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Reviews & INFOS
Ragazzi, Stralsund, Germany:
→ Review
"FLIES"
→ Review "BOWDLERIZED MUSIC"/"UNIVERSUM"
Trend, Würzburg, Germany:
→ Review
"UNIVERSUM"
Debra Kadabra, Italy:
Review
"BOWDLERIZED MUSIC"/"UNIVERSUM"
→ english version
Review
"BOWDLERIZED MUSIC"/"UNIVERSUM"
→ italian version
Issue No. 27 of DK has
an interview with Michael Pabst
MovimentiPROG, Italy:
→ Review
"UNIVERSUM", italian (external link)
→ Review
"FLIES",
italian (external link)
→ Works
→ the audio files
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|
 TRI – ZERFALL
(January 2017)
Listen/share/download: → Bandcamp
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – Music For Prepared Guitars
(August 2016)
Listen/share/download: → Bandcamp
Alles, was die Gitarren hergeben
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – 4 Movements
(February 2016)
Listen/share/download: → Bandcamp
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – Plan A2
(February 2016)
Listen/share/download: → Bandcamp
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – Underground
(September 2015)
Listen/share/download: → Bandcamp
NICHTS FÜR TAUBE OHREN
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
"… habt ihr doch mittlerweile eine eigene Sprache, einen eigenen Ausdruck – der euch unverwechselbar macht.
Und das bei all der Abwechslung, also nie langweilig." f R A N K b E R Z I K – befreite-musik.de/frank/index.htm
 TRI Sessions – Part Two
(February 2014)
Listen/share/download:→ Bandcamp
-
Apollo onetwothreefour 9:13
-
Frogs from the Thames 6:44
-
From Paddington 3:06
- Titanic 2:12
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – IV
(May 2013)
Listen/share/download: → Bandcamp
- Formation A 16:19
- Formation B 22:16
Frei improvisierte Musik
Free improvised music
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
(Cover photo by Ahdigital)
 TRI – Space Night Music
(February 2013)
Listen/share/download: → Bandcamp
-
European Continental Drift 11:57
- Logie 16:44
Frei improvisierte Musik
Free improvised music
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI – Taktspuren
(January 2012)
Listen/share/download: → Bandcamp
-
Uhr Werk 15:50
-
Zeit Raum 18:55
New intuitive music in the field of free impovisation and electroacoustic arts.
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 TRI—O – • • •
(September 2011)
Listen/share/download: → Bandcamp
-
• 3:53
-
• • 5:21
-
• • • 6:08
Free improvised music - NEUE beFREItE MUSIK.
From noise to jazz.
TRI—O are:
Frank Berzik: woodwinds
Michael Pabst: bass, electric piano, drums
Matthias Bornemann: guitar and percussion
"Wer den Blick über den Tellerrand wagt, erfährt in “o o o” von TRI-O eine kleines aber ergreifendes Erlebnis, dessen Intensität, die aus den Klängen des Saxophons resultiert, noch weit über die kurze Spielzeit hinaus betört – meine absolute Empfehlung!" Autor: RaF (Kulturterrorismus)
 TRI Sessions – Part One
(August 2011)
Listen/share/download: → Bandcamp
-
Tottenham 3:48
-
Hackney 6:33
-
Brixton 5:03
- Croydon 5:38
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
"The 4 tracks are a fascinating border crossing musically journey, which takes us through a fine blend of avantgarde jazz, ambient, industrial and noise, layered with hypnotic grooves." Autor: MaCu (Kulturterrorismus)
 TRI – MMX
(2011)
Listen/share/download: → Bandcamp
This package contains the material from the three transient albums
• Listen to Real German Rock from space
• New Cosmic Music
• TRI Days of Peace & Music
and the singles
• Gitarrenströme
• DISCOdelic
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
"A very interesting album of free improvised experimental rockmusic...and highly recommended for fans of kraut– & space rock." Autor: MaCu (Kulturterrorismus)
 transient editions, phase 3:
TRI Days of Peace & Music
(transient edition, March 2011)
Listen/share/download – now part of the MMX-Package: → Bandcamp
-
Woodstock 14:07
Michael Pabst: guitar, bass and electronics
Matthias Bornemann: voice, guitar and percussion
 TRI—O-Sonata
(November 2010)
Listen/share/download: → Bandcamp
-
Movement I 5:18
-
Movement II 2:34
-
Movement III 2:34
Free improvised music - NEUE beFREItE MUSIK.
Sounds between free jazz and contemporary music.
TRI—O are:
Frank Berzik: woodwinds
Michael Pabst: electronics
Matthias Bornemann: guitar and percussion
 The Research Institute –
transient editions, phase 2:
New Cosmic Music
(transient edition, July 2010)
Listen/share/download – now part of the MMX-Package: → Bandcamp
-
Kraut Spacetape 4:16
-
Krauts on a mission 2:35
-
Discovery 1:39
-
Mission Failure 2:14
-
Back Home 2:25
Improv. between kraut and space. New German Krautrock.
Michael Pabst: bass, guitar and electronics
Matthias Bornemann: detuned guitar and percussion
 The Research Institute –
transient editions, phase 1:
Listen to Real German Rock from space
(transient edition, April 2010)
Listen/share/download – now part of the MMX-Package: → Bandcamp
-
Blue Flash Nebula 1:18
-
Bowtie Nebula 1:38
-
Fornax A 2:40
-
Footprint Nebula 1:48
-
Golden Harp Cluster 3:52
Improv. between space and kraut. New German Spacerock.
Michael Pabst: bass, guitar and electronics
Matthias Bornemann: detuned guitar and percussion
 The Research Institute –
Music from the North German Wastelands (Album)
(February 2009; download album, April 2010)
Listen/share/download: → Bandcamp
Topographie 1 17:50
-
Topographie 2 19:29
Free improvised and ad-hoc composed border-crossing music.
Selected material from the project "Music from the North German
Wastelands, in 4 Fields".
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
 |
 |
The Research Institute – Gitarrenströme
(download single, September 2010)
Listen/share/download – now part of the MMX-Package: → Bandcamp
1. Gitarrenströme 3:17
2. Short-Out 2:57
New experimental German rockmusic
Michael Pabst: Guitar and electronics
Matthias Bornemann: Guitar and noise percussion |
 |
 |
The Research Institute – DISCOdelic
(download single, July 2010)
Listen/share/download – now part of the MMX-Package: → Bandcamp
1. DISCOdelic 3:00
2. blankGALAXY 4:42
New German Krautrock and Kosmische Musik
Michael Pabst: Bass, guitar and electronics
Matthias Bornemann: Guitar and noise percussion |
 |
 |
The Research Institute – Minimum
(download single, February 2010)
Listen/share/download: → Bandcamp
1. Minimum 5:45 (improvisation, 2010)
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
2. ReAnima 3:40 (composition for ensemble, 2004)
Michael Pabst: bass, programming
Marcus Prüßmeier: guitars
Matthias Bornemann: organ
|
The Research Institute –
Music from the North German Wastelands, in 4 Fields
(February 2009)
      
Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts
Field 1 |
Title |
Time |
Recording session |
Recording date |
|
Wolfskuhle
- Part One
- Part two
- Part Three
- Part Four
- Part Five
- Part Six |
1:28
1:29
2:08
2:34
2:23
2:53 |
No. 37, Edit 1, first half |
4.11.2007 |
|
Wittemoor
- Part One
- Part two
- Part Three
- Part Four
- Part Five |
2:52
2:58
1:20
1:52
2:09 |
No. 37, Edit 1, second half |
4.11.2007 |
|
Hohe Land |
1:49 |
No. 41, Edit 2 |
23./30.12.2007 |
|
Kolk |
3:34 |
Part of No. 35, Edit 1 |
7.10.2007/28.2.2008 |
|
Bockshorn |
2:48 |
No. 34, Edit 1 |
2.9.2007 |
|
Eskedor |
3:08 |
No. 59, Edit 2 |
19.10./26.10./2.11.2008 |
|
Quetzer Ohr |
2:43 |
Part of No. 35, Edit 1 |
7.10.2007/28.2.2008 |
|
Strepel |
1:18 |
No. 31, Edit 2 |
29.7.2007 |
|
Tonwerk |
3:10 |
No. 60, Edit 4 |
26.10./2.11.2008 |
|
Field 2 |
Title |
Time |
Recording session |
Recording date |
|
Windloch |
4:46 |
No. 43 |
13.1.2008 |
|
Specken |
8:14 |
No. 42, Edit 1 |
6./13./27.1.2008 |
|
Blanker Puhl |
4:20 |
No. 46, Edit 14 |
30.3./6.4.2008 |
|
Goldinsel |
5:15 |
No. 46, Edit 20 |
30.3./6.4.2008 |
|
Im Gang |
5:59 |
No. 46, Edit 19 |
30.3./6.4.2008 |
|
Bruch |
1:34 |
No. 5 |
26.11.2006 |
|
Lange Plas |
10:11 |
No. 45, Parts 13+14 |
1./9./13./21.3.2008 |
|
Field 3 |
Title |
Time |
Recording session |
Recording date |
|
Spitzenend |
1:19 |
No. 45, Part 1 |
1./9./13./21.3.2008 |
|
Weitblick |
14:22
|
No. 6
No. 7
No. 8
No. 9
No. 10 |
2.12.2006
2.12.2006
2.12.2006
17.12.2006
17.12.2006 |
|
Grille |
3:30 |
No. 45, Part 7 |
1./9./13./21.3.2008 |
|
Sonneneck |
3:12 |
No. 45, Part 8 |
1./9./13./21.3.2008 |
|
Zwischen
den Wegen |
3:26 |
No. 45, Part 12 |
1./9./13./21.3.2008 |
|
Vogelsang |
15:10 |
No. 23 |
22.4./6.5.2007 |
|
Field 4 |
Title |
Time |
Recording session |
Recording date |
|
Wandlung |
3:40 |
No. 63/1 |
14.12.2008 |
|
Im Ohr |
2:51 |
No. 63/4 |
14.12.2008 |
|
Bössel |
3:22 |
No. 65/2 |
30.12.2008 |
|
Weißer Stein |
2:10 |
No. 61/2, Part 1 |
30.11.2008 |
|
Feuerschicht |
5:26 |
No. 61/3 |
30.11.2008 |
|
Geistgarten |
1:27 |
No. 61/2, Part 2 |
30.11.2008 |
|
Rote Wand |
4:21 |
No. 61/4, Part 2 |
30.11.2008 |
|
Bollacken |
2:38 |
No. 64/6 |
21.12.2008 |
|
Peckrenne |
3:59 |
No. 61/1 |
30.11.2008 |
|
Im Horn |
3:24 |
No. 65/3 |
30.12.2008 |
|
Rußland |
3:15 |
No. 62/1 |
7.12.2008 |
|
Wellie |
3:14 |
No. 65/4 |
30.12.2008 |
|
 The Research Institute – Flies
(CD, December 2003; download album, January 2010)
→ Bandcamp (download)
→ on CD
Prelude 0:37
-
Brown Corduroy Slippers 3:50
-
Superfluo 2:04
-
Worm Eaten Thing 6:13
-
Brainstrøm 3:02
-
Il faut tout changer 4:19
-
Flies Without Wings 3:04
-
Celeste 5:08
-
Entomology 2:57
-
Rückblick 0:45
-
Teargas for Teardrops 5:08
-
The Brood & Postlude 6:40
Michael Pabst: bass, guitar, percussion, bass synthesizer, programming
Marcus Prüßmeier: guitars, percussion, programming
Matthias Bornemann: organ, synthesizer,
piano, electronics
Florian Altenhein: percussion
Justus Twele: acoustic guitar
 The Research Institute
Universum
(CD, December 1998, Reprint 2003; download album, January 2010)
→ Bandcamp (download)
→ on CD
Visual Check At
The Viper Room 3:33
-
Bad Neighborhood 3:21
-
The Blimp 3:12
