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Heinrich MÃ¼ller se produira en tant que Dopplereffekt le 9 juillet Ã la Machine du Moulin Rouge.
The mythology surrounding Gerald Donald aka Heinrich MÃ¼ller’s countless projects never waned over the years. Former half of legendary Detroit entity Drexciya whose electro-aquatic turbulences still resonate into a great deal of electro productions nowadays, MÃ¼ller debuted as a (more or less) solo artist with some lo-fi robot-funk that became the musical starting point of Adult. or Miss Kittin & The Hacker years later, and departed into radically different zones afterwards, creating a meticulous sci-fi electronica full of majesty, threats and dark corners that he made his trademark since then. Quite fond of multi-identities like other Detroit artists of his kind, we find among his most well-known incarnations Dopplereffekt, Arpanet or Der Zyklus, through which he committed a handful of science-themed masterpieces on Rephlex, Clone or Record Makers.
Even more difficult to track down these last few years, the American producer was to be found under a couple of remixes and behind several collaborative projects with a number of quite esoteric women coming out of nowhere, revolving around more or less hermetic science-related concepts. After the obscure Black Replica and the Tarkovskian tribute Zerkalo, we now have Zwischenwelt that we could be tempted to approach humorously as a Dopplereffektian girl band as it gathers three girls from all over the world, including German electro artist from the Neue Deutsche Welle era Beta Evers (who also teams up with him on the Gedankenexperiment side-project on WeMe Records). If MÃ¼ller remains radical concept-wise (this time, paranormal experiences â€“ the interview will provide you with all precisions), he happens to be less opaque and more straightforward music-wise, and, under the layers of ominous eeriness, Paranormale AktivitÃ¤t (recently released on Aphex Twinâ€™s imprint Rephlex) offers moments that are closer to the early MÃ¼ller vintage electro sound than he ever got since he departed from it. The vocal omnipresence of his newly-found sirens of beyond may upset a couple of MÃ¼llerian purists at first, but it eventually proves to be a refreshing addition to the artistâ€™s vocabulary.
Despite a recent softening in terms of communication strategy (practically no interview until 2009), Heinrich MÃ¼ller remains quite distant in his answers, discloses next to nothing about his musical approach (a couple of questions too directly related to music content and his other projects were left unanswered), and sticks to a very conceptual attitude that typically fits the secretive identity of our man.
Comment est-ce que la forme sert le fond dans Zwischenwelt (et d’autres projets) ? How does the form serve the content in Zwischenwelt (and your other projects)? how do you articulate both?
Heinrich MÃ¼ller: There are no correlations with other works, this project an autonomous closed system, all elements were created in this conceptual framework and fed back in this system. It was self sustaining, its own musical ecology.
HM: The internet was the primary method of connection and communication.
Beta Evers: I met Heinrich because of a planned mini-tour with Black Replica. From that point we stayed in touch. After he suggested to start a project, he introduced some potential band members to me (Penelope and Susana). I think he knew them some time before.
BE: We had a lively electro scene in my town. In the mid 90s a friend organized a monthly party night, where Dopplereffekt was played more than once each night. Some of my friends were DJs back then and they had the records and I bought them myself soon. Me and my friends were first of all fascinated by the sounds and atmospheres that Heinrich creates.
HM: As it name implies a realm embedded between realms. In this case a universe of unexplainable phenomenon. In this universe our feeble senses break down and we need instruments to assist in study and explanations. This is a realm where quantum events are dominant and most present.
HM: Yes it does and I will try to elucidate here as much as possible and deploy a scientific umbrella. First of all people have the incorrect idea of paranormality.The wave function and uncertainty law can debunk it. Paranormality is not a set of supernatural events but quantum fluctuations that form in the universe, existing for very short periods and vanishing once more, culminating in mesoscopic and macroscopic anomalies. For every paranormal claim a scientific explanation can refute so called testimony to supernatural claims. Fata Morganas are one good example .So in other words nature can play tricks on our senses but all can be explained by scientific methods. So this project is really about manifestations of quantum phenomena collectively.
HM: No for this such things are non existent nor do I believe in them.
BE: Not me, but another band member. I spent some years at university and studied sociology; psychology was part of my studies and once I visited a seminar about parapsychology that was very interesting as it treated the whole thing from a serious and scientific point of view.
BE: Me, Susana and Penelope contributed sounds, patterns, lines. Most written words come from me, Susana wrote lyrics for 2 tracks. Most vocals are done by me. Susana sang on one track. Penelope and Susana did some background voices. Lots of sounds and patterns come from Heinrich and he co-ordinated, edited and finished the contributions that came from our side. His directive work happened in consultation with me.
HM: This was a group effort,everyone contributed various ideas and components.I would say the difference in approach is the fact all of our various musical perspectives had to be synthesized harmoniously.
HM: It was a combination of real time and step time production processes (internet).Combining the 2 techniques was very effective.
BE: Yes, in the beginning. I was not used to work this way and needed some time to adapt to it. After a while it became easier. There was also once a extended real-time session at the place of Heinrich.
BE: Nina Kulagina was from Russia. She claimed to have psychic ability, especially psychokinesis. She was researched by Russian scientists for many years. While some were convinced her psychic powers were real, many skeptical scientists say there was left much potential for trickery in her psychic demonstrations.