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act 136 · klangstabil · taking nothing seriously · cd

you may start, between, gloomy day (album version), a difference that's for all to see, away, push yourself, reason to live, kill all lifeforms.

the vinyl version is released on heckengäu ( )

an artists' statement about "taking nothing seriously":

there are 8 tracks on the new klangstabil cd, "taking nothing seriously" and 6 on the vinyl version. the creative work on this, a concept album like all klangstabil albums, took from 2000 to 2004.

the title, "taking nothing seriously" can be understood on several levels. for klangstabil the meaning is literally to take nothing seriously. whenever one starts considering nothing, one soon gets to the point that nothing is always and in every thing present.

there is only one nothing, but it can be observed from various angles. there are people who struggle against nothing, and others who only live for nothing. the phrase, "if you have nothing, you are nothing" is equally true for a materialistic person, intent on posession, as for a buddhist.

nothing then is universal. for example, where is an idea when it is not being thought? or the relationship to another individual that awaits awakening? potential in nothing.

nothing is beyond the understanding of many people.

the possibilities of being are not preordained. humans do not partake of being in the same way as things. the individual comes from nothing and must through constant creative struggle become what he is. the individual is free. the nothing from which he arises incessantly lies in wait. individual freedom is every minute threatened, with and through materiality, to revert to the state of mere being. the individual can compel itself only through personal volition to leave nothing behind and to challenge its constant threat. the individual and no-one else, not even a god, is alone responsible for his actions.

a human is not just responsible for and to himself, but also for others and to others.

in the face of nothing klangstabil cannot remain neutral, and primarily equates it with a value-void. conversely, the word nothing is played with and gains new possibilities of meaning.

we are nothing, if we let nothing exist.

the textual element of "taking nothing seriously" is remarkable. the texts can be defined as "direct talkin' lyrics" meaning that they have the nature of spontaneously recorded dialogue. little attention is paid to keeping tact or making improvements afterwards, rather that emotion and content are delivered authentically to the receiver.

the text must live out its own dynamic reality, which can lead to aesthetic conventions being demolished, exploded by their reversal or the leaving behind of the laws of linguistic logic. sentences are simplified, reduced to telegram messages with the aim of realising emotional existence. therefore, to open the meaning, effects such as word conglomeration, or word pictures, or pathos are driven, in rhythmic and metric freedom to the heights of the scream.

besides, the old klangstabil principle that "sound serves communication" still holds true.

(maurizio blanco + boris may, 2004)

once again, you can hear klangstabil's uniqueness on this long awaited release. the musical variety of this record ranges from pop-oriented synth-tunes ("gloomy day" - a different version appeared on the 'daruma' compilation) done over distorted electro-beats to soundtrackish infernos. in addition, the album also explores grindcore (if you are familiar with the klangstabil/schmerzverstärker split-7" you won't be surprised about that). however, mentioning musical genres leads the open-minded listener down the wrong path. a brief description of the music's intensity is hard to give. reading the lyrics and listening to the haunting vocals is as uncomparable - as is labelling 'gloomy day' 'synthpop'. on this album, the message counts, which is the total of music, vocals, production and lyrics.

this is an album which forces you to listen intensely, and it is one of the most personal and emotional records ant-zen has ever released.

discography klangstabil 05.2004:
senden und empfangen. 12". shokoy records. 1995
böhm gott der elektrik. 12". mhz. 1997
straftat gegen das leben. cd / 12". mhz / david records. 1997
fünf minuten klangstabil. 7". mhz. 1998
aktiv. vhs. mhz / david records. 1998
sieg der monochronisten. 12". hymen records ¥007. 1998
menschenhass. 10". world war IV. 1999
sprite storage format. 12". ant-zen act90, 2000
gioco bambino. cd. mhz / plate lunch. 2000
kantorka. 12". pflichtkauf pflicht07. 2001
tsuba (w/ schmerzverstärker). 7". mhz. 2003
taking nothing seriously. cd / 12". ant-zen act136 / heckengäu 02. 2004

official website:


