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| REVIEWS: RM74 - Fireproof In 8 Parts | ||
| • The Cookshop, February 2008 • The Sound Projector Issue 16, December 2007 • Gonzo Magazine 07/07 • bodyspace.net, July 2007 • geiger.dk, July 2007 • Sands-Zine, May 2007 • Rumore, April 2007 • Losing Today, April 2007 • Trust 04/07, April 2007 • Touching Extremes, April 2007 • Vital Weekly 568, March 2007 • Chain D.L.K., February 2007 • GAZ-ETA, February 2007 • PNG (Persona non Grata), February 2007 • Bad Alchemy, January 2007 • octopus-enligne.com, February 2007 • Blow Up, March 2007 • Rockerilla, February 2007 • GoMag, February 2007 • Playlists |
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| The Cookshop, February 2008 |
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| Reto Mäder is one of those musicians/artists who consider music as constantly changing ("Nothing is holy!”); something well reflected in this new ‘profanation’. He mainly uses digitally treated organ and piano but also harp percussions and many other "objects”; while the piano tracks are similar to those on the Domizil output, the organ suites are more obsessive and hypnotic. Aesthetically, a general air of honesty must be appreciated, from the lack of polish (to avoid repeating "rawness”) that becomes an unique asset. Even more surprising is Part 9: LoFire included on a separate bonus CD-R, "concentrating on his lo-fi inspired songwriter drafts”, and very much so indeed. The music here dwells more on the instruments played (piano, guitar) and lesser on processing, seemingly recorded with a simple microphone to pinch that extra lo-fi quality. This could very well be a songwriter, less the vocals, but on the other hand, this could be also the original used in the other 8 parts. Both CD/CD-R can wipe the floor with any preconceptions; both radiate their imperfections. |
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| The Sound Projector Issue 16, John Bagnall, December 2007 |
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RM74 is the European multi-instrumentalist Reto Mäder. He recorded the excellent ‚Fireproof In 8 Parts’ at Bern, using keyboards, guitar and percussion mixed with digital workings. The release is mounted on a card decorated with cheerful medieval visions of the lower depths of Hell, depicting damned souls writhing in various forms of exquisite torment and a fat gloating Satan with a beard. Judging by his chosen title, Mäder presumably anticipates that he will be immune from the scalding blazes of that infernal realm. The eight parts of the main work are striking, to say the least – indescibable bursts of impassioned organ noise, moody piano elegies, and dense sound-adventures that are guaranteed to put your ears, mind and soul through the mincing-machine. With his Latin titles and ironic exclamations like ‚Nothing Is Holy!’, I think this fellow should attempt to make an avantgarde black metal record. Maybe he already has. There’s a bonus CD called ‚Lo-fire’ which is less immediately astonishing than it’s sister, but still packed with disquieting atmospheres of twisted gnarldom. A noire-tinged goodie. |
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| Gonzo Magazine 07/07 |
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Het electro-akoestisch oor van Reto Mäder slaapt nooit. Zeker niet wanneer het geconfronteerd wordt met middenklassentuinen of the plichtbewuste tramconductrices. Veldopnames en lawaaierige installaties worden opgezogen in flarden gemanipuleerde en pure klanken van een breed instrumentarium (van zowat alle snaarinstrumenten over trombone tot papier). Op de cd 'Pirouetten' wordt samengewerkt met RLW (P16.D4), wat leidt tot een boeiende mix van zuivere musique concrete, dreunexperimenten en een onverwachte ritmische uitspatting. Het gelimiteerde kleinood is mooi verpakt in een transparant A5 doosje met één boomfoto voor elke tracktitel. Dezelfde namen, een identiek verpakkingsformaat en een nog uitgebreider klankenpalet (harp, ontstemde bas) vinden we terug op de ambitieuze dubblecd 'Fireproof In 8 Parts'. Mäder duikt ook op als gastmuzikant op de cd 'Kielholen' van zijn labelmaatje Herpes Ö DeLuxe. Al is het woord gastmuzikant een onderschatting van de feiten: Mäder kreeg onbeperkt toegang tot een archief van improvsatiematieraal, plakte één en ander aan elkaar en voegde ook eigen klanken toe. Stemmetjes en vervormde concrete geluiden verdrinken in een dreunbad waar gecomponeerde nevenklanken (defecten) hen uit hun slaap houden. Herpes Ö DeLuxe is onderschat, ondergewaardeerd en vliegt al jaren net onder de radar van de dronekenners. Het is uw verdomde plicht om hier onverwijld verandering in te bringen. |
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| bodyspace.net, Miguel Arsenio, July 2007 |
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Quando, numa newsletter recente, a Warp destacava e aconselhava o seguimento atento da label suiça Hinterzimmer, certamente que não sabia com quem se estava a meter. Isto porque Fireproof in 8 Parts, quinta emancipação a cargo do multi-instrumentista Reto Mäder, revela um âmago denso onde coabitam lava herética e um longuíssimo cadastro de obscuridade suficiente para eclipsar os próximos três discos que venham a lançar respectivamente Jamie Lidell e os Maximo Park (que nem sequer merecem o umlaut). Verdade. Chegam a ser tão cabrescas as artimanhas armadas por Mäder que, se for a Warp a vitima deste vudu sonoro, suspeito que por esta altura já estejam chamuscadas as pontas das páginas do livro que há algum tempo a colega Eugénia abordava na nossa nobre secção reservada ao livro / DVD. Que aspectos são esses que tão violentamente ameaçam o aspecto imaculado da roupa interior? São vários e cada um mais flagrante que o outro no trajecto dantesco que efectua Fireproof in 8 Parts à medida que nos arrasta pela verticalidade de um quadro pintado por Bosch. Citem-se como exemplos o impiedoso órgão cadavérico que reaviva memórias do claustrofobismo associado à banda-sonora assinada por Gene Moore no clássico de culto Carnival of Souls; a incomodativa sensação de que "Orchulence II” é a leitura invertida de um pergaminho glitch ainda mais críptico quando do avesso ou o esmorecer lento da esperança entre a desolação que se sente às várias peças centradas no piano (próximo do registo que se descobriu ao fabuloso álbum duplo Miljard dos indomáveis finlandeses Circle). Alega a inscrição, no muito original suporte de Fireproof in 8 Parts, que nada é sagrado nem mesmo a estrutura descendente de um disco que se comprometia a oito fases graduais de terror e, que afinal, traz, em CD-R anexo, uma nona elucidativamente intitulada "Lofire”, em que Reto Mäder encaixa mais sete incursões que optam pela forma de esboço como modo de se manterem fantasmagoricamente indefinidas. Sem sequer faltar a essas algo de tão delicado como um solilóquio conspirador declamado por um muito sinistro Ernst Jandu em "Temporary Undo”. Em poucos silogismos se entende que Fireproof in 8 Parts obtém muito mais gozo em repudiar que atrair. Ao lado do siamês tenebroso Kielholen do colectivo Herpes Ö Deluxe, sublinha a vermelho vivo a Hinterzimmer como uma das mais intrigante labels actuais persistentemente dedicadas à nobre arte da profanação (de idiomas e convenções). Ao serviço disso, o mago e mentor Reto Mäder asfixia por idiossincrasia a sua electro-acústica para que não sobre um corpo susceptível de atrair os estigmas que perseguem o noise japonês ou o ambient obscuro. Esse golpe de Houdini é, afinal, o que mais implacavelmente impõe este como um disco-fantasma a reclamar caça. |
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| geiger.dk, Rasmus Steffensen, July 2007 | ||
Hvor det sjældent er lykkedes for nogen at give et særligt overbevisende og interessant billede af, hvordan der må være i paradis, så er der til gengæld gennem tiderne blevet givet særdeles mange farverige bud på, hvordan der må se ud og lyde bag helvedes porte. I et afsnit af The Simpsons får vi eksempelvis Homer Simpsons personlige fortolkning af de fordømtes rige som en grillfest med lutter tysk kartoffelsalat, og sådan er der så meget. Inden for musikken er det ikke overraskende populært blandt metalbands at fremmane dæmoniske underverdener, men også andre genrer, der har tradition for at flirte med tilværelsens mørke og fortrængte sider f.eks. goth, dark ambient og noise er leveringsdygtige i et righoldigt optog af helvedesvisioner. Hvor spændende det så bliver i længden, kan man vel diskutere. Ofte bliver forsøgene på at skildre det absolut onde i æstetisk form gerne lettere grinagtige, hvor meget de så end forsøger at virke skræmmende, men universet vedbliver tydeligvis med at fascinere. RM74 (alias Reto Mäder) har i hvert fald til overflod ladet sig inspirere på Fireproof in 8 Parts, der kommer på et groft papstykke med middelalderlige illustrationer af fortabte sjæle, der ristet over den sagte ild og med påskriften ”Nothing is holy!”. Uha uha, tænker anmelderen lettere skeptisk og spekulerer over, om al denne djævelske patos og påtagede blasfemi er ironisk ment. Det er den efter alt at dømme ikke! Den komplet prætentiøse pressemeddelelse lader i al fald én vide, at Mäder er ude på en mission for at føre os ned i sjælens dybeste afkroge. Alligevel lyder det da lidt interessant, når man ser hvilke instrumenter, der tages i brug. Overvejende akustiske instrumenter som orgel, klaver, harpe, tamburin (ikke særlig dæmonisk!) og guitar. Der er altså næppe tale om black metal. Altså sættes pladen på fra spor 1: ”A Stroke of Lightning”. Mens jeg afventer, at en straffende Gud skal pulverisere mig med torden og lynild, dukker stemmen fra en forrykt gadeprædikant op. Et trick, som bl.a. Godspeed You Black Emperor! har udnyttet med stor effekt til at skabe uhyggelige stemninger af aftenlandets undergang. Hos RM74 virker det dog ikke videre spooky, måske fordi det netop fra starten lyder lidt for oplagt gyseragtigt og altså ikke rigtigt har den snigende stemning over sig, som GYBE! Formår at bygge op. Så dukker et buldrende orgel frem. Jeg genkender det umiskendelige tritonus-interval det som før i tiden blev kaldt for ”djævelen i musikken”, og som følgende blev betragtet som blasfemisk. Denne historie har Mäder givetvis også hørt i skolens musiktimer engang og har så rationaliseret sig frem til, at hvis han nu spiller dette interval i meget lang tid (seks minutter), ja, så må det blive rigtig dæmonisk og blasfemisk. Især, hvis han spiller det på et kirkeorgel! Det er lige før, at man kan høre ham gnække i baggrunden, men desværre bliver det ikke særligt skræmmende. Blot skræmmende dårligt og uopfindsomt. Så bliver det straks bedre på det efterfølgende nummer ”Passionate”, hvor der improviseres på et klaver, der gradvist forvrænges, så de store, rungende klavertoner til sidst flyder sammen til en slags noise. Numrene er i det hele taget meget bygget op over ét specifikt instruments muligheder for at bygge en stemning op gennem lange