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Fritz Ostermayer
Kitsch Concrete

elektronika
Editions Mego, 2003

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"When I was young, I was embarrassed by everything. But now I'm so old that I can't be bothered anymore."

Embarrassed by what, Ostermayer? Lyrics that wallow in explicit sexual content? Or by an unrestrained rage at God and the world that a 47-year-old is supposed to have gotten over by now? Or maybe even by a craving for the sounds of the "cheap" instruments of your village-tavern social life?



"For ages now I've been excited by the so-called 'Kommerz Bands' in the country, and especially their keyboards. I love the synthesized sounds of these groups: the presets of the Korg M1 (those heavenly fake mandolins!), the cheap sampled saxophone of the DSS1, not to mention the tacky strings of my Crumar Bit1! I would never change one iota of these factory preset sounds -- or maybe I'd slap even more reverb on the fake acoustic guitars in my 03R/W. This ballroom aesthetic, which is soon to die out, is the basis of my music. The rest is taken care of by digital disturbances, my dilettantism, and the presumptuousness of wanting to sing along with all of it. A precarious mix that's good for hardly anything."



When Fritz Ostermayer says "kitsch", it means "the craftsmanship of emotionality" which was developed in the Baroque era but continues to survive as a submerged aspect of culture: in the banal hits of the 60s, in the simple three-chord pop song, and not least in the sentimental electronic dramas of the German forests and fields that appear in Kraftwerk ("Ohm Sweet Ohm"), Cluster, and Harmonia, right up to the kitsch-laden pieces of a Schlammpeitziger or Ulrich Schnauss. The point is that certain harmonic progressions and melodic lines can produce specific effects, that euphoria can be a psycho-physiological construct in just the same way that melancholy is, and that a good songwriter can play this keyboard of the emotions just as a highly talented dictator does -- or, for that matter, that terrorist of sent
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