klangstabil is een moeilijk te definiëren act. hun releases verschillen onderling nogal van elkaar. sommige platen zijn over de top noise, een soort digitale grindcore, terwijl andere heel sfeervol en rustig zijn. taking nothing seriously is hoofdzakelijk een rustigere plaat in hun repertoire. de rode draad op deze nieuwe plaat zijn de intense en op de voorgrond geplaatste vocalen. deze zijn spontaan opgenomen monologen. de band zelf noemt dit 'direct talking lyrics'. het resultaat is dat de vocalen heel aards klinken, soms zelfs een op een soort straattaal lijken zoals op 'between', waardoor de vocalen hiphop-achtig worden. op andere momenten worden de teksten gefluisterd, maar dat kan gedurende een nummer ook overgaan in geschreeuw ('push yourself'). niet alleen de vocalen maken het album intens. de muziek zelf draagt hier zeker ook aan bij. het merendeel van de nummers combineert veel sfeervolle, wave-achtige, synthmelodieën en -lagen met kale elektrobeats. rustige nummers zoals 'gloomy day', 'away' en 'reason to live' domineren de klankkleur van taking nothing seriously. 'you may start' is echter een potentiële clubhit dankzij de strakke midtempo beats en vlammende vocalen. jammer dat de band 'a difference that's for all to see' op de plaat heeft gezet. het is een brute over de top noise-eruptie. dit nummer doet enigszins afbreuk aan het luisterplezier van de rest van de plaat. want die is verder erg hoog: de nummers zitten goed in elkaar en de beats zijn goed, en altijd met veel sfeer gecombineerd. (martijn van gessel)

i guess i am biased, or maybe not. these guys made a record a few years ago (gioco bambino) that was disturbingly dark in its earthy groundedness, and suddenly they make what some may hear as a pop-goth transparency. but this is much deeper than its pre-programmed beats. taking nothing seriously does just that, it bleeds angst in its angry vocal and still metal cling clang. the concept heats a fever pitch that harkens back to the earlier days of the chicago industrial scene. so, yes, the reliance on the leanings towards the 80s are more than hinted at here - but - they whisper like a magical italian noir film in a rare semblance where the consonants of the german language are spoken out with a sensuality i have never known (just listen to the album version of "gloomy day"). and yes, there is gut wrenching screams, you can just imagine the veins popping out of his neck as the theme goes from quiet, sweet synths to razor sharp percussion tracks alongside a militaristic eye popping vocal. but the message here still does not float in the field of "we are gonna rock you!" there is a sensitive call to arms, a wake up call. in many ways klangstabil remains an acquired taste, and rightfully so, as their larger message is not one of bloody consumerism, maybe just the opposite. ant-zen is a good home, a fitting place where music takes a risk, limbo sounds that say what they feel, without consequence or callous editing. the duo of macaulay and raschke have much more to say. (tj norris)

sanft lege ich sie auf meinen 1210'er. taking nothing seriously, nummer 54 von 300 limitierten platten. ich lege mich hin und versuche die musik, die klänge, die töne mit allen sinnen aufzunehmen. es ist klangstabil. die geballte emotionale kraft dieses tonträgers, die einem den schweiss auf die stirn treibt, die tränen in die augen drückt und die zu fäusten geballten hände schmerzen lässt. man muss sich öffnen können, verletzbar sein um in die musikalische welt von klangstabil eintauchen zu können. wer sich selbst nicht versteht wird diese musik nicht verstehen. viele die diese platte zum ersten mal hören, werden sich an den für klangstabil ungewöhnlich klaren klängen und beats festbeissen und die vocals in den hintergrund drängen. spätestens beim drittenmal hören müssen diese leute die stücke als ganzes aufnehmen, denn daß ist ihre letzte chance "taking nothing seriously" (tns) nicht als staubfänger enden zu lassen. musik ist klang. töne sind klang. stimme ist klang. alles zusammen transportiert die emotion. die vocals sind ein weiteres gerät im equipment von klangstabil. ich denke diese platte/cd hat das potenzial neue hörer für klangstabil zu begeistern. durch die ungewöhnlich klaren melodien und strukturen erfordert tns nicht schon beim ersten hören die oben beschriebene offenheit. sie gibt einem zeit sich im verstehen zu üben. versucht es. leider sind die vinyls, welche auf dem stuttgarter label "heckengäu" erschienen sind, schon komplett ausverkauft. die cd ist allerdings noch zu haben. darauf findet ihr zwei zusätzliche tracks, sowie alle lyric's im booklet. auf sind zu allen tracks realmedia streams vorhanden, außerdem noch ein pressetext zu tns, den ich nur empfehlen kann. vertrieben wird die cd von "ant-zen" und kann auch direkt auf deren homepage bestellt werden.