-
He Healed His Perspiring Feet
At Mono Lake 5:45
-
Breaking Up The Band 3:59
- End Of Tunnels 0:49
-
Sunday Versus Saturday 3:46
-
Thinman 3:05
-
Wheres Our Gear? 0:19
-
Universum 3:15
-
The Factory 1:20
-
Lost March 2:11
-
Michel Piccoli 4:36
-
Hot Chicks 2:43
-
4 12 93 2:50
-
Oceans 2:31
Michael Pabst: bass, keyboards,
bass synthesizer, programming
Marcus Prüßmeier: guitars, keyboards
Florian
Altenhein: percussion,
drums
Jana Bergsiek: violin
Matthias Bornemann: organ,
synthesizers
Anatol Gomersall: saxophone
Wolfgang Horst: acoustic
guitars
Jost Hübner: drums
Udo Karasch: keyboards,
double bass
Rüdiger Konrad: trombone
Andreas Riechers, Hartmut Schardt,
Michael Pappagallo: woodwinds
 Pabst – Bowdlerized Music
(CD, April 1993; download album, January 2010)
→ Bandcamp (download)
→ on CD
Machen Bananen dumm? 6:35
-
Love after the days of cholera 2:40
-
Berceuse 3:55 (Igor Stravinsky) (not on download edition of this album – there is a bonus track instead)
-
Who knows? 2:09
-
Two seconds in the heat 5:01
-
Bowdlerized song 4:42
-
Call for art 4:29
-
Loco-motif 2:58
-
Two seconds in the night 0:43
-
No refund 3:06
-
Pain 6:30
-
Frack 5:59
-
Herbst in Deutschland 4:01
-
Man gold 8:40
-
Pedro went crazy at the bus stop 5:38
Michael Pabst: bass
Marcus Prüßmeier: guitar
Torsten Klinker: guitar
Marcus Gütebier: guitar
Ulf Pankoke: keyboards, trumpet
Jost Hübner: drums
Florian Altenhein: percussion
Rüdiger Konrad: trombone
Uli Gutzeit: guitar
Kojo Samuels: percussion
REVIEWS & InFOS
RAGAZZI www.ragazzi-music.de
 The
Research Institute - Flies
von Volkmar Mantei, 2004
Lange war nichts zu hören von
Michael Pabst und The Research Institute. Die andauernde Suche
nach einem Schlagzeuger ist schließlich dahingehend
beendet worden, dass Michael Pabst die Flucht nach vorn antrat
und die Rhythmusarbeit programmierte. Das fällt hin und
wieder (positiv) auf, ist aber gut integriert, wo es nicht
besonderer Ausdruck sein soll. Von Verlegenheit keine Spur
und das ist auch gut so. "Flies" ist ein selbstbewusstes,
ein fabelhaftes Werk. Zum Research Institute gehören
Matthias Bornemann (Orgel) und Marcus Prüßmeier
(Gitarren, Gitarren, Keyboards, Gitarren). Die beiden früheren
Alben der Band, "Bowdlerized Music" von 1993 und
"Universum" von 1998 (die jetzt übrigens industriell
hergestellt erhältlich sind, nicht mehr wie zuvor nur
als CD-R), waren deutlich Zappa-inspirierter und -verpflichteter,
"Flies" rettet sich in die Unabhängigkeit,
ohne jedoch den Nabel zu vergessen. Die 12 Stücke zwischen
Avantgarde-Rock (mit einem Hauch Zappa; und einem größeren
Hauch Steve Vai, was die Gitarrenarbeit betrifft), Neuer Musik
und ambienten Notationen, die das Gefühl "leerer"
Musik perfekt und unglaublich beruhigend präsentieren
sind sehr fein eingespielt, berückend abgestimmt, schlicht
hinreißend.
