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June 2019


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Archa.mag 6 - 10/07

3.10.2007

The autumn programme at Archa features some of the best of international unconventional music. In collaboration with the weekly cultural review A2 Archa will, over the course of three October weekends, be the host of the Stimul festival. The stars of the first evening of this year’s Stimul will be the aristocrats of music Kreidler, whose keyboardist Adreas Reihse answered our questions.

With time, your group has undergone a big change in genre. Do you still feel linked to the post-rock scene? How much do you see groups like Rococo Rot, Tarwarter or Notwist as your contemporaries?
To tell you the truth, we’ve actually never felt part of the post-rock scene. With the groups you mentioned, and with many others, for example Mouse on Mars, Saint Etienne or Nicolette, we are linked by friendship, we support each other. We don’t have anything in common with Notwist.

From your electropop eponymous album (2000) to the most recent majestic film music Eve Future (2002), you have taken a big artistic step forwards.
Forwards, you say…..thank you for the compliment. Something like that always unfortunately takes a considerable effort, there is a lot of reflection behind it, it is a conscious process.

The title Eve Future is taken from Villiers’ romantic novel from the late 19th century. What is it in the novel that inspired you?
You could say that the musical ideas came first, and then only afterwards the book. We found lots of unusual and surprising images in the book, which helped us to get past the weaker passages. A big inspiration for us was the theme of science versus sci-fi, the mechanical body ingesting the soul through the self sacrifice of a human being (a woman). The lungs of one of the characters serve as a gramophone and the story has a catastrophic finale like Titanic.

Your music, most of all the three year old remix EP Recall, is full of paradoxes: it is reticent and bombastic, restrained and passionate. Is it your aim to balance on the boundary between mainstream and kitsch?
We’ve always been a bit afraid of being too commercial…

What is the relationship between live instruments and technology on your most recent albums and when you play live?
We have never measured it, we don’t make comparisons, but in any case, whenever it seems to us that computers have too much control, we change direction, because it bores us. Live playing is indispensable in all senses.

How essential for you is – often incredibly precise – rhythm?
Precise rhythm is important for us, as the master Duke Ellington said “It don’t mean a thing, if you ain’t got that swing”. Even an old machine like the Roland 303 or 606 does it sexily compared to today’s deathly drum machines and sequencers.

Do you consider melody and varied harmony as a perpetually modern musical language, as the key route to listeners?
Perhaps, with time, this type of musical expression has started to be considered as somewhat shallow or even cheesy, but I suspect it ALWAYS has been and will be that way.

After the music for the ethnographically focused documentary Durchfahrtsland from the director Alexandra Sell, are you planning to work on any other soundtracks?
If we were approached or invited to collaborate on an interesting project, we would certainly do it.

What is your favourite film and (film) music?
The are countless examples of great music in stupid films (for example, Cotton Club) and of course also exceptional films, in which music plays either no role, or a very small one (some of the works of Orson Wells, Fritz Lang, Luis Bunuel, etc) Nonetheless, my personal favourites  - music which intensifies the impact of an already impressive film – perhaps include John William’s composition for The Deer Hunter, Howard Shore’s music for David Cronenberg’s films, Goblin’s music for Dari Argento, Miles Davis‘ compositions for Malle’s Lift to the Gallows, John Carpenter’s authorial creations and countless others.

Detlef Weinrich, your DJ, is the sole creator of Kreidler’s video-clips.  How are his ideas reflected in your visual presentation?
We never want the projection to be seen as an illustration to the music. It should be more of another layer, maybe even a contradictory one, which leads the listener somewhere else.

Your title is taken from an old moped, which could be seen all over Germany at the end of the nineteen-fifties. Do you have – as far as popularity goes – similar ambitions? Can we expect a new album in the near future?
Being popular in Germany in the nineteen-fifties, that would be something! But seriously, even though some of us have recently had children, we are just in the process of finishing our new album.

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