droner og diverse elektroniske manipulationer af de akustiske grundkilder. Det kunne sagtens have været en produktiv strategi, og RM74 viser da også visse steder en ganske god fornemmelse for resonans og stemning i numre, der trækker lige dele på de sørgmodige, apokalyptiske stemninger fra førnævnte GYBE!, neo-folkens dystert messende akustiske univers og de buldrende droner fra noise og dark ambient. Desværre må hans fornemmelse for lyd nærmest siges at være omvendt proportional med hans sans for egentlig timing og energi. Numrene kommer ganske enkelt ingen vegne, og de gode tiltag, som der vitterlig er (hør eksempelvis de spacede, skæve klange på ”Orchulence II” eller det hallucinatoriske harpespil på ”Unearth”) drukner i den prætentiøse og kitschede horror-vision, hvor den ene gysereffekt tager den anden, som en gyserfilm, hvor monstre på rad og række springer ud af klædeskabet. Enhver tanke om suspense er således annulleret til fordel for rent effektjageri, og dét er ikke videre ophidsende. Så er der faktisk mere ved den vedlagte cd-r Part 9: LoFire, der kommer med udgivelsen, og som giver et lidt andet billede af RM74 med en række mere skitseprægede numre, som er mindre tyngede af det gotisk kitschede koncept på Fireproof in 8 Parts. Udtrykket her er mere afdæmpet og indadvendt, og det klæder RM74, som her finder rum til i højere gard at dyrke det melankolske. Her kommer hans flair for knirkende og spøgelsesagtige akustiske lydbilleder bedre til sin ret og virker langt mindre forceret. Godt nok er her også nogle lettere irriterende passager, som ”Temporary Undo”, der lyder som en dårlig kopi af Current 93 på tysk! RM74 kan åbenbart ikke lægge det okkulte helt fra sig, men det burde han, for det lyder slet og ret fjollet, når han kaster sig ud i den slags. Men Part 9: LoFire holder nu overordnet set et pænt niveau med flotte, krogede stemninger og på afslutningsnummeret ”Scharlach in Saldo” endda med en næsten lummer erotisk tone, hvad man ellers skal lede længe efter her. En skam, at RM74 ikke har udsendt denne cd som selvstændigt værk, frem for at udgive den som et slags underordnet værk til den langt svagere Fireproof in 8 Parts. |
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| Sands-Zine, Alfredo Rastelli, May 2007 |
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Kielholen // Fireproof In 8 Parts Herpes Ö Deluxe // RM74 Hinterzimmer è la nascente etichetta discografica formata dagli svizzeri Reto Mäder (già conosciuto come RM74, trovate la recensione del suo precedente disco negli archivi) e Roger Ziegler. Quest’ultimo fa parte del collettivo Herpes Ö Deluxe il cui "Kielhole” è anche il primo lavoro licenziato dalla label. L'esperimento è interessante è nasce così: il gruppo è un quartetto di Berna attivo già da un decennio, dedito alla realizzazioni di sonorità che spaziano dal noise all’industrial, all’elettronica, ottenute con modalità che prevedono: 1) l’uso di strumentazioni varie (si va dagli aggeggi analogici ad altri autocostruiti), 2) la decostruzione di loops e turntables e 3) l’utilizzo delle drum machine. Le suite scaturite da tutto questo ben di dio sono sempre state suonate una, al massimo due volte, prima di essere archiviate, dando così sempre la priorità allo sviluppo in divenire del loro universo sonoro. "Kielholen” viene fuori dall’interessamento di RM74, Reto Mäder, il quale, operando una scelta sul vasto catalogo della band, ha preparato una sorta di "best moments” (ritoccando anche qua e la, nella produzione), risultante omogeneo ed interessantissimo. A fare da sbarramento ad eventuali deragliamenti sonori, c’è la predominante componente post-industrial (Im Moos) che, insieme ai frammenti di ambient isolazionista (inquietante la lynchiana di Funkenflug), ai drone elettronici come beat di fondo (notevole il crescendo in Tief Unten), e alle istanze minimaliste (Ruhig Stellen), permeano tutto il disco di un atmosfera apocalittica e ipnotica niente affatto distante da quella creata dai Loop Orchestra (se fossero un collettivo elettronico). Smesse le vesti da produttore, Reto Mäder torna al disco solista: con i suoi lavori precedenti, in particolare con "Exkursion”, aveva dato prova di duttilità e profonda conoscenza sullo stato dell’arte della musica elettronica, in cui le attrezzature digitali giocavano un ruolo di filtro per gli strumenti tradizionali e il cui suono classico veniva dunque trasceso. In questo nuovo lavoro, composto di nove parti, su due cd, l’artista continua a sperimentare sulle potenzialità degli strumenti cosiddetti tradizionali (piano, organo, arpa, tambourine, gong), ma come già accadeva (seppur in piccola parte) nel precedente lavoro, in questo nuovo parto, Reto Mäder lascia che gli strumenti (suonati da svariati importanti ospiti) conservino le loro caratteristiche, liberando il suono puro (così accade per l’organo nell’iniziale part 1: a stroke of lightning o per il piano in part 2: passionate) in nuce di uno stravolgimento che era lecito aspettarsi dato itrascorsi. Invece qui accade che il suono elettronico (combinazione di computer ed elettronics) e quello acustico siano ben distinti (i beat di part 4: quirk; il piano avantgarde di part 8: morbus fidel) eppure conviventi, anche su strati sovrapposti (come nella splendida Tief Unten, in cui una nebbia elettronica si schiarisce in presenza di mesmeriche note di organo e di arpa). Al disco è allegato un cd-r che contiene la parte nona, suddivisa a sua volta in sette movimenti, maggiormente incentrata su composizioni che di elettronico hanno ben poco, avvicinandosi invece alla musica contemporanea, d'avanguardia nonché al folk apocalittico. L’etichetta Hinterzimmer non si poteva presentare meglio. |
