Your career as a musician goes back to the mid 1980s. In a general way, what are the main developments that you would point out in your work, throughout the years, conceptually and technically?
From 1980 to 1987 I learned to work with multitrack and create short, mostly out of range weird pop songs, fast and slightey hectic. In 1987 that totally changed. I started working with Tim Buhre on „slow“ music with a different approach, more psychedelic and sound-oriented(understanding sound as music). This project became more and more atonal, until it was Klangkrieg, our band for experimental electroacoustic music. Uli Rehberg’s amazing record shop Unterm Durchschnitt in Hamburg was very infuential at that time. I got to know a very different world of music.
In 1992 we founded our dada-communist party KED which was a great experiment in „using“ the official media as a canvas. Also, happening and improvisation became important. we had to prepare ourselves very well for interviews that we gave on huge German state’s TV stations. The more arrogant we became the more the media was interested in us. This was an interesting study for two years and then I left the group. It didn’t exist for much longer.
The owner of that mentioned record shop was the chief of our party who held great speeches.In the 1990s I also got into track music (techno, jungle, etc) because I liked to see the matrix of a song where some tracks were just turned on and off instead of using classical song structures. I still use some of this today.
In the mid 1990s I also started composing music for Mariola Brillowska’s animation films. I had more and more joy in electronic pop again and picked up the thread of my work in the early 1980s. I think I found a good form to present electronic music on stage – which I also owe the fact that some artists didn’t do anything more than just putting their laptop on stage and press „play“. In ten years this will be looked at as a very bizzare minimalism in the history of electronic music.
«Let’s become idiots before the politicians write a book on it». That statement was written by you some years ago. How would you relate it with our present societies?
The borders between friends and enemies disappear in the information society. It’s very difficult to have a clear attitude because we are forced to be flexible to survive. At the same time it’s more important than ever to say „NO“ sometimes. And to prevent yourself from being taken in (pocketed). Independence was always the most important value for me. It’s easier to keep it up when you are not so famous.
Is the political dimension still present in your work?
Yes but not in an parliamentary way.You can find it more in my radio plays because there I have a better context for language.
In music it’s difficult to be political. However, in general attitude towards rules and patterns of behaviour I can be political in any discipline. I think the people who don’t talk about things but impersonate them are more political than the ones who love to discuss. I still like utopias and I am glad that they have come back into the conscious of the youngest generation.
This interview is also available at Chain D.L.K.
Felix Kubin and Das Mineralorchester: "Music for Theatre and Radio Play"