Die gesamt instrumentalen Songs wissen zu rocken, zu entspannen,
zu verwundern. Der hohe Unterhaltungswert baut auf avantgardistische
Methoden, ungewöhnliche Songstrukturen, besondere Verquickung
von Stille und Lärm. Da ist es egal, welche Instrumente
zu Tönen kommen, wenn die Handwerker und Denker dahinter
im richtigen Geiste vorgehen. "Flies" ist stiller
als seine Vorgänger, zwar immer noch von kraftvollem
Rock, aber längst nicht mehr allein darauf orientiert.
Hier kommt ein hohes Stillebedürfnis zum Ausdruck. Ein
Stillebedürfnis, das den Klang der Rockmusik, die Art
der Komposition nicht nachlässt, sondern integriert.
Emotional eher melancholisch als euphorisch, eher distanziert
als mittendrin sind die Songs eine Art besonderer, angenehmer
Zeitgeist. Wie ein Spiegel der Persönlichkeit, das Alte
nicht missen wollend, dem Neuen nicht entrinnen zu können,
die Balance zu halten und den Anspruch, interessante Musik
zu machen, stets durchzusetzen. Das ungewöhnliche Album
ist ausgezeichnet gelungen. Das Artwork ist zudem unterhaltsam,
humorvoll und ein wenig nostalgisch. Große Meisterleistung.
RAGAZZI www.ragazzi-music.de
 THE
RESEARCH INSTITUTE - Universum"
PABST - "Bowdlerized
Music"
(Eigenveröffentlichungen)
von Volkmar Mantei, 2000
In den Siebzigern wurden großartige Musiker/Bands zu
Superstars, verdienten viel Geld und genossen weltweites Ansehen.
Das geht soweit, dass z. B. YES heute noch hunderttausende
Platten verkaufen, obwohl die musikalische Qualität längst
weit abgefallen ist. In der heutigen Zeit ist es in der Rockmusik
schwer, sich gegen den breiten Strom des von den Medien und
großen Plattenfirmen gehypten Mainstream zu behaupten.
Michael Pabst (b), Marcus Prüßmeier (g) und das
Research Institute sprechen da eine beredte Sprache. Ihre
musikalische Orientierung liegt zwischen Frank Zappa und Steve
Vai mit deutlicher Orientierung am zappaesken Werk. Aber Pabst
und Prüßmeier spielen keine Stücke nach, sondern
entwerfen geniale Eigenkompositionen, die mit deutlichem und
selbstbewußten Charakter jeden Plagiatverdacht schnell
versiegen lassen. Es war nicht nur schwer, gute Musiker zu
finden, die das Konzept nachvollziehen wollten/konnten. Für
das zweite Album "Universum" kündigte sich
nach dem Desaster mit dem Tonstudio ein langwieriger Rechtsstreit
an, der das Weiterarbeiten an den Songs verhinderte (zudem
verabschiedeten sich immer wieder die geheuerten Musiker +
es mußten neue gefunden werden). Das erste Album "Bowdlerized
Music", bereits 1993 erschienen, wurde industriell gefertigt,
das zweite Album wurde im Eigenverlag veröffentlicht,
klanglich und auch optisch tut das keinen Abbruch, "Universum"
ist ein ausgezeichnetes Produkt mit grandiosem Layout. Die
rein instrumentalen Tracks sind emotional und technisch inszeniert,
fabelhaft wechseln die Stimmungen in den spektakulären
Kompositionen (unglaublich, dass die Band unbekannt geblieben
ist!). Die Stücke, von zappaesker/vai'scher Gitarre und
Marimba bestimmt und dem nötigen Rock-Instrumentarium
illuminiert, prägnant und unpathetisch sind ausdrucksstark
gezeichnet. Ich kann nur hoffen, dass diese Werke bekannt
werden und Käufer finden. Wer Qualität in der Rockmusik
sucht, wird hier fündig.
Bezug: freakcha@aol.com
TREND, Würzburg
von Charly Heidenreich, 1999
The Research Institute
- "Universum"
(PeePee Records)
Es brodelt im musikalischen
Untergrund, und zwar gewaltig, nämlich durch die Kontaktmöglichkeiten
des Internets: Musiker finden Gleichgesinnte, Künstler
finden Publicity, Labels können sich ohne Umweg über
die Industrie dem interessierten Endverbraucher vorstellen,
und das alles nicht nur in ultrahippen Trendgefilden, sondern
auch im Bereich der sogenannten nichtkommerziellen Klänge
wie Avantgarde-, Jazz- oder Electronic/Industialrock. Ein
äußerst interessantes Projekt hat der Jazz-und-mehr
Bassist Michael Pabst auf den weg gebracht: erschien sein
93er Debutalbum noch auf einem (wenn auch Kleinst-) Label,
hat er sich für seinen Zweitling voller liebenswert schräger
zappaesker Miniaturen sowohl produktion als auch Vermarktung
in Eigenregie vorgenommen, und dank der oben erwähnten
Vernetzung der Szene scheint es auch zu funktionieren. Der
geniale Gitarrist Marcus Prüßmeier, den "Väterchen
Frank Zappa" mit Sicherheit prae mortem in sein Ensemble
aufgenommen hätte, zeichnet sich als Co-Autor der meisten
Stücke verantwortlich, während eine Legion illustrer
Gäste an Blas-, Tasten-, Schlag- und Saitenwerkzeugen
dem Ganzen den letzten Schliff und vor allem genügend
Druck verpaßt. Eien genial-jazzrockige Hommage an F.Z.!!!
charly
DEBRA
KADABRA, Italy
by Alessandro Pizzin, 2000
The following translation was done
by Mr. Pizzin himself (2000) – see the original italian version below:
Pabst «Bowdlerized
music»
1993 Innovative Media Service IMS 493167
The Research Institute
«Universum»
1998 Pee Pee Records PPRI-98-1
The Research Institute
«...meanwhile»
2000 Pee Pee Records PPAP-1 (unreleased material)
Would you like a swift review
of these records ?
If so, as an "old good granny's recipe", to better
appreciate these TRUE delights of European indie production
the main ingredients are as follows:
1. Basic Zappa
2. Slices of classical music of the late European XIX century
3. Chips of progressive rock of the best early 70s
4. Sprinklings of jazz-rock in its most evoluted and dynamic
form
5. Noisy flavor of the contemporary avantgarde experimental
attitude ? as much as suffices. All this, simmered in the
cultured irony of an intelligent form of 'entertainment' as
proposed by Michael Pabst & Marcus Prussmeier, with an
extraordinary ability in writing, arranging and virtuoso instrument
solo (fancy Prussmeier as a certain kind of Steve Vai, who
suddenly gives up his exceedlingly spectacular 'heavy metal
look', to convert himself to a REALLY CREATIVE music, with
no frills for people who came to see and not to hear ) that
create an enlighting example of originality and an encouraging
signal showing the existence of a creativity that's still
pretty alive somewhere in Europe nowadays. So, here are the
sounds produced and prepared in 1993 and 1998 by this German
duet (based in Hille, near Hannover) which for me are candidates
for being on of the best products of the last years and -
although the reference to other authors' work may seem as
disagreeable and little respectful to the originality of the
authors - I can guarantee that, even leaving the necessary
and evident quotations out of consideration, the quality of
the musical work of Pabst and Prussmeier is absolutely of
the highest degree, so that, sticking in the gastronomical
metaphor, we must always keep in mind that the quality of
a dish does not entirely depend from the goodness of the single
ingredients, rather from the wise ability of the chef in proportioning
and mixing them. So for, here in Pabst and Prussmeier's kitchen
we really find ourselves in the field of 'haute cuisine'.
Bowdlerized music was produced in 1993 (in a limited release
of 1000) under the name of Pabst only, and is much appreciated
for a strongly marked obstinacy in neo-progressive jazz-rock,
stuffed with harmonically and rhythmically very complicate
compositions. A true musical melting pot of styles with a
very original final result. Pieces like "Love after the
days of cholera" or "Call for art" shows in
music what aforesaid. Cult quotations are not missing as in
the case of Strawinsky's (... guess who ?) "Berceuse"
beautifully rearranged by Michael Pabst with great know-how
and good taste while "Pain" has a special section
with a musical texture which closely reminded me of the NewYorker
"Purple lagoon", however it is so well inserted
in the real context that the potential quotation results wholly
integrated and most efficient. "Universum" was produced
in 1998 under the collective name of THE RESEARCH INSTITUTE
and it represents another step forwards on the way of progress
in organizing sounds and colors which occupy the creative
space of the duet. I am pleased to mention that this record
got a clear appreciation also from Mike Keneally (... one
of our faves ever ... as you probably know). "Bad neighborhood",
"The blimp" (this one not related in any way with
Beefheart/FZ's one really remarkable for the use of the 'cello
and the percussions), "Thinman" and "Hot chicks"
are very interesting and reveal a great creative tension,
still full of ideas. The title-track "Universum"
seems to be a shapeless mass of noises which efficiently leads
to the disquieting introduction of the well-ordered - though
complicate - "The factory", true example of a modern
polyphonic structure for guitar and percussions. Almost hidden
and discrete, this time there is an explicit tribute paid
to FZ, with a piece by the unmistakable title "4.12.93"
(and subtitled in an even more explicit "In memory of
a maestro"), capable of re-elaborate and resume some
of the main typical Zappa's work musical features all in one
song, but in a fully personal and original way. In addition
to what pointed out so far, I feel happily obliged to report
a musical document which does not belong to the official discography
of the Research Institute at present, but which I received
with great pleasure as an update and as an integration of
their official releases. These five new (?) compositions are
simply breathtaking and they confirm (if ever needed) the
importance of Pabst and Prussmeier work. Tracks as "Hussein",
"Piano lesson n.1" and - above all - the provocative
"Show me your Boulez" are a good warranty to wait
for a future release even more interesting and innovative
than the preceding ones (... and if you take a listen to what's
musically goin'on these days ... this is not so unrelevant
anyway !!!)
DEBRA
KADABRA, Italy
by Alessandro Pizzin, 2000
Pabst «Bowdlerized
music»
1993 Innovative Media Service IMS 493167
The Research Institute
«Universum»
1998 Pee Pee Records PPRI-98-1
The Research Institute
«...meanwhile»
2000 Pee Pee Records PPAP-1
Volete una recensione
veloce di questi dischi ?
Allora, come per una buona ricetta della nonna
gli ingredienti per meglio apprezzare queste vere e proprie
delizie della produzione indipendente europea sono:
1. Pasta di Zappa,
2. Spicchi di musica classica del tardo 900 europeo,
3. Frammenti a scaglie di rock progressivo dei migliori anni
settanta,
4. Spruzzate di jazz-rock nella sua forma più evoluta
e dinamica quanto basta,
5. Laroma rumorista della sperimentazione contemporanea
ed il tutto cotto a fuoco lento nella colta ironia di una
forma entertainment intelligente e proposti da
Michael Pabst e Marcus Prußmeier con una straordinaria
capacità di scrittura, di arrangiamento e virtuoso
solismo strumentale (immaginate Prußmeier come una sorta
di Steve Vai che rinuncia di colpo allimmagine metallara
e talvolta esageratamente spettacolare per convertirsi ad
una musica veramente creativa e scevra da fronzoli per persone
who came to see and not to hear) creano un illuminante esempio
di originalità e un confortante segnale che dimostra
lesistenza di una creatività ancora molto viva
nel momento musicale europeo. Così ecco che i suoni
prodotti e confezionati nel 1993 e nel 1998 dal duo tedesco
di Hille (piccolo paesino vicino ad Hannover), si candidano
come uno delle migliori prodotti di questi ultimi anni e -
per quanto il voler trovare dei riferimenti altrui può
sembrare operazione antipatica e poco rispettosa delloriginalità
degli autori - vi garantisco che, anche a prescindere dalle
citazioni necessarie ed evidenti, la qualità della
proposta musicale di questi due tedeschi è assolutamente
di primissimo piano e quindi, senza uscire dalla metafora
gastronomica, bisogna sempre tenere a mente che non è
solamente dalla bontà dei singoli ingredienti che dipende
la qualità della pietanza, quanto piuttosto dalla sapiente
capacità dello chef di saperli dosare ed amalgamare
tra loro e qui - nella cucina dei due cuochi Pabst
e Prußmeier - siamo veramente nella haute cuisine. «Bowdlerized
music» prodotto nel 1993 (in tiratura limitata a 1000
esemplari) a nome del solo PABST si fa apprezzare per uno
spiccatissimo puntiglio di jazzrock-neoprogressivo farcito
di composizioni armonicamente e ritmicamente molto intricate,
un crogiolo di stili per un originalissimo distillato finale.
Brani come Love after the days of cholera o Call
for Art esplicano in musica quanto sopra. Non mancano
le citazioni colte come la Berceuse di Igor Stravinsky
(...toh, guarda caso...) riarrangiata elettricamente da Pabst
con grande sapienza e gusto. Pain ha una sezione
con una texture che ricorda da vicino la NuovaYorkese The
purple lagoon, ma è talmente ben inserita nella
geometria dellintera composizione che la potenziale
citazione risulta perfettamente integrata ed efficace. «Universum»
invece viene prodotto nel 1998 con il nome collettivo di THE
RESEARCH INSTITUTE ed è un ulteriore passo avanti in
termini di progresso organizzativo dei suoni e dei colori
che occupano lo spazio creativo del duo, e mi fa piacere citare
che questo disco abbia ottenuto un chiaro apprezzamento anche
da Mike Keneally (che tutti voi sapete essere un nostro pallino...).
Bad neighborhood, The blimp (nulla
a che vedere con lomonima di beefheartiana memoria,
ma notevole per luso del violoncello e delle percussioni),
Thinman e Hot chicks sono molto interessanti
e rivelano una tensione creativa ancora gravida di idee. Universum
il brano che da il titolo arra intera raccolta è un
ammasso apparentemente informe di rumori che serve efficacemente
da inquietante introduzione alla ordinatissima (quanto complicata)
The factory, vero esempio di moderna scrittura
polifonica per chitarra e percussioni. E quasi nascosto
e discreto, ma questa volta non manca, un esplicito omaggio
a Zappa con un brano dallinequivocabile titolo 4.12.93
( e sottotitolato in modo ancor più esplicito
In memory of a maestro) capace di rielaborare e riassumere
in chiave completamente personale ed originale alcune delle
caratteristiche compositive e sonore tipiche di FZ. A margine
di quanto fin qui segnalatovi mi sento obbligato a citare
un documento sonoro che non fa parte della discografia attualmente
ufficiale del Research Institute, ma che con molto piacere
ho ricevuto come aggiornamento e parziale integrazione della
produzione già edita. Queste cinque nuove (?) composizioni
sono semplicemente mozzafiato e confermano - se ce ne fosse
stato ancora bisogno - la validità del lavoro che Pabst
e Prußmeier stanno portando avanti. Composizioni quali
Hussein, Piano Lesson n.1 e soprattutto
la provocatoria Show me your Boulez sono una garanzia
non indifferente per ipotizzare una prossima uscita discografica
ancora più interessante ed innovativa delle precedenti
(... e di questi tempi, scusate se è poco!)
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