tag:blogger.com,1999:blog-4355174764364906531.post3339390144389108147..comments2024-01-24T03:37:46.743+02:00Comments on LA FOLIE DU JOUR: The Germanic Internationalism of THE BLECHbegemothttp://www.blogger.com/profile/13128731751776877639noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-4355174764364906531.post-17423939528527018682009-08-27T18:45:07.138+03:002009-08-27T18:45:07.138+03:00Cabaret influence is only a small part of the pict...Cabaret influence is only a small part of the picture. BLECH music explores deeper and wider the history of german groundbreaking art movements developed during the early 20th century and goes further beyond...paramohttps://www.blogger.com/profile/04905041508258880134noreply@blogger.comtag:blogger.com,1999:blog-4355174764364906531.post-79694157630168132862009-08-25T23:47:30.758+03:002009-08-25T23:47:30.758+03:00I have Ich Wollte and Liebeslieder and they're...I have Ich Wollte and Liebeslieder and they're superb. The emotional resonance Volz is able to wrest from his absurdist texts is quite extraordinary. <br /><br />I think this quote from the booklet for Ich Wollte, partially obscured by Kanji text, sums them up well: "(One might imagine Joel Grey singing Kurt Schwitters' Ur Sonata.) The Blech are referring very much to the hybrid pomp of German cabaret of the 30's, 40's and 50's, when a native popular entertainment was alienated from its people and continued on artificial terms until it became mass culture. The Blech perform in an apparently straight forward manner, their music driving along a host of stray gestures which gradually assume a greater function than the songs themselves."gidouillehttps://www.blogger.com/profile/15533363114045396813noreply@blogger.com