delicati eclettici acquerelli avvolti di passione in overload e ironica violenza. uno scherzo maledettamente serio abbandonate temporaneamente la game boy camera, musa ispiratrice di due album (tra cui 'gioco bambino' del 2000, eloquente italianizzazione del famoso viodeogioco), e l'efferatezza del power industrial noise, 'taking'? si dimostra essere una release complessa e completa, che si muove tra eccessi e opposizioni. colpisce immediatamente l'eccentrico contrasto tra minimalismi analogici, la purezza di morbide armonie, che a volte sfiorano il pathos quasi pop di dimenticate e consumate dark song, e la violenza della saturazione che trafigge e devasta la bellezza innocente. proprio come il loop di pianoforte scarno e privo di dinamica di 'between', colto svogliatamente in un embrione primigenio, cristallizzato tra i tasti nella sua perfetta spontaneità; come le stupende emozioni incontaminate della intensa 'gloomy day' (già presente nella compilation 'daruma' di ant-zen), corrotta dall'incedere insistente della disperazione, alternata a improvvisi sprazzi psicotici di calma apparente: una straziante e rovesciata dichiarazione d'amore in italico idioma. l'antitesi tra caos ed equilibrio armonico è una qualità intrinseca nella natura piť profonda del duo italo-tedesco, così come l'ironia, che riveste una parte rilevante nell'equilibrio dell'album, il trait d'union che salda i conflittuali binomi tra dolcezza/asprezza e minimalismo/sperimentazione, mimetizzandosi nel grido di dolore diretto e soffocante dei testi-dialoghi, mezzi espressivi spontanei, furiosi e disperati, sottilmente taglienti: agghiaccianti. la seconda parte appare piť raccolta, tra soffuse visioni in soundtrack style e malinconici fremiti descritti da armonici string in un sensuale bianco e nero, un sogno dove corpi sublimati nell'estasi di un tocco leggero e vibrante si fondono nella grazia del downtempo essenziale ma dai colori abbaglianti, traboccanti dalla tavolozza del cielo. un abbraccio che cinge l'anima straziandola, fino alle stupende sensazioni percorse dai brividi incontrollabili di 'reason to live', moderna nei suoi break lampeggianti e stridenti, stabile e sicura nonostante l'irregolarità, sfolgorante nelle ampissime evoluzioni dei pad lenti e sfrigolanti che si rincorrono tra digitali bassi pulsanti, in un paesaggio vicinissimo ai ricami dipinti dalle immensità di gridlock di 'formless'. un sogno che si espande come vapore, in un effluvio scintillante e senza tempo. ogni traccia ricorda carezze ferite, come drappi di seta lacerata e ricucita da lacrime intrise di solitudine che stemperano rintocchi concentrici nell'aria profumata di acre metallico misticismo, diffondendosi come polvere glitterata in algide e acide visioni; o disegna pittoriche figure leggiadre, scolpite e modellate in un materiale granitico, come nella spiazzante e malsana performance grindcore di 'a difference that's for all to see'. ma per ribadire il significato nascosto nel titolo (dove il 'nulla' assume varie accezioni) e rimanere fedeli alla provocazione, la finale 'kill all lifeforms' è un invito a tornare sulla terra per eliminare il genere umano, in cui la contrapposizione tra la distorsione e il background dolce, sebbene trasfigurato nella sofferenza, trascina tutte le malvagie intenzioni in una divertente e rassegnata (saggia) consapevolezza di auto esclusione dal gioco inarrestabile della vita. immenso e poliedrico nella sua semplice fragilità. (elda di matteo)

