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World's Leading Terrorist State
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Grinder in the Sky
processes a time when he was surrounded by constant clatter, noise, sawing, drilling, hammering, chipping, etc., in the former working-class district of Prenzlauer, Berlin. It happened like this: While improvising at home with his electronic equipment, Dresselhaus at some point noticed that his music was increasingly beginning to imitate the sounds and structures of the construction site noise that surrounded him daily for up to 15 hours at a time and periodically brought him to the brink of a nervous breakdown. Perhaps as a kind of defense-mechanism, he began to record the sounds and patterns produced by the construction workers and their machines, and even began to have fun in doing so. Gradually, he had the feeling that the workers, whether consciously or unconsciously, were using their tools much like musical instruments, even interacting, as if they were producing improvised music.
combines these moments with the electronic recordings that Dresselhaus made during this period. He only minimally processed the recordings, as he wanted to make "those beautiful moments, generated by unknown construction workers, which I sometimes even heard as cosmic music" available to a wider audience as faithfully as possible. Under no circumstances should one confuse
with industrial music, which either uses conventional instruments to sound like factory noise (like
in 1970) or uses industrial noises as mere atmospheric or rhythmic additions to music made using instruments, as
did in the early '80s. For Dresselhaus, the sounds of construction are the music itself. Important: This album is not a statement, it's just beautiful music. Anyone delving into these sounds will experience it much like Dresselhaus: From the cacophony, a symphony.
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