they seek a true, intense sound, klangstabil concentrates mainly on analogue tools. namely, working without a computer-controlled sequencer.


1. klangstabil the duo. how did everything get started with your project? and how did you both get connected?

ein chinesisches sprichwort sagt : "wenn zwei menschen einen fluss ueberqueren, dann ist das schon funfhundert jahre vorherbestimmt !" um es kurz zu machen, wir haben uns 1994 ueber einen freund kennengelernt. boris hatte bis dahin, nicht viel elektronischen musikinstrumenten zu tun und sah anfangs durch maurizio die chance seine ideen zu verwirklichen. es stellte sich aber bald heraus, das da mehr zwischen uns beiden war und so arbeiteten wir zusammen.

a chinese proverb says: "if two humans cross a river, then it has already been determined 500 years ago!". to make a long story short: we got connected by a comon friend in 1994. until then, boris wasn't much into electronic instruments but had the vision of cooperating with maurizio to realize his ideas. soon, it turned out that there was more to the cooperation between us and we orked together a lot.


2. why the name klangstabil? what's the intension of the project?


eigentlich war das wort : "klangstabil", ein versprecher. als wir uns einen neuen synthesizer kaufen wollten, fragte boris den verkaeufer, das geraet auch klangstabil sei, eigentlich war damit aber "stimmstabil" gemeint. maurizio hakte sofort ein und meinte : "das ist unser name" und wiederholte das wort "klangstabil". der name : "klangstabil", wurde schnell teil unseres denkens und unserer arbeit, schliesst er doch begriffe wie, konstanz und geradlinigkeit genauso mitein wie die begriffe chaos und bewegung. wir sind klangstabil!

in the first place, "klangstabil" (sound stable) was a verbal slip. when we wanted to buy a new synthesizer, boris asked the vendor whether the device was sound-stable, though actually he tried to say "tone-stable". maurizio hooked into that one and proposed it as our name. "klangstabil" became part of our thinking quickly; the term expresses qualities as constancy and straightness as well as chaos and movement. indeed we are klangstabil!


3. it seems that both of you are absolute analogue sound-fetichists. why especially this kind of electronic instruments? when do you have started with sonic experiments?

weil diese instrumente leben, sie sind meistens umdie zwanzig jahre alt und noch aelter, sie erzaehlen dir die geschichte wie alles anfing und wo alles herkommt sie sprechen mit uns und wir mit ihnen.

because these instruments are alive, they are mostly some twenty years old, they tell you the story how everything started, where everything originated, they talk to us and we talk to them.


4. most of the analogue synthi's do not have the opportunity storing sounds or even tracks. at live concerts you often watch artists with a map of papers, where they mark the adjustments of the instruments. how do you handle this problem. it it possible that you can reproduce the same track twice or is it each time a unique piece?

es ist nicht unsere absicht ein musikstueck auf unterschiedlichen buehnen gleich zu spielen. es entsteht jedesmal ein eigenes stueck, ein neuer und eigener sound. allein das konzept verbindet die unterschiedlich klingenden sound sequenzen. selbstverstaendlich werden komplizierte und spaeter nicht mehr nachvollziehbare sequenzen und patterns protokolliert. so erwacht unsere musik jedesmal von neuem. ein kreislauf in der entstehung und zerstoerung zusammenarbeiten.

it is not our intention to play a piece the same way on different stages. each time a new piece becomes alive, a new and unique sound. only concept-wise, the sound sequences are related. of course, complicated and not reproducable sequences and patterns will be tracked. this way, each time our music awakes again. a circle of creation and destruction operating together.