taking nothing seriously, een titel die op verschillende niveau's te begrijpen valt. letterlijk, als in niets serieus nemen, maar ook meer filosofisch: het 'niets' serieus nemen. het individu komt vanuit het niets en levert een creatieve strijd waardoor het zich ontwikkelt tot de persoon die hij is. uiteindelijk gaat het erom wat je met 'niets' doet, je bent niets als je niets laat bestaan. deze cd is mogelijkerwijs de meeste pop achtige cd die ant-zen ooit heeft uitgebracht, zonder dat we kunnen spreken over popmuziek. toch zijn de nummers toegankelijk, alleen zal het nergens als slap, glad of commercieel betiteld kunnen worden. 'you may start' begint dan ook als duidelijk voorbeeld van een nummer met een pop feel en gebruik van 'direct talking'. een manier van voordragen van teksten die het karakter hebben van spontaan opgenomen teksten, die in combinatie met de muziek, direct als emotie met een daaraan gekoppelde inhoudelijke lading, op de luisteraar wordt losgelaten. in het openingsstuk begint het laidback, maar in 'in between' krijgt het nummer door deze aanpak een behoorlijk neurotische en opgefokte lading. iets dat de muziek an sich helemaal niet uitstraalt, maar waar de voordracht voor zorgt. 'gloomy day' is een geniale hybride, waarin de meest prachtige electronica een verbond vormt met de atmosfeer van een italiaanse chanson, en ditmaal wederom veroorzaakt door de emotionele lading van de voordracht. er komt een steviger verstoorde electrobeat in het nummer, maar steeds wordt dit in balans gehouden door warme springerige klanken. verder verkent deze cd uiteenlopende muzikale stijlen als dark ambient, grindcore, hiphop en synthpop. alles is op organische wijze samengesmolten middels de van klangstabil bekende unieke benadering. dat moet erbij gezegd worden voordat de luisteraar die er voor open staat op het verkeerde been gezet wordt en daadwerkelijk denkt dat hij of zij op deze cd tracks zal aantreffen die ook zo klinken, als de genoemde stijlen. gloomy day is bijvoorbeeld geen synthpop want het blijft natuurlijk wel klangstabil. het is dan ook moeilijk om echt aan te geven hoe intens deze cd is; je moet het zelf ervaren. het totaal is bij dit album dus echt meer dan de som der delen. muziek, vocalen, productie en teksten zijn elk onmisbare elementen in dit creatieve proces. dit is een plaat die je dwingt om intensief te luisteren, en dit is echt een van de meest organische en emotionele cd's die ant-zen ooit gereleased heeft: kopen dus! (teknoir)

'taking nothing seriously', a title to be understood on several levels. literally to take nothing seriously, but also philosophical: taking the nothing seriously. the individual comes out of nowhere and nothing and must through constant creative struggle become what he is. in the end, it matters what you do with 'nothing', you are nothing if you let nothing exist. this cd is possibly the most pop friendly record ant-zen has ever released so far, while at the same time it's not popmusic.yet, the tracks are easy accessible, although they never get weak, slick or commercial. 'you may start' takes off as an example of a track with a pop feel and the use of 'direct talking'. an approach where the lyrics are presented like spontaneously recorded dialogues, which in combination with the musical aspects, with a a emotion and suitable content, are delivered authentically to the receiver. in the opening track it all starts quite laid-back, but in 'in between' the track starts to get a neurotic and rearing emotional content. something the music in itself doesn't reflect at all. it's the direct talking that adds the extra emotional elements. 'gloomy day' is a ingenious hybrid, in which the most beautiful electronic sounds merge a bond with the atmosphere of an italian chanson, again caused by the emotional content of the lyrical performance. a heavier distorted electro beat starts to kick in later on in the track, but it is all kept well balanced through the warm and bouncing sounds. this cd furthermore explores styles like ambient, grindcore, hiphop and synthpop. it has all been merged almost organically through the unique approach of klangstabil. this has to be said before the listener starts to think there are actually tracks on this cd made in the mentioned styles. gllomy day for instance, is not a synthpop tune, as it is a klangstabli tune. it's hard to explain the intensity of this cd in words. you just have to experience it yourself. the total is way more than just the sum of it parts with this cd. music, vocals, production and lyrics are each necessary elements in the creative process. this is a record which forces you to listen to itensively, and this is definetely one of the most organic and emotional cd's ant-zen has ever released. it is a must buy! (teknoir)