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| Rumore, Vittore Baroni, April 2007 | ||
L’elvetico Reto Mäder alias RM74 opera sulla combinazione di strumenti tradizionali e manipolazioni elettronice, ma al contrario di molti colleghi attivi nello stesso ambito, in questa sua quarta prova egli lascia che i suoni organici degli strumenti, "riscoperti come mezzi liberatori”, prendano decisamente il sopravvento sui successivi interventi di montaggio. Presentato su cartoncino rettangolare con raffigurazione infernale, il cd si sviluppa in otto movimenti in cui vengono messe alla "prova del fuoco” voci di predicatori, parossismi di organo, improvvisazioni pianistiche atonali, drone di harmonium, giri di basso scordato (suonati da ospiti come Ralf Wehowsky, Dave Phillips, Roger Ziegler), in una grezza sequenza free form che richiama le sperimentazioni incolte del "tape network” dei primi Ottanta piu che le ricerche dell’era digitale. Un po’ meglio il dischetto in bonus con una lunga "parte 9” piu riflessiva e ordinata, in cui si sonda un dialogo rudimentale tra le diverse fonti sonore arrivando perfino ad accenni di "ganzone”. Nonostante alcuni momenti oscuramente suggestivi, un lavoro che lascia perlomeno perplessi sulle reali intenzioni e capacita dell’autore. |
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| Losing Today, Roberto Mandolini, April 2007 |
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| Trust 04/07, Joachim, April 2007 | ||
Es kommt eigentlich selten vor, dass ich zwei verschiedene Releases in einem Review zusammenfasse, denn es wird dem einzelnen Stück nicht gerecht, aber hier macht es Sinn. Hinterzimmer ist ein neues Label aus der Schweiz und beide CDs zeigen wohl an, wo der Hase hinhoppelt. Herpes Ö DeLuxe dürften dem einen oder anderen u.a. durch das Release mit Reverend Beatman aus dem letzten Jahr bekannt sein. Haben sie sich dort jedoch dem, sagen wir mal "Voodoo Rhythm LoFi Rock'n'Roll' unterworfen, kommt hier die eigentliche Musik der Band zum Vorschein. Prima Mix aus Field Recordings, Loops, Drones und Ambient Electronix. Keine Scheibe, um mal schnell den Beat zu kriegen, vielmehr etwas zum Zuhören und im Geiste Bilder malen. Alle schwätzen von Hörbüchern und lassen sich gerne mal was von Platte erzählen. Hier ist es ähnlich. Mit dem Unterschied, das jeder seine eigene Geschichte sich ausdenken kann. Wecker, Getriebe, Sprachfetzen, untermalt von elektronischen Geräuschen kommen, verschwinden, setzen sich zusammen um sich genauso schnell wieder zu zersetzen. Erinnert strichweise an die von mir sehr geschätzten "Parking Non-Stop” aus Wales, die die Sache jedoch etwas poppiger angehen. Hier eher eine dichte Atmosphäre, die sich lange Zeit lässt um vom einen zum anderen zu kommen, Spannend. RM74 aka Reto Mäder schöpft aus ähnlichen Quellen, geht aber extremer zur Sache. Bedrohlicher, experimenteller. Es zischt, rauscht und entwickelt sich zu einem Wall Of Noise, um auch irgendwann mal in ein Piano Part zu zerfallen. Oft sind die Geräusche nicht unmittelbar zuzuordnen und es macht Laune, sich den Ursprung auszudenken. Nein, ebenfalls keine Platte zwischen Tür und Angel. Ab auf den Sessel, am besten Kopfhörer überstülpen und die ganze Sache laufen lassen. Auch spannend. Das Label muss man unbedingt im Auge behalten. |
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| Touching Extremes, Massimo Ricci, April 2007 |
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I’ve been following, on and off, the moves of Reto Mäder since his "Mikrosport” CD on Domizil several years ago and find that he’s amidst the few ones trying to cut the crap that prevents the huge mass of "new kids on the block” in the glitch/fizz laptop area from becoming individual-styled composers. Mäder is growing with each outing, also thanks to his increasing use of acoustic instruments and found sounds which give his pieces a home-recording quality that’s often lovely. "Fireproof in 8 parts” consists indeed of 2 discs, the second being a "Part 9” that contains additional tracks advancing along the same lines traced by the main opus (and which includes a cameo by Ralf Wehowsky - his partner on a recent Crouton release, "Pirouetten” - who lends his own misshapen sources in the very last minutes). Among the other guests are Roger Ziegler, Alexei Borisov, Dave Phillips. The direction of "Fireproof” is the right one: many of these pieces sound "freshly raw” and only a few ingenuities separate this work from the "excellent” tag. For starters, I’d eliminate most of the (often boring) taped-voice segments, or at least reduce them to the very minimum, rather leaving room to the genuine domestic resonance of Mäder’s simple yet effective elucubrations on piano and guitar bathed in uneasy electronics. This mixture of naively regular utensils, cheap musique concrete and computerized deviations is almost perfect despite some repetitions, and I perceive a general air of sincerity that must be appreciated. This is a good starting point to find the courage to jump right into the ship that sails from Average City to New Greatness. |
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| Vital Weekly 568, Frans de Waard, March 2007 | ||
You could have fooled me: "Fireproof In 8 Parts” is RM74’s fourth solo album - I could have sworn there were more. Maybe I am just confused. Confused with the various releases he made with others, such as the recently released collaboration with Ralf Wehowsky (see Vital Weekly 555). As noted with his previous solo release "Exkursion” (Vital Weekly 490), RM74, nom de plume from Reto Mäder from Switzerland, can no longer be lumped in with the world of microsound. The "campy” sound of that album is also no longer part of the RM74 book. For "Fireproof In 8 Parts” he works along the lines of Ralf Wehowsky: recording acoustic instruments and treating them with analogue and digital means. There is an organ, or a piano, a bassguitar and a harp at hand, and some of these can be recognized, but sometimes, such as in "Part 6: Orchulence II”, not at all. These days the work of RM74 is more in musique concrete territory than in microsound. It’s louder, perhaps even a bit more aggressive than before, but also intense and more varied. Careful working his way through the material is still there, but it works on a totally different level. The carefulness has to do with making the composition into a composition and not a mere random bunch of sound. An even bigger surprise is "Part 9” which comes on a separate bonus CDR. "Concentrating on his lofi inspired songwriter drafts”, it says on the info, and very much so indeed. The music here dwells more on the instruments played, piano, guitar, and lesser to processing the sounds. Seemingly recorded with a simple microphone to pinch that extra lo-fi recording quality. This could be very well a songwriter, less the vocals but on the other hand this could also be the original sounds that were used in the other eight parts. Both CD and CDR are excellent works, from someone who wants to change per release (and that’s something I can applaud). |
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| Chain D.L.K., Andrea Ferraris, February 2007 |
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I’ve been waiting for this release for quite a while now, exactly from the days of his solo cd on Domizil and this swiss guy is finally here with a bunch of new tracks. Having been positively impressed by his "instabil” cd (in the meanwhile he’s put out other cds), I was expecting something in the likes, but the first listening have been a bit disorienting: certainly you can recognize it’s Reto Mader in full effect, but forget the intrusive amount of electronics he threw in the potion the last time because this one is more "sober". Mader probably is one of those musicians/artists who consider music as something that’s constantly changing and that’s well reflected in this new "migration", I think his personal touch is still intelligible but "Fireproof in 8 parts” is by some means different. RM74 plays mainly organ and piano but also harp percussions and many other "objects" I guess, while the piano tracks are similar to those you could listen on the Domizil output, the organ suites are more obsessive, minimal and hypnotic. Don’t think he’s left electronics back home given that between the eight parts of this "Fireproof" there’s also a spruce of laptop, but let’s say this work is more heterogeneous. I’m tented to say Mader went for a more introspective release and the simple but really nice layout goes in the same direction, musically it looks like contemporary classic aesthetics and simplicity took over in the approach of this interesting swiss musician. This cd includes a bonus cdr that features some old tracks where you can give a try to the satiesque piano playing of Mader and to some simple electronic works or reworks of music he’s played. I can’t say if this one is better than his previous full-length but I confirm I like RM74, I’ve also read he’s recently recorded something on Crouton (and he had been on Mego) that itself could be considered a guarantee of his high qualities. |
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| GAZ-ETA, Tom Sekowski, February 2007 |
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Multi-instrumentalist Redo Mäder continues his quest to confound and delight this particular listener. With each release, his work has become more bold and certainly more mature. His take on electronic music as it sits side by side with "real” instrumentation - organ, piano, harp, gong, guitar - is quite unique. His intent is to mesh electronics with instruments in such a way as to make both sides of the fence talk to one another. To become a true creation, one must first give up a little bit to gain a whole lot. Fourth solo release from Mäder [or RM74] "Fireproof in 8 Parts" is a weird little trip into the world of sinister sounds of strange instrumentation, bizarre choices of musical tyranny and altogether fucked-up sounds. The album begins with "A Stroke of Lightening", where Rev. Lester Knox who praises the "hey man" mentality with all kinds of obscure imagery that is followed up with off-key organ harassed with total intensity. Organ grows in vigour with each passing minute, building up to an ultimate climax that falters off to a subtle sound at the end. On "Unearth”, Mäder builds a wall of gongs, harp and organ sounds that are filtered through his computer and destroyed relentlessly. The sustained guitar soup on "Exaudi!” is barren, scraping and to the point, while Dave Phillips’s piano rumbling and off-key strokes on the closing "Morbus Fidel" sound sinister, total and completely cold. A bonus CD, "LoFire" delivers a somewhat more acoustic side of Mäder. With individual solo piano piece "Night Enfold", there is an impression, he’s continuing on from the previous CD. "E-S-R-E-V-E-R" sounds like a vinyl span backwards while some computer processing is being utilized, while "Scharlach in Saldo" sees the return of the organ in grand glory. Glitched-out around the edges, organ is delivered in grand style, emphasizing a funeral melody. Overall, the sounds Mäder has chosen to record are far from being alien Removed from reality or simply created in the nether regions of hell, the album is a mirror reflection of a dark, hidden soul. |
