Once it had been decided that each month we would unleash one of these pieces on our dear supporters, we simply had to come up with a mode of working which allowed us to conceive and finish each of these utterances within two days, because at the same time we were also working on another record, hence the idea of miniatures. To record and compose a song in such a short time, given the experimental state of our research, it was necessary to limit output to 2-3 minutes for each track. We’ve broken that rule too, of course-as we usually do-but we did stick to it for a little while…
After drawing our cards, we would briefly act like headless chickens, then travel to the vault and return with shopping-cart loads of weird stuff. We would spend the better part of the day turning all these things, objects and materials into ideas. Work. And, miraculously, the things would usually cooperate and allow us to arrive at some place somewhere which, by modern definition, could be called music. As we edged forward into the realm of the unknown, rehearsed and then soundchecked, I would try out a couple of my dream protocols, eventually settling on one, perhaps even several at a time, as in “Ansonsten Dostojevski” or “I kissed Glenn Gould”. Eureka! That’s it!
It worked in every case-well, almost: on one occasion we gave up and just went home instead. At first the whole process felt like a huge digression, but after a while it started to be fun. We soon noticed that the results justified this detour away from our regular album work, allowing us to “harvest” some of our most ego-free compositions yet. The random draws of cards and their subsequent extraordinary instrumental interpretations (in addition to my equally unparalleled freedom in using no-sense-for-anyone-dream-language) gave us a welcome release from routine EN duties and resulted in one of our most appreciated (by us at least) albums. -Blixa Bargeld
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