When Mary Shelley makes a choice regarding the place on which Doctor Frankenstein will finally render to our memory the creature which he procreated, she opts for an icy wasteland. The place that looks like a perfect description of eternity, where everything is motionless, out of the senses, like a frozen image in which only a wind might be giving a promise of itself – a breath of death, something which remains at the very end, yet testifying that we are still here, on this side of the life.
It is as if The Berlin Requiem deals with what can scarcely be discerned by the senses, be heard, in the realm of the gelid nothingness. As if there faintly audible sounds of the alterations of crystals and frozen bodies are recorded. Duration of the sound is expanding to the very limits of articulation. Only the silent quiver of white light and cold motions is audible. The sound extends through the space that has neither the horizon, nor forms, nor boundaries. Perhaps it is the place where the change is the largest – one that cannot be uttered, such a large one that it cannot be recorded or comprehended.
And yet it is as if The Requiem belongs to a certain place and a certain time. This belonging is indicated through Berthold Brecht's poem and through Berlin itself – it is designated by the name of the world in which the death really occurs. The poem itself praises the transience – the moment when we actually separate ourselves from the things that do not mean anything to us, the moment when we can depart placidly. However, we almost cannot tell anything about this “placidity”, maybe only that it is almost light, cold – almost non-sensorial. What links the city and the frosty desert here is the unutterable itself. In order to perceive this, one needs not travel afar to the end of the world nor to climb high to mountain peaks.
Frankenstein's creature vanished in the white wasteland. We shall never learn if it crossed the frontier of death or is it still with us. It is as if The Requiem restores this ambiguity over and again, as if the sound is that which is still there – that which joins together the word and the unutterable.
berlin, requiem, autopsia, album, berlin, requiem, album, autopsia, czech, industrial, experimental, music, group, berlin, requiemstudio, album, autopsiareleasedjune, 2006recordedspring, 2006, praguegenreindustrial, experimental, minimalism, outsider, brut, so. The Berlin Requiem is an album by Autopsia a Czech industrial experimental music group The Berlin RequiemStudio album by AutopsiaReleasedJune 2006RecordedSpring 2006 at PragueGenreIndustrial experimental minimalism outsider art brut soundscapesLength41 11LabelOld Europa Cafe OECD 084 ProducerAutopsia MustakillahAutopsia chronologyRadical Machine 2005 The Berlin Requiem 2006 Night Landscapes 2008 Professional ratingsReview scoresSourceRatingheathenharvest comlinkside line comlinkconnexionbizarre netlink Contents 1 Overview 2 Track listing 3 Personnel 4 External linksOverview editWhen Mary Shelley makes a choice regarding the place on which Doctor Frankenstein will finally render to our memory the creature which he procreated she opts for an icy wasteland The place that looks like a perfect description of eternity where everything is motionless out of the senses like a frozen image in which only a wind might be giving a promise of itself a breath of death something which remains at the very end yet testifying that we are still here on this side of the life It is as if The Berlin Requiem deals with what can scarcely be discerned by the senses be heard in the realm of the gelid nothingness As if there faintly audible sounds of the alterations of crystals and frozen bodies are recorded Duration of the sound is expanding to the very limits of articulation Only the silent quiver of white light and cold motions is audible The sound extends through the space that has neither the horizon nor forms nor boundaries Perhaps it is the place where the change is the largest one that cannot be uttered such a large one that it cannot be recorded or comprehended And yet it is as if The Requiem belongs to a certain place and a certain time This belonging is indicated through Berthold Brecht s poem and through Berlin itself it is designated by the name of the world in which the death really occurs The poem itself praises the transience the moment when we actually separate ourselves from the things that do not mean anything to us the moment when we can depart placidly However we almost cannot tell anything about this placidity maybe only that it is almost light cold almost non sensorial What links the city and the frosty desert here is the unutterable itself In order to perceive this one needs not travel afar to the end of the world nor to climb high to mountain peaks Frankenstein s creature vanished in the white wasteland We shall never learn if it crossed the frontier of death or is it still with us It is as if The Requiem restores this ambiguity over and again as if the sound is that which is still there that which joins together the word and the unutterable Vladimir Mattioni 19 02 2007Track listing edit Funeral Music I 7 32 Retorten Genese 9 41 Funeral Music II 6 51 Radical Machine 3 0 2 52 Funeral Music III 4 08 Sounds for Remembering Death 10 07Personnel editAll tracks composed by Autopsia Musical Performed by Dammerung Orchestra Technical Mustakillah Studio Prague engineering mastering Cover design IkkONAExternal links editAutopsia on Last Fm Autopsia Retrieved from https en wikipedia org w index php title The Berlin Requiem Autopsia album amp oldid 1083295751, wikipedia, wiki, book, books, library,