ah, klangstabil. bei mir immer ein stein im brett, wegen böhm und der elektrik, aber auch sonst und überhaupt. so auch hier. was als hommage an alte wave-tage beginnt und in ihren düsteren streichern und trockenen drums die alten, heute immer noch großen helden feiert, kippt dann plötzlich piano-808-hiphop, um dann bei einem fast schon klassischen klangstabil-distortionmonster anzukommen. nur ... da brüllt immer jemand drüber. wir glauben, dem geht es nicht so gut, nur brüllt er so laut, dass wir nicht wirklich verstehen, was er denn hat. die b-seite eröffnet dann mit noise eskapade, das ist mir ein bisschen zuviel, weil, ach egal. plötzlich dann wieder alles ruhig und verträumt und unfassbar schön, bevor alles in einem etwas überbetonten finale andockt und für immer im himmel abtaucht. selten habe ich so eine breit angelegte 12" gehört. ich kanns nur empfehlen. (thaddi)

der medienkonverter
klangstabils neues release "taking nothing seriously" widmet sich einem bedeutungsschwangeren thema, naemlich dem nichts. hinter diesem hintergrund ist der titel des albums auch zu verstehen. er bedeutet nicht, dass man ueberhaupt nichts ernst nehmen, sondern dass man das nichts ernst nehmen sollte. das ist zugegebenermassen etwas verwirrend, aber schliesslich ist der gegenstand des neuen albums von klangstabil auch nicht gerade mal ein problem, das man mal eben beim fruehstueck ausdiskutiert. die auf "taking nothing seriously" enthaltenen tracks entstanden in der zeit zwischen 2000 und 2004. trotzdem handelt es sich dabei um ein konzeptalbum. ein hinweis mehr, dass sich das klangstabil-duo ernsthaft mit der materie auseinandergesetzt hat. "taking nothing seriously" ist aber keineswegs so schwer zu verdauen, wie man vielleicht glauben moege. klangstabil regen zum nachdenken an und wollen keinesfalls einen rein philosophischen diskurs halten. vielmehr geht es darum, dass sich der mensch aus dem nichts selbst erschaffen und staendig dagegen kaempfen muss, nicht wieder darin zu verschwinden. das album folgt musikalisch dem bereits eingeschlagenen weg von klangstabil, auch wenn es sich weit von dem entfernt hat, was man allgemein hin unter industrial versteht. bei fast allen tracks schwingt eine gewisse melancholie mit. so ist etwa "away" ein sehr ruhiges stueck, dessen getragene melodie eine gewisse schwermut ausloest. generell muten die songs eher poppig an, mit einem gewissen hauch der 80er. schon der erste track, "you may start", macht klar, wohin die reise mit "taking nothing seriously" geht: melodisch, ein wenig poppig und gepaart mit ziemlich bedeckt gehaltenem industrial. und genau diese verbindung ist es, die man nachher nicht mehr so leicht vergisst. das album nimmt dann auch den hoerer sehr schnell fuer sich ein. auch wenn klangstabil den fast ausschliesslich gesprochenen text nicht unbedingt an der musik ausrichten, sondern ihn in erster linie als unmittelbareres traegermedium fuer ihre botschaft benutzen, bilden alle songs eine einheit. lediglich am ende von "a difference that's for all to see" geht es einmal richtig heftig zur sache. "gloomy day" duerfte dem ein oder anderen noch vom daruma-sampler her bekannt sein. das album laedt gerade dazu ein, immer wieder gehoert zu werden. egal, ob man sich nun mit dem von klangstabil besungenen nichts beschaeftigen oder sich einfach nur an der musik laben moechte. ein wirklich auf der ganzen linie begeisterndes album...(veit)

funprox [07/2004]
klangstabil is a hard to define act. their releases differ a lot from one another. some records are over the top noise, like a sort of digital grindcore, while others are much more atmospheric and quite. taking nothing seriously is mainly a more quite album. the aspect that is most evident on this record are the intense vocals that are placed on the foreground. these are spontaneous recorded monologues, which result in very natural sounding voices/speeches. the band calls this 'direct talking lyrics'. on a track like 'between' this even sounds a bit like hiphop vocals. but at other moments it can also result in whispering and/or yelling ('push yourself'). not just the vocals are intense. the music itself is this as well. most of the songs combine lots of atmospheric synth melodies and layers, often very new wave like, with cold elektro beats. quite songs like 'gloomy day', 'away' and 'reason to live' dominate the overall mood of taking nothing seriously. 'you may start' on the other hand is a potential clubhit due to its straight but catchy mid-tempo beats and energetic feeling. too bad the band put 'a difference that's for all to see' on this album. this is a brutal over the top noise eruption that doesn't really fit in with the rest of the tracks. for the rest taking nothing seriously is a very enjoyable record with solid songs with a nice mood. (mvg)

club metropolis
i was really surprised the first time i put this new album from klangstabil into my cd player. it's been a long time since i last heard such harsh and aggressive music from the famous label ant zen. taking nothing seriously contains 8 songs recorded between 2000 and 2004. the album has also been released on a 6 track vinyl version. consisting of the two members maurizio blanco and boris may, klangstabil have previously released a few 12" on ant zen and various labels, but taking nothing seriously is their first full length cd. the music on taking nothing seriously is very emotional and personal. there is also a lot of variation on the cd; there is everything from great ambient tunes to hellish, distorted industrial madness reminiscent of powernoise band haus arafna - especially tracks like "kill all lifeforms" and "push yourself". still klangstabil also manages to weave atmospheric and melodic structures into the inferno, and this gives the whole album a lurking feeling of despair underneath the aggressive waves of sound. klangstabil has made one of the best cds i've heard come out of ant zen for a while. in a way it's hard to describe klangstabil's music because they touch my feelings with a sound that is so brilliant that it goes beyond an outer limit. klangstabil are excellent musicians, and i'm not sure why they've escaped my attention before. all i can say is, if you're into harsh industrial that touches on everything from ambient to powernoise, klangstabil is really band you should check out! i only have one gripe about this album: it's too short! 45 minutes isn't nearly long enough when the music is so great! ;-) (brain)

vital weekly
not only has maurizio blanco, the owner of hymen records, managed to stay at the forefront of the technoid underground scene with a quite impressive catalogue of high quality releases since the birth of the german label back in 1997. since the early 90's maurizio blanco have also had his very own personal sound project in collaboration with boris may. klangstabil may not be the most worldwide known act on the scene, but they are fully respected for their sound experiments and personal expressions that have lead the project into many musical directions. and that is also what remarks this 12th attack that also belongs to some of the most emotional and personal albums released on ant zen recordings. based on what klangstabil terms "direct talking lyrics", the verbal side of the album is quite strong thanks to the improvised and emotionally affected expression. on the musical side we are dealing with a dark, desolate and very thoughtful expression. anger and manifestation are the keywords that slip to my tongue as i listen to the album. the remarkable thing is the great variety of musical expressions that has been created to fully support the lyrics side. first of all we have the distorted electro-beats saturating and reminding us that kraftwerk has been one of the strongest inspirations for the klangstabil-project. but during the 45 minutes playing time we also come around ebm-oriented industrial, experimental ambient, synthpop, minimal techno just to name a few elements. on the aggressive side we are confronted with some power electronics and even a few minutes of furious grindcore. in fact the most deeply emotional track titled "push yourself" on the album have been based on harsh electronics. it has to be, if not the only, then one of the very few ballads of power electronics ever created in music history. ultimately the album title almost seems ironic when the last sound has faded away. this is an intense and deeply affecting sound experience that only can be taken very seriously! (nmp)