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| Review by André in PNG (Persona non Grata), February 2007 |
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IM HINTERZIMMER DER MUSIKGESCHICHTE "Keiner kommt raus aus diesem Haus, dieser Raum hat keine Tür.” So erklärte es uns einstmals Frank "Abwärts” Z. Inzwischen ist natürlich viel geschehen, besser ist nichts geworden, nur dreister, Folgen von Übersättigung und dem Bewusstsein für die allgegenwärtige Auswegslosigkeit. Macht es noch Sinn, Koordination zu bestimmen? Oder ist es der letzte Versuch, der Künstler weltweit dazu animiert, "Let their be songs to fill the air" weitestgehend zu ignorieren, weiter zu gehen, die Ignoranz der Weltpresse zu missachten und sich neue Räume zu eröffnen? Ein neuer Raum befindet sich zur Zeit in Bern. Er öffnet sich am 1.1.2007. Hinterzimmer Records beherbergt RM74's "Fireproof in 8 parts" und Herpes Ö DeLuxe's "Kielholen". Man untermauert mein Reden. Das Wörtchen Pre-Listening wird umdenotiert werden müssen. Dies hier sind nicht nur Verwandte im Geiste von Tom Smith/TLASILA, sondern leibhaftige Kollaborateure, auf deren Konto z.B. das gemeinsame globale Projekt OHNE geht. |
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| Bad Alchemy, J.R., January 2007 |
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Das graue Graphikdesign von Mathias Berger, REMAE stiftet die corporate identity zwischen dem ersten und zweiten Hinterzimmer-Release. Zierte Kielholen ein Kugelfisch im Jugendstil, so kommt RM74s Fireproof in 8 parts (Hint02 + bonus CDr) mit einer mittelalterlichen Darstellung der Hölle daher. Dazu lässt Reto Mäder zuerst Reverend Lester Knox von der Leine, bevor er mit Orgeldrones ins Infernalische eintaucht. Während Kollegen wie Alexei Borisov und Roger.Z Rohstoff oder Harmoniumsounds beisteuerten, schürt Mäder sein Höllenfeuer eigenhändig mit Piano, Mundharmonika, Electronics & Computer und genüsslicher Diabolik. Zwangsläufig ist der Orkus ein Ort der Low Fidelity. An die dort gelandeten schlechten Hörer ist jedes mahnende "Exaudi!" (Höre!) verschwendet. Scheint die Kulisse anfänglich noch akustisch annehmbar, beginnt "Quirk" dann mit hackendem Gezucke das Ver- und Zerstörungswerk am Gemüt, das zudem schweflig umfurzelt und von tektonischem Grollen ins Wanken gebracht wird. Der Teufel selbst beginnt mit seinen Klauen aufs Klavier zu hämmern, kakophoner Animateur seiner verrauchten Unterwelt. Hier involviert sein, heißt aber auch, dass man vom Diabolus in musica bluesig umzirpt wird. "Morbus Fidel” rumort abschließend noch einmal mit dem ganzen Piano, es klappt auf und zu wie ein Sargdeckel und einzeln angeschlagene Noten verkünden nichts Gutes. Schon manche große Klappe hat Nothing is holy! getönt und dann kommen doch Zweifel an der eigenen Feuerfestigkeit. Als Bonus-CDr folgt Part 9: LoFire mit noch mehr Piano, einem Low Fidelity-Nocturne, umrauscht von Straßenverkehr. Bassgitarrengeklampfe nimmt die gedämpfte Stimmung auf und trägt sie tiefer in die Schattenzonen. Dröhnwellen laufen gegen den Uhrzeigersinn. Wie oft möchte man etwas ungeschehen machen. "Klavtarups" hellt, was diesmal tatsächlich hell, nicht "from hell" meint, die Atmosphäre etwas auf, verstimmt zwar, aber unbeeindruckt von ominösem Gezischel. Danach Rauschen und eine dunkle Bassgitarrenmelodie, zu der Ernst Jandl sein "Was sie dir tun können" rezitiert: Was können sie dir tun? dir die zunge ausreißen. ein besonderer redner warst du nie. dir die augen ausstechen. hast du nicht genug gesehen? Dich mit verschlafenem Liebesgeflüster und Beifall irritieren, nach einem weiteren schrägen Zwischenspiel des Pianos? Zum Abschluss, bei dem auch Ralf Wehowsky mit ins Spiel kommt, dann Orgelgedröhn, mit dem Mäder seine Commedia, so wie er sie aufgeschlagen hat, wieder zuschlägt. Da kann ich nur sagen: Hinterzimmer - Hereinspaziert. Zutritt auf eigene Gefahr. |
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| octopus-enligne.com, Philippe Gimet, February 2007 |
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Rien n’est sacré. Pour sa quatrième réalisation solo, Reto Mäder aka RM74 nous invite dans une quête qui n’a rien de sacré. Fireproof in 8 parts nous emmène dans les espaces les plus sombres du son, où errent les âmes torturées de l’absolu musical. Le caractère totalitaire et écrasant du travail sonore brise instantanément tout caractère sacré à la musique. Tout l'intérêt de la démarche repose justement sur une "forme" de répertoire sacré appréhendé comme une matière brute qu'il faut impérativement transformer avec la violence du monde industriel. RM74 nous plonge dans les tréfonds de l'humanité et nous contraint à faire face à notre égale capacité à faire le bien et le mal. Tous cela brûle dans le feu de la passion, une entreprise très donjuanesque en somme. On pourrait se satisfaire intellectuellement de la démarche, mais Mäder va plus loin en ne se contentant pas d’apporter un exercice de destruction par les machines. Comme pour mieux brouiller les pistes, il introduit des instruments acoustiques comme l’orgue, le piano, la harpe et distille des traitements audio qui révèlent une certaine frivolité. Si on fait l’effort de s'accrocher à la première écoute, on peut alors voir poindre une redécouverte, une entreprise de libération. Il n’y a plus d’enfer ni de paradis. Nous sommes soit dans une séance sado-masochiste, soit au purgatoire, soit en plein exorcisme. Le deuxième CD arrive alors comme le sauveur. Part 9 : LoFire est plus transparent, plus direct, plus réconfortant et rééchantillonne les motifs du premier disque. Il faut noter que cette épreuve des limites est la première production du label suisse Hinterzimmer. Saluons le courage helvète! |
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| Blow Up, Nicola Catalano, March 2007 |
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Lo stesso Mäder, con l'usuale alias RM74, dà alle stampe anche il suo quarto disco solista. Una prova del fuoco in otto parti, più nona sotta forma di intero CDR bonus, dal carattere decisamente più avant rispetto al lavoro coi concittadini. Muovendosi in più direzioni, assenza e presenza di suono, grevità para-colte, grappoli d'accordi pianistici, passionalità d’abissale umore gotico, l'autore dà il meglio di sé nel disco aggiuntivo, ribattezzato "LoFire" e caratterizzato da un efficace aura di casualità e svogliatezza. Tra i vari ospiti fanno capolino i nomi di Ralf Wehowsky, che continua a rimestare i materiali del progetto "I.K.K." (si vedano il recente solo su Sirr e "Gelbe Tupfen" col nostro Domenico Sciajno), e Alexei Borisov. |
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| Rockerilla, Roberto Mandolini, February 2007 | ||
Reto Mäder vive a Berna e il grigio paessagio della sua città deve aver condizionato non poco la musica che compone. Il giovane compositore svizzero con "Fireproof In 8 Parts" ha registrato un opera elettroacustica scurissima, costruita compimendo con effeti digitali i suoni di organi, pianoforti, chitarre, bassi elettrici e arpe. Strumenti suonati o percossi al fine di generare rumori inconsueti e dare un senso di ambientazione infernale a tutto il disco. Un bonus CD presente nella bella confezione in formato A5, "Part 9: LoFire", presenta, al contrario, Reto Mäder in versione intima e riflessiva, intonare lieder romantici al pianoforte ("Night Enfold", "Klavtarups") oppure inseguire con la sua sei corde i lenti detriti portati via dal vento ("Mellow"). |
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| GoMag, Vidal Romero, February 2007 | ||
No es muy habitual tropezar con sellos dedicados al jander que vengan del pais de los relojes de cuco, el queso gruyere y las vacas pintadas de morado (estan Spezialmaterial, Stattmusik y poco mas), asi que habra que saludar con efusion a Hinterzimmer, un recién nacido dedicado a la electroacustica con manga ancha, que arranca con sendos proyectos a cargo de los dos socios fundadores, Reto Mäder y Roger Ziegler. El primero se hace llamar RM74 y en "Fireproof in 8 parts", su cuarto disco, fabrica un punado de collage en los que se alternan grabaciones de cambo, ruidos de naturaleza industrial y tormentas de feedback con partes de piano acustico, cuerdas, campanitas y guitarras maltratadas. Una mezcia que a veces se le escapa de las manos a Mäder, pero que cuando funciona produce piezas de interés muy resenable. Ziegler, por su parte, forma parte de la célula de musica improvisada Herpes Ö DeLuxe, un cuarteto que, a pesar del nombre, no tiene nada que ver con la critica musical: ellos prefieren amalgamar electronica e instrumentation real en una suerte de todo vale ("electronique bruitiste", lo llaman ellos), y que encuentra su habitat natural sobre los escenarios. "Kielholen", su primer y recomendable disco, es en realidad una seleccion de grabaciones en directo, recortadas y remezcladas para la ocasion por RM74, en las que queda clara su pasion por los ambientes tensos y los sonidos ariscos. Y la verdad es que uno se queda con ganas de ver en vivo a estos habiles herederos de Einstürzende Neubauten. A poder ser, en una sala pequena y llena de humo. |
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| Playlist in Radio Home Listen on Free103Point9 Transmission Arts Radio 1. RM74 - Lofire_Night Enfold (Hinterzimmer) 2. The Beige Channel - Le Jardin Clos (Ossicles) 3. Freiband & Machinenfabriek - Oahu 2.1 (Low Point) 4. Jean-Luc Guionnet & Toshimaru Nakamura - Map 4 (Potlatch) 5. Lethe - Catastrophe Point |
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| Playlist in Tuesday Night Prayer Metting on www.seansonalbk.net/radio (USA), and on www.free103point9.org (USA), 19.2.2008 1. Jack Rose - Since I ve Been A Man Full Grown (Table Of The Elements 2. Duane Pitre - Area Left. (Bremsstrahlung) 3. RM74 - Part 7: Involve (Hinterzimmer) 4. Pocohaunted - Solitary Vigils (Not Not Fun) 5. Joe & Joe - Untitled 1 (Los Angeles Free Music Society) |
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| Playlist in NPS Folio Concertzender NL on Radio 6 (NL) Uitzending: dinsdagnacht 26 februari om 0:02 uur Samenstelling: Arno Peeters In deze aflevering aandacht voor de dubbelaar "Fireproof In 8 Parts" van RM74, de alias van de Zwitserse multi-instrumentalist Reto Mäder. Hij is tevens voorman van Herpes Ö Deluxe, waarvan we in april vorig jaar al werk lieten horen. De release van die CD ('Kielholen') vormt samen met die van "Fireproof In 8 Parts" het startsein voor een nieuw Zwitsers label Hinterzimmer. Onder het motto 'Nothing is Holy' is "Fireproof In 8 Parts" een 8-delige rumoerige reis langs LoFi homerecordings en found sound, via drones en instrumentaties van harp, bass en gitaar naar de meer ijle klanken op de bonus CD, 'Part 9', die we in z'n geheel zullen laten horen. 1-02 Part 2 Passionate 4'25" 1-03 Part 3 Exaudi! 6'21" 1-04 Part 4 Quirk 2'34' 1-07 Part 7 Involve 6'52" 1-08 Part 8 Morbus Fidel 6'27" Part 9 33'36" |
