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Wir Sind Hier

KK 029CD KK 029CD

"März's follow-up to their 2002 début Love Streams on Karaoke Kalk. Eleven new songs by Albrecht Kunze and Ekkehard Ehlers. It's all about positioning, i.e. the question of where you / I / we are standing now and here and in this particular moment; and März's songs describe the Here from their own personal perspective. It would seem to be the aspect of someone looking out from a park, if the titles 'März Im Park' ('Park in March') and 'Oktober Im Park' ('Park in October') are anything to go by; and yet it remains uncertain as to whether the fenced-off area of a park, with its circumscribed freedom -- simultaneously including and excluding -- is a place of relaxed tranquility, (deceptive) security or indeed a place of pacification. Places both conceivable and inconceivable superimpose themselves upon one another, and what remains is a feeling of uncertainty as to whether one should like to stay here or not. März seem to value the tension, which such unclear positions generate; or, put another way, they seem to want to endure it, for in the manner of a counter-design to this uncertainty, Wir Sind Hier evinces them continuing to fashion their inviting and seductive landscapes out of folk, pop and club influences: explicit, prodigal, subtly differentiated, but also displaying a greater desire to take risks than on Love Streams, so much so that only an idiot would chose not to tarry here a while. Tarry in the interstices of their world, between song and track, guitars and glockenspiel, banjos and bass drums, hounds and Hawaiian guitars, plug-ins and trombones . . . A musical world however, which does not try to emulate the park itself -- a separate, enclosed area; and yet is aware of the danger of being fenced-off and occupied, which is why März keeps the borders open, both musically and lyrically and provides enough space for typically hymnal offerings, such as 'Biber & Enten' ('Beavers & Ducks') (which moreover considerably augment their arsenal of strange and self-generated sounds) as well as space enough for improvisation and songs, which proclaim: was uns verändert / holt uns am Ende ein / was uns verändert / könnte ein Anfang sein. (the things that change us / will catch up with us in the end / the things that change us / could be just a beginning). Songs, which, for all the self-evident guise of High Pop, perpetually pose the question about positions, about themselves, itself, and thereby about me as well; songs, which circle around the question of position, of place and the quality of that place and thereby circle and encircle me until at some point or other (and almost automatically so), their question is my question: where am I -- here?"