Mathias Götz alias Le Millipede has a clear division of labor: the trombonist tackles album number one as usual with hands, legs and feet (keyword: LEGS), he leaves album number two to the BIRDS, which also give it its title, and each of the 17 tracks is named after the bird, whose singing voice we hear, from the linnet to the tree pipit. These and other birdies and outstanding forest and meadow singers play the role of the unpredictable master of sound.
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“Why do the birds attack?” asked the philosopher Slavoj Žižek after watching the Hitchcock classic The Birds. Mathias Götz does not find an answer on album two of this double either. These recordings of the singing birds are a panopticon of the free, in the sense of an improvisation (free jazz) or a snapshot in the spirit of musique concète.
Formulated sound journeys that meander between song and sound installation
The ten contributions on album one, which were designed as unique pieces and were initially given away in the form of a single to friends such as Micha and Markus Acher, Thomas Meinecke and Andreas Stäbler aka G.Rag, then received a textual accompaniment that the critic Pico Be wrote, together with the question: Which films can I think of?
The tracks are formulated sound journeys that meander between song and sound installation – folky, with an affinity for brass music and electronics, inspired by art-house cinema, neoclassical. Götz, who was on stage live for Notwist and plays in their wedding band, also uses his voice this time, it haunts this music with a “Dutdüt-dü-dü”, for which a bird should still be invented.
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