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| Playlist in MUMA Radio Dreyeckland Freiburg (GER), 102.3 FM, 13.5.2007 1. erikM & Thomas Lehn - Les Protorythmiques (Room40) 2. Tom Hall - 2 (Nightrider) 3. Aethenor - 1 (VHF) 4. RM74/RLW - Pirouetten (Crouton) 5. RM74 - Mellow (Hinterzimmer) 6. RM74 - Involve (Hinterzimmer) 7. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) 8. Herpes Ö DeLuxe - All Hands (everestrecords) |
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| Playlist in Kunstkamera No. 22 (His main mistakes) www.zvuuk.podomatic.com, 30.04.2007 1. Aquarium - Бурлак (FeeLee) 2. David Sylvian - The Heart Knows Better (Samadhisound) 3. RM74 - Part 3: Exaudi! (Hinterzimmer) 4. Violet -exctract from Universam (Live Reports) 5. Andrey Savitsky - untitled track from yet untitled and unreleased 2007 album 6. Keiji Haino & K.K.Null - untitled #3 (Blossoming Noise) 7. K.K.Null - part 1.6 (Blossoming Noise) 8. Sufjan Stevens - Chicago (Rough Trade) 9. Supersilent - 6.1 (Rune Grammofon) 10. Vetrophonia - 15 4/13 (Long Arms Records) 11. Shpongle - Dorset Perception (Twisted Records) |
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| Playlist in Mute FM Brussel Belgien, 98.8 FM, 6.2.2007, hour 2 1. !!! - Heart Of Hearts (Warp) 2. Maria Taylor - A Good Start (Saddle Creek) 3. Andrew Bird - Imitosis (Fargo) 4. Johnny Pacheco - El agua del clavelito (Fania) 5. Julie’s haircut - Open Wound (Homesleep) 6. Clark - Ted (Warp) 7. Sentridoh - Yawning Blue Messiah (Acuarela) 8. Gruff Rhys - Painting People Blue (Rough Trade) ---Interview Bloc Party--- 9. Fennesz - Caecilia (Editionsmego) 10. Do Make Say Think - You, You’re Awesome (Constellation) 11. Tuk - Low Carb Love ((k-raa-k)3) 12. Wolf eyes - The Driller (Sub Pop) 13. RM74 - Quirk (Hinterzimmer) 14. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) |
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| Playlist in MUMA Radio Dreyeckland Freiburg (GER), 102.3 FM, 2.2.2007, 17.00 - 18.00 01. Lawrence English - Swan (Baskaru) 02. @c - 33 - Study (Grain Of Sound) 03. Reuber - Tausendnadelwind (Staubgold) 04. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) 05. RM74 - Part7 : Involve (Hinterzimmer) 06. Interview with RM74 about Fireproof in 8 parts 07. RM74 - A Stroke Of Lightning (Hinterzimmer) |
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| Playlist in Battiti Radio Rai / Radio 3 Italy, 2.2.2007 1. Mark E. Smith - Football Results (Sonic Arts Network) 2. The Trachtenburg Family Slideshow Players - Lets Not Have The Same Weight In 1978 (Sonic Arts Network) 3. Viktoria Frey - Ich hab dich ausgetragen (Tracce) 4. Hugh Hopper - Lonely Woman (Cuneiform) 5. Sabir Mateen/ Daniel Carter - On The Full Moon (Tracce) 6. World Saxophone Quartet - Blue Diamond (Justin Time) 7. Jazz-O-Rama - Ciclo di Film e Documentari - Roma dal 5.2. al 5.3.2007 8. RM74 - Night Enfold (Hinterzimmer) 9. The Alps - O Wind (Spekk) 10. Jefre Cantu-Ledesma - Phases of the Moon (Spekk) 11. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) 12. Jefre Cantu-Ledesma - Feast Of The Pentecost (Spekk) 13. The Alps - Autumn Rhythm (Spekk) 14. RM74 - Passionate (Hinterzimmer) 15. Jon Hendricks - The Shouter (Pacific Jazz) 16. Pat Martino - Twisted Blues (Blue Note) |
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| Playlist in Concept muSICK Radio Dreyeckland Freiburg (GER), 102.3 FM, 2.2.2007, 22.30 - 24.00 01. Reuber - Altweiber (Staubgold) 02. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) 03. RM74/RLW - Hanswurst, lethargisch, aber guter Dinge - Pirouetten - (Crouton) 04. RM74 - Part9 : LoFire - Mellow (Hinterzimmer) 05. RM74/RLW - Kontrollpunkt am Herzen der Volksseele - Pirouetten (Crouton) 06. Herpes Ö DeLuxe - Ruhig stellen (Hinterzimmer) 07. Herpes Ö DeLuxe - Trunkenes Schiff - Havarie (Everestrecords) 08. RM74/RLW - Herz schlägt noch - Pirouetten (Crouton) 09. Herpes Ö DeLuxe - 13. Kaverne - Havarie (Everestrecords) |
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| Playlist in Tide FM VKVIED #122 TIDE 96.0 Hamburg (GER), 96.0 FM, 1.2.2007, 1.00 - 1.58 1. Dave Phillips - Svinja - A Collection Of Curses (Blossoming Noise) 2. Paul Celan - Weißgeräusche - Ich hörte sagen (Hörverlag) 3. Luc Ferrari - Et tournent les sons dans la garrigue - Et tournent les sons (Césaré) 4. Rank Sinatra - Eternal Flame - Chairman Of the Bored V/Vm (Test) 5. RM74 - Scharlach in Saldo - Fireproof In 8 Parts (Hinterzimmer) 6. Text Of Light - Rotterdam 1 - Rotterdam 1 (Room40) |
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| Playlist in concept muSICK Radio Dreyeckland Freiburg (GER), 102.3 FM, 19.1.2007, 22.30 - 24.00 1. Rosy Parlane - Part One (Touch) 2. Herpes Ö DeLuxe - Tief unten (Hinterzimmer) 3. RM74 - Morbus Fidel (Hinterzimmer) 4. Rosy Parlane - Part Three (Touch) 5. Herpes Ö DeLuxe - Fern der Hoffnung (Hinterzimmer) 6. RM74 - Mellow (Hinterzimmer) 7. RM74 - A Stroke Of Lightning (Hinterzimmer) 8. Herpes Ö DeLuxe - Nichtsdestotrotz (Hinterzimmer |
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