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Music For Prepared Guitars   4 Movements
2016   2016
Plan A2   Underground
2016   2015
TRI Sessions - Part Two   IV
2014   2013
TRI - Space Night Music  





TRI—O •••   MMX



Package 2011

TRI Sessions Part One   TRI-O-Sonata




Minimum   Music From The North German Wastelands




Music From The North German Wastelands, in 4 Fields



(4 Fields) 2009



Universum   Bowdlerized Music
1998   1993



Official Audio Download Department

Free listening of full tracks and download of many of our works in audio-formats of your choice. A service provided by Bandcamp.

Reviews & INFOS

Ragazzi, Stralsund, Germany:

Review "FLIES"

Trend, Würzburg, Germany:


Debra Kadabra, Italy:

english version
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)



the audio files




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Additional links




(January 2017)


Listen/share/download: → Bandcamp





  1. Saarbrücken, an einem Montag … 01:41
  2. Auf offener Straße 04:35
  3. Frankfurter Gold 03:04
  4. Blechschaden 02:53
  5. Auf offener Straße (Wiederkehr) 04:44
  6. Wenn Steine sprechen 01:31
  7. Strandgut 04:03
  8. Rechnen Sie mit dem Schlimmsten 02:57
  9. Rattennest 02:10
  10. Tote Taube in der Beethovenstraße 03:13
  11. Nachtfrost 02:53


Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts


Music For Prepared GuitarsSpacerTRI – Music For Prepared Guitars

(August 2016)


Listen/share/download: → Bandcamp





  1. Music For Prepared Guitars 14:15


Alles, was die Gitarren hergeben


Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts


4 MovemantsSpacerTRI – 4 Movements

(February 2016)


Listen/share/download: → Bandcamp





  1. Fire 10:42

  2. Water 6:16

  3. Earth 8:35

  4. Air 8:45


Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts


Plan A2SpacerTRI – Plan A2

(February 2016)


Listen/share/download: → Bandcamp





  1. Alpha 20:48

  2. Bravo 22:10


Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts


UndergroundSpacerTRI – Underground

(September 2015)


Listen/share/download: → Bandcamp





  1. Delay 2015 15.23




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 –


TRI Sessions - Part TwoSpacerTRI Sessions – Part Two

(February 2014)


Listen/share/download:→ Bandcamp





  1. Apollo onetwothreefour 9:13

  2. Frogs from the Thames 6:44

  3. From Paddington 3:06

  4. Titanic 2:12

Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts



(May 2013)


Listen/share/download: → Bandcamp





  1. Formation A 16:19
  2. 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 MusicSpacerTRI – Space Night Music

(February 2013)


Listen/share/download: → Bandcamp




  1. European Continental Drift 11:57

  2. Logie 16:44

Frei improvisierte Musik
Free improvised music


Matthias Bornemann & Michael Pabst: laboratory for electroacoustic arts


TaktspurenSpacerTRI – Taktspuren

(January 2012)


Listen/share/download: → Bandcamp




  1. Uhr Werk 15:50

  2. 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 • • •SpacerTRI—O – • • •

(September 2011)


Listen/share/download: → Bandcamp





  1. 3:53

  2. • • 5:21

  3. • • • 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 OneSpacerTRI Sessions – Part One

(August 2011)


Listen/share/download: → Bandcamp





  1. Tottenham 3:48

  2. Hackney 6:33

  3. Brixton 5:03

  4. 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)






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




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 & MusicSpacer transient editions, phase 3:
TRI Days of Peace & Music

(transient edition, March 2011)


Listen/share/download – now part of the MMX-Package: → Bandcamp




  1. Woodstock 14:07

Michael Pabst: guitar, bass and electronics

Matthias Bornemann: voice, guitar and percussion




(November 2010)


Listen/share/download: → Bandcamp




  1. Movement I 5:18

  2. Movement II 2:34

  3. 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



transient editions, phase 2SpacerThe Research Institute –
transient editions, phase 2:
New Cosmic Music

(transient edition, July 2010)


Listen/share/download – now part of the MMX-Package: → Bandcamp


  1. Kraut Spacetape 4:16

  2. Krauts on a mission 2:35

  3. Discovery 1:39

  4. Mission Failure 2:14

  5. Back Home 2:25

Improv. between kraut and space. New German Krautrock.


Michael Pabst: bass, guitar and electronics

Matthias Bornemann: detuned guitar and percussion



transient album, phase 1SpacerThe 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


  1. Blue Flash Nebula 1:18

  2. Bowtie Nebula 1:38

  3. Fornax A 2:40

  4. Footprint Nebula 1:48

  5. 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



Music from the North German WastelandsSpacerThe Research Institute –

Music from the North German Wastelands (Album)

(February 2009; download album, April 2010)


Listen/share/download: → Bandcamp



  1. Topographie 1 17:50

  2. 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



- Part One

- Part two

- Part Three

- Part Four

- Part Five

- Part Six








No. 37, Edit 1, first half




- Part One

- Part two

- Part Three

- Part Four

- Part Five







No. 37, Edit 1, second half



Hohe Land


No. 41, Edit 2





Part of No. 35, Edit 1





No. 34, Edit 1





No. 59, Edit 2



Quetzer Ohr


Part of No. 35, Edit 1





No. 31, Edit 2





No. 60, Edit 4




Field 2

Title Time Recording session Recording date




No. 43





No. 42, Edit 1



Blanker Puhl


No. 46, Edit 14





No. 46, Edit 20



Im Gang


No. 46, Edit 19





No. 5



Lange Plas


No. 45, Parts 13+14




Field 3

Title Time Recording session Recording date




No. 45, Part 1






No. 6

No. 7

No. 8

No. 9

No. 10









No. 45, Part 7





No. 45, Part 8




den Wegen


No. 45, Part 12





No. 23




Field 4



Recording session

Recording date




No. 63/1



Im Ohr


No. 63/4





No. 65/2



Weißer Stein


No. 61/2, Part 1





No. 61/3





No. 61/2, Part 2



Rote Wand


No. 61/4, Part 2





No. 64/6





No. 61/1



Im Horn


No. 65/3





No. 62/1





No. 65/4




FliesSpacerThe Research Institute – Flies

(CD, December 2003; download album, January 2010)


Bandcamp (download)

on CD



  1. Prelude 0:37

  2. Brown Corduroy Slippers 3:50

  3. Superfluo 2:04

  4. Worm Eaten Thing 6:13

  5. Brainstrøm 3:02

  6. Il faut tout changer 4:19

  7. Flies Without Wings 3:04

  8. Celeste 5:08

  9. Entomology 2:57

  10. Rückblick 0:45

  11. Teargas for Teardrops 5:08

  12. 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



UniversumSpacerThe Research Institute – Universum

(CD, December 1998, Reprint 2003; download album, January 2010)

Bandcamp (download)

on CD



  1. Visual Check At The Viper Room 3:33

  2. Bad Neighborhood 3:21

  3. The Blimp 3:12

  4. He Healed His Perspiring Feet At Mono Lake 5:45

  5. Breaking Up The Band 3:59

  6. End Of Tunnels 0:49
  7. Sunday Versus Saturday 3:46

  8. Thinman 3:05

  9. Where’s Our Gear? 0:19

  10. Universum 3:15

  11. The Factory 1:20

  12. Lost March 2:11

  13. Michel Piccoli 4:36

  14. Hot Chicks 2:43

  15. 4 12 93 2:50

  16. 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

Bowdlerized MusicSpacerPabst – Bowdlerized Music

(CD, April 1993; download album, January 2010)


Bandcamp (download)

on CD



  1. Machen Bananen dumm? 6:35

  2. Love after the days of cholera 2:40

  3. Berceuse 3:55 (Igor Stravinsky) (not on download edition of this album – there is a bonus track instead)

  4. Who knows? 2:09

  5. Two seconds in the heat 5:01

  6. Bowdlerized song 4:42

  7. Call for art 4:29

  8. Loco-motif 2:58

  9. Two seconds in the night 0:43

  10. No refund 3:06

  11. Pain 6:30

  12. Frack 5:59

  13. Herbst in Deutschland 4:01

  14. Man gold 8:40

  15. 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






Ragazzi LogoBlindThe 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 05/00spacerTHE RESEARCH INSTITUTE - ”Universum"
PABST - "Bowdlerized Music"


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.



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.!!!




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 !!!)




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. L’aroma 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 all’immagine 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 l’esistenza 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 dell’originalità 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 dell’intera 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 l’omonima di beefheartiana memoria, ma notevole per l’uso 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 dall’inequivocabile 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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