Review by David Rosenberg, Berlin
On CHLOROFORMO, Lind Bohm performs his personal vision of contemporary freestyle music. Claustrophobic atmospheres (Klang der zeit II)alternates with momentary piano glimpses (Chloroformo)and minimalistic slomo melodies (Klang der zeit 1).
Chloroformo features striking music, mostly recorded live, performed on real instruments like piano, percussions and horns. Also programming, which sounds organic and vital. Vocals are there, but not in a traditional way of song writing. Voices performing like an instrument, improvised, ritual and emotional (Schall & Wahn)
Nothing is at rest in his compositions and even when it sounds gentle, silent, or violent, there is a dynamic motion you can feel (Ruf der Jünger 2) – the noisiest track on the album). Pigeonhole Lind Bohm is almost impossible, which is a compliment, not a matter of arbitrariness.
A good musician is one that communicates a feeling, touches the emotions and leaves the listener a changed person for having listened that. It is, in a word, effective. That's exactly what CHLOROFORMO made for me.
David Rosenberg (Berlin, 2012)
"It seems to me as if I've lived a number of lives, which brought me ups and downs – and often no peace. I was lucky to have begun in music very early – with all the passion that only a child can bring to what he does.
For me, making music has a lot to do with curiosity, wonderment, the world, and getting excited about little things, but at the same time, you always perpetually stay a child, with a child's attitude and mentality. It is just to continue wondering. Music should always tell you a story, stimulate your mind.
I'm not a cerebral composer. I call myself a music maker, an autodidact. Not musician, or composer .That's why I feel not comfortable categorize my music as experimental music, which is often related to a complex theoretical concept (at least for me). I try, sample, cut, slow down, hack. Just create.
Making music is a test of myself and requires courage. The reward is that you get to know yourself very well. It is a challenge to capture the essence of a moment. Those music were played with the the 7th sense, which is only activated once you have devoted yourself to a thing. My music comes as a intuitive response and deals with my feelings about life. On the other hand, it is through the deeper study of my work that I strive to understand my music, my world and myself. Work becomes metaphorical, reflecting my inner feelings.”
Lind Bohm, October 2012
Lind Bohm, born near Salzburg (with Bavarian-, Austrian- and Italian roots), now living on a farm house near Salzburg and in Leipzig, is an autodidact, working with combinations of computers, machines and real instruments, centred on the possibilities of electronic and acoustic music. Focus is on the interconnections between styles, electronic and acoustic. Machines and organics operate synergistically to create a realm of emotion. Visions of various places join with human memories (does time dance with memories?) to inspire the creation of an audio medium.
Beside his music activities, he is interest in art and anti art in varied ways. The wide variety of experