www.myspace.com/armchairtravellermusic

"Armchair Traveller plays it inside out, twists facts, thus finally bringing forth perhaps the real, the authentic, the ethnic music of our time.

It is real, because everything about it is unreal; it is authentic, since it has just been totally invented. But it sounds archaic because it has been created by musicians who have developed specific playing techniques, mostly on their own, for handmade instruments built from everyday materials and for conventional instruments they have specially prepared.

It is ethnic because chance providentially brought these musicians together at the same time in a big city like Berlin - metropolitan centers have become homelands for quasi-ethnic groups. The individual pieces, imaginally located on various meridians of the globe, sound like tribal music that somehow is simultaneously experimental and (post-)industrial. Much of it sounds electronic, even though everything is acoustic.

Travellers in their armchairs, at once alienated and fascinated, discover the foreignness in themselves."

(Matthias Osterwold)

Odpocznijmy trochę od elektroniki, bo oto kolejny raz muzyka żywa i akustyczna pojawia się w labelu Staubgold! I jest to muzyka bardzo wysokiej próby.

Grupa Armchair Traveller istnieje od 1999 r., a za jej założenie (w Berlinie) odpowiada: Hella von Ploetz (szklana harfa), Silvia Ocougne (preparowane i tradycyjne gitary), Werner Durand (instrumenty własnej roboty, m.in. wiatrowo-świszczące) i Sebastian Hilken (perkusja i wiolonczella). Ich muzyka to w dużej mierze improwizacja i wariacja bazujące na klimatach muzycznych wszystkich kontynentów, przy wykorzystaniu trendów nowoczesnych, freak-folku, bluesa, a także muzyki minimalnej. Dźwięk instrumentów też jest niezwyczajny - muzycy np. specjalne stroją niektóre z nich by wydobyć z nich niespodziewane brzmienie.

"Armchair Traveller plays it inside out, twists facts, thus finally bringing forth perhaps the real, the authentic, the ethnic music of our time.

It is real, because everything about it is unreal; it is authentic, since it has just been totally invented. But it sounds archaic because it has been created by musicians who have developed specific playing techniques, mostly on their own, for handmade instruments built from everyday materials and for conventional instruments they have specially prepared.

It is ethnic because chance providentially brought these musicians together at the same time in a big city like Berlin - metropolitan centers have become homelands for quasi-ethnic groups. The individual pieces, imaginally located on various meridians of the globe, sound like tribal music that somehow is simultaneously experimental and (post-)industrial. Much of it sounds electronic, even though everything is acoustic.

Travellers in their armchairs, at once alienated and fascinated, discover the foreignness in themselves."

(Matthias Osterwold)