5. your live-performances are often very very load and they always sounds different. maybe because of the feedback of the audience? is there a must being that load? and do you enjoy it?

live-auftritte sind interresante erfahrungen sie sind allerdings sehr anstrengent da wir uns intensiefst, individuell darauf vorbereiten. unsere auftritte sind auch sehr kurz gehalten, kurz und nach meinung des publikums schmerzvoll, doch das ist gut so, wenn sie uns schon sehen ollen dann sollen sie auch verstehen, um was es geht. es macht spass mit dem publikum zu spielen.

live performances are interesting experiences; however they are very exhausting because we prepare immensely and individually for each one. our appearances are kept very short. short - and acoording to the audience aswell painful. but this is fine. if they make an effort to see us perform, it is worth to make them realize, what it's all about. it's fun to play with the audience.


6. you also performed at trance-techno clubs and i can imagine, that the audience was quite shocked with your harshness? how were the reactions?

ja, es war die geballte faust in die fresse! im prinzip ist es ein reines hass-abladen. die aufstockung der gesellschaftlichen probleme waechst und waechst.. tja, dann muss eben eine location dran glauben. da wir,komischerweise, nur live-orte in sogenannten "trance-clubs" hatten..naja, nicht alle.. war unsere aggressive haltung gegenueber dieserschicht noch geballter und energischer denn je... die reaktionen sindoptisch deutlich spuehrbar.. verzerrte gesichter und haende die, die ohren zu hielten... wie gesagt.. schlag in die fresse!!!

Yes, the clenched fist in the face! basically, unloading hate. society's heap of problems grows and grows... at some location someone has to suffer. and because we almost only performed in the weirdest places, so-called trance clubs... our aggressive attitude towards this layer was more concentrated and energetic then ever... the reactions could be felt visually... distorted faces and hands which were clogging ears.. like mentioned: the fist in the face.


7. which kind of instruments are you using? do you have favourites? are there any instruments you always wanted to have?


wir legen uns da heute nicht mehr fest, schliesslich ist es moeglich mit allem musik zu machen, sei es eine klospuelung oder eine geige.

we don't really commit to certain instruments yet; after all it's possible to create music with anything, be it a toilet flush or a violin.


8. what do you think about virtual synthisizers and computer aided sequencers? do you think you will also work with this kind of equipment?

auch da sind wir offen gegenueber, praktisch haben wir sie jedoch noch nicht eingesetzt.

in that respect we are open, too. though practically, we haven't used them yet.


9. one of your main influences is kraftwerk, you stated. do you have other influences? and which kind of music / bands are your favourites?

wir sammeln einfluesse des taeglichen lebens. es muss nicht immer musik sein.. maschinen, menschen, laerm.. eben alles was krach macht.. ok, kraftwerk begleitete unser musikalisches dasein auf gedanklicher basis (der sound unterscheidet sich ja gewaltig).. sie waren da.. wenn wir sie brauchten.. auf vinyl!

we collect influences of the daily life. it doesn't always have to be music... machines, people, noise... just everything that creates vibes. okay, kraftwerk accompanied our musical existence on a mental base (indeed the sound differs enormously). they were there when we needed them.. on vinyl!


10. why are you title yourself as mono-chronicler

es ist das system, welches einen zwingt, monochronistisch zu denken und zu handeln. es dient um in diesem system zu bestehen, ja es sogar kontrollieren und manipulieren. im eigentlichen ist der monochronismus wider der menschlichen natur und einer unserer ziele ist es aus dem system auszusteigen und ihm den ruecken zu kehren, aber bis dahin muss noch einiges getan werden.

it's the system which forces one to think and act mono-chronicly. it serves the purpose to exist in this system.. yes, even to control and manipulate it. actually, monochronism is against human nature and one of our goals is to leave the system and turn our backs to the system, but until then there are still various things to do.


11. your projects are always more like a conceptual work. btw. what is the concept of the tracks for the 'straftat gegen das leben' lp/cd.

eine arbeit ohne konzept ist wie ein leben ohne sinn, allerdings kann man auch konzeptlos an die arbeit heran gehen, aber dann waere es ja wiederein konzept. das album "straftat gegen das leben" ist teil der evolutionaeren zerstoerung einer unkreativen realitaet. "straftat gegen das leben" faehrt hierbei mit mehreren geschuetzen gleichzeitig auf, soundelemente und ihre funktion werden neu definiert, strom wird zu einer geladenen form geballt und in den lauf geschoben, liebe und hass lernen sich von einer anderen seite kennen. diese musik kann durchaus menschen vernichten, sie ist nichts fuer labile menschen oder gerade fuer diese. man faengt endlich an dinge in frage zu stellen.

work without concept is like senseless life. however, one can start working conceptless, but then again that would be a concept again. the album "straftat gegen das leben" (criminal offence against life) is part of the evolutionary destruction of an uncreative reality. "straftat gegen das leben" is gunning with several cannons at a time, elements of sound and their functions are being defined from scratch. current is being concentrated into a loaded form and being shifted into the barrel. love
and hate get to know each other from a different side. indeed, this music can destroy humans, it isn't for unstable people.. or maybe exactly for those. finally you start questioning things.

12. and the concept of the record 'boehm - gott der elektrik'?


boris hatte damals diese boehm orgel geschenkt bekommen. eine typische heimorgel mit 2 manuallen, fusspedalen und so weiter. nach einem langem aber wichtigen eingriff in das innenleben der orgel, entstand dabei ein ganz neues und seltsames geraet. der boehmat 2000 (so nannten wir ihn) umfasste nur noch eine oktave. das konzept hierbei liegt klar auf der hand. dr. boehm, der die damaligen orgeln konzipierte und baute, war indeutschlands wohnzimmern eingedrungen, wir hingegen versuchten mit einem aehnlichen klang, der aber anders eingesetzt wurde aufzuzeigen das dasherzstueck dieser orgel, der boehmat, noch weitaus mehr kann, als volks-und schlager melodien zu spielen. ein experiment, ein konzept, das uns alle erstaunte. es war klar, das boehm gott der elektrik auf vinyl musste, mit hilfe eines musikfreundes timo kranzusch geschah dies auch. (megahertz 1996)

in the early days, boris got this boehm organ as a gift. a typical home organ with 2 hand keyboards, foot pedals and so on. after long surgery on the interior life of the organ, a new and very odd instrument became alive. the boehmat 2000 (we called it) covered only one octave. the concept here is quite obvious: dr. boehm -who conceived and build the organs at that time- penetrated into germany's living rooms. however, we tried to show that with a similar sound, the heart of this organ, the boehmant, can do way more than playing hits and people's melodies. it was an experiment, a concept that amazed all of us. it was obvious that "boehm der elektrik" had to be on vinyl. and with the help of music friend timo kranzusch this occured (megahertz 1996).


13. i've heard that you're also creating videos? do you think there will be a klangstabil video soon? in which kind of films are you interested in.

die bildkommunikation bietet einem neue moeglichkeiten dinge von einer anderen seite zu betrachten,so dient sie nicht allein dazu die in der musik verarbeiteten elemente, aufzugreifen und zu visualisieren, sondern neue gedanken hinzuzufuegen und an er musik weiterzuarbeiten.unsere stuecke sind immer eine art rohmasse, die immer wieder in neue zusammenhaenge gebracht werden kann. unsere lieblingsfilme sind : logans run, taxi driver, scarface

the image communication offers new possibilities to regard things from a different point of view. it doesn't only serve the purpose to pick up and visualize the elements that are processed in our music but to add on new thoughts and continue the work on our music. our pieces are some kind of raw material that can be put into new context over and over again. we are interested in film concepts like the ones of taxi driver or scarface.>


14. there are several new releases planed. could you please state more about these? and the concepts?

unsere naechste platte hat das thema "kopf" und heisst, wie soll es anders sein, "kopfmusik". der grundgedanke ist hierbei, alles was mit dem kopf in verbindung steht zu betrachten. es wird eines der schwierigsten werke
.
our next disk is to the topic "head" which means -how could it be different?- head music. the basic idea is to observe everything that relates to the head. it will become one of the most difficult works ever.


15. anything else to state?

hello america,..and check the situation.