mosaik magazin
vor mittlerweile zehn jahren fand sich das rottenburg-reutlinger duo zusammen. headliner auf dem aachener maschinenfest, usa-tour und feste fanbase sind ehrensache. nach zahlreichen vös erreicht uns vorliegendes mini-album auf dem neuen stuttgarter label. unendliche assoziationen kommen einem beim anhören von klangstabil-stücken in den kopf. auch die sechs (cd: acht) tracks hier sind wieder ein gewaltiges, lebendiges, umfassendes werk. auf verzerrten noise-terror folgt ein liebevoll märchenhafter wohlfühl-song, ohne dass der fluss abreisst, geschweige denn der klangstabil-stil einbricht. das perfekte ausloten der extreme. mit "direct talkin lyrics" legen sie noch einen drauf. direkt, kompromisslos und wuchtig. (lightwood)

dna six
das vermutlich ungewöhnlichste wie auch ambitionierteste projekt im ant-zen universum, dürfte wohl das duo klangstabil sein, die mit ihrer eigenwilligen mischung aus ambient und pop ziemlich allein auf weiter flur im labelprogramm der süddeutschen industrial keimzelle stehen. zwar wird "taking nothing seriously" mit dem synthpop track "you may start" noch recht konventionell (wenn aber auch souverän) eröffnet, aber diese aufwärmphase sollte klangstabil in anbetracht dessen, was folgt, gegönnt werden. denn im direkten anschluss ("between") bringt der im besten sinne uncoolen sprechgesang einen das gefühlsleben von boris may näher, als einen auf anhieb lieb sein könnte, während das leise flüstern und frustrierte brüllen von maurizio blanca in "gloomy day" erinnerung an italienische düsterkapellen der späten 80'er hervorruft. wie wenig sich klangstabil jedoch um ein homogenes klangbild scheren, wird spätestens deutlich, wenn sanfte klangwölckchen, plötzlich zu garstigen grindcore mutieren ("a difference that's for all to see") oder sich düstere electrotracks ("push yourself", "kill our lifeforms") aus den lautsprechern schälen. der kit, der all dies zusammenhält, sind die texte, in denen die beiden deutlich mehr von sich preisgeben, als ein auf die wahrung des schönen scheins bedachter durchschnittskonsument vertragen kann. aber dieser dürfte ja auch unter musikalischen aspekten nicht zu klangstabil's publikum gehören. (sascha bertoncin)

attivo ormai da quasi dieci anni, questo progetto tedesco electro-industrial torna con un nuovo e atteso album. una nuova fatica che suscita subito molta attenzione e interesse sin dal primo ascolto presentandosi come un'opera di electronica eterogenea e singolare, libera e disinvolta nei contenuti, priva di facili riferimenti stilistici, e precisa nel diffondere il suo verbo e la sua essenza. "taking nothing seriously" si comporta come un proiettore, generando su supercifi pensanti ogni pulsione e torsione mentale dell'autore, che tenta di disegnare, con meticolosa enfasi, un quadro generale di ogni sua percezione sonora. il fervore delle liriche, tormentate e sofferenti, rabbiose e disincantate, offrono uno spleen tagliente e sagace, giocando con i contrasti tematici delle sonorità e donando ad ogni suo frammento digitale lucida intensità. in questo cd ci sono i patterns oscuri ed evocativi dei primi albori techno-ebm ("you may start"), con quel sapore neurotico e dispersivo degli ambienti saturi di linee melodiche scarne e malinconicamente ribelli ("between"). isolazionismo neo-contemporaneo aggredito da roboanti liturgie sintetiche ("gloomy day"), e devastato da caotiche allucinazioni percussive ("a difference that's for..."). cambiando ancora scenario con modulazioni piť lounge-industrial ("away"), o risalendo crepuscolari pendii con il fascino della distorsione piť volatile ("push yourself"). per "reason to live" si raggiungono parametri rhythmic-noise iridescenti, aprendo improvvisamente un distensivo vortice sidereo e mesmerico. la soluzione finale incontra le ultime disincantate liriche di "kill all lifeforms", implodendo dentro ritmi sincopati e abrasioni pirotecniche. (francesco gentile)

a review in russian language by valentin laboda:

kaos kulture
un passaggio del testo di "gloomy day" ci da la chiave di lettura del nuovo lavoro di klangstabil. "taking nothing seriously", ironico sin dal titolo, è esattamente quello che non si vede. e' tutto nascosto sotto una pungente vena ironica e gioca con il suo essere quello che non dovrebbe essere. "taking nothing seriously" è un lavoro inquietante, assolutamente inclassificabile per via della sua eterogeneità. esso è paura, disperazione, ma anche profondissima emozione. e' un suono che ti conquista agendo sulle corde piť delicate del tuo animo. "taking nothing seriously" è suono senza forma e senza tempo. impossibile parlare di un genere musicale. anche inutile se vogliamo. l'insieme di vocals sofferenti e dannatamente perfette, di ritmi lontani, di atmosfere rarefatte ed angoscianti, fanno di "taking nothing seriously" un perfetto soundscape per viaggi mentali in posti lontani e senza contorni definiti o definibili. piť volte lungo le otto tracce di questo lavoro mi è venuto in mente il nome di gridlock. come gli autori del meraviglioso "formless", anche il duo dei klangstabil sa sorprendere con la profondità emotiva delle sue note e dei suoi disegni ritmici freddi ed imprevedibili. l'attenzione che richiede l'ascolto di un lavoro come questo è la stessa di quella che si deve prestare ai lavori di gridlock. stessa la perfezione dei synth, stesso il suono carezzevole che sa esplodere in momenti di pura disarmonia musicale. la stessa parola "klangstabil" ha nel suo interno il concetto di rumore e di paura, e la musica ci racconta proprio questo. ci parla della paura attraverso il rumore, un rumore che diventa pura melodia come in "away" dove le nostre menti vengono rapiti dalla grazia e dalla pacatezza dei suoni elettronici. la ant-zen ci regala un cd stupefacente. uno dei piť intensi del suo catalogo. adesso sta a noi saper raccogliere l'invito di klangstabil a penetrare dentro il loro mondo musicale ed a cogliere il loro sguardo ironico su un mondo che sta andando in rovina. l'urlo di "taking nothing seriously" è uno schiaffo al nostro piccolo, inutile, mondo. perfetto.

necropolis / la defuncion
éste hasta ahora último trabajo discográfico del dúo italo-germano formado por maurizio blanco y boris may, nos muestra su lado más melódico. cada uno de los trabajos discográficos de "klangstabil" ha tenido un carácter conceptual, bien por su temática, bien por los instrumentos utilizados. por ejemplo, el disco "gioco bambino" se realizó íntegramente con una gameboy-cam, a la que modificaron su sintetizador interno. para "taking nothing seriously" han decidido centrar su atención en las letras y emplear el método que ellos denominan "direct talkin lyrics", que consiste en darle la mayor emotividad y autenticidad posible a la voz, grabándola sin ningún tipo de efectos o arreglos, subiendo únicamente su volumen. de los ocho temas que componen el cd (6 en la versión de vinilo) destacan sobre todo "you may start" y "push yourself", que recuerdan a los primeros project pitchfork (grupo que confiesan no haber oído nunca), "gloomy day", cuyo inicio se parece un poco a "ruido de sables" de aviador dro y por supuesto el último corte "kill all lifeforms", que parece haberse convertido ya en todo un clásico dentro de la escena electrónica industrial/noise y que incluso ha despertado el interés del director de dependent records, stephan herwig, quien les ha pedido una remezcla para su próximo recopilatorio de la serie septic. "taking nothing seriously" es además el primer disco de éstos fanáticos del sonido analógico, grabado totalmente en formato digital. para quien no haya visto klangstabil en directo, habría que mencionar que maurizio y boris suelen fabricar sus propios instrumentos que llevan a sus conciertos, tal y como en su día hicieran kraftwerk o einstuerzende neubauten. para más información pueden consultar su página oficial "", donde han publicado fotos y vídeos de sus actuaciones, así como gran cantidad de entrevistas publicadas entre los años 1995 y 2005. (dj terrorist)

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