Firat | Dîjla by Fließgewässer
Originally, this tape was planned as an accompanying tape to FLIESSGEWÄSSER’S month-long tour of Europe, which, you guessed right, didn’t happen because of C-19.
Fließgewässer is the alias of Spain-based artist Philipp Heinzelbecker, who became part of the OM family somewhen in autumn 2019, when OM-stalwarts Hager/Kaputt, the overwhelmingly great William Luke Valerio and Fließgewässer shared a gig. A short power breakdown that evening killed Heinzel’s synthesizer, which was his main source of sound. He then started to throw himself into a freestyle set with machines lent by the other musicians – and he dove headfirst into a slowly-building, neo-baroque organ impression of melancholic beauty and an emotional openness that affected the whole room.
This was a fine example of how Fließgewässer functions – Heinzelbäcker incorporates what surrounds him and transforms it into sound. „Firat | Dîjla“ works just as that. An impromptu session with Marta Morant on clarinet and Nicolas Dobson on drums that started after watching a documentary on the ruthless building of dams in south-east Anatolia by Turkey’s demagogic president Reccep Tayyip Erdogan, with additional synth work overdubbed afterwards, turned into a stream of free-flowing new age sounds with references to anatolian folk music popping up here and there, tender percussion improvs and refined clarinet expressions.
The sole track on the B-side of the tape – „Below the stork’s nest“ – is a sombre elegy, alternating between an endless dulcimer rite, surfacing field recordings, a trumpet resembling the cornet work of Cosey Fanni Tutti and: a violin. The original version of „Firat | Dîjla“ featured a lot of quotes from the BBC-produced documentary „So Water is Turkey’s Oil“. Shying away from the fear of copyright infringements, we asked Heinzel to remove them; about half a day later, in true Fließgewässer fashion, he sent a whole new set of files with him playing a deranged violin instead of the original quotes. That was the final point, the being-struck-by-lightning-moment when we knew this one was perfectly finished. Glimpses of Hassell’s fourth-world music spelled out over european post-industrial music like Coil, and, within the flushes of deeply honest consternation which interweave the whole recording, a very political set of songs.
Marta – clarinet on “Heskîf”.
Nicolas – percussion on “Heskîf”.
Heinzel – prologue synthesizer, trumpet, casio, violin, field recordings, voices recording and editing.
This is Otomatik Muziek #19, March 2020.
Comes as a green tape with risoprinted artwork.
If you have any problems or wishes, if you don’t have PAYPAL, you don’t want to pay with PAYPAL, you simply prefer paying by bank transfer or if the postage seems to high, please get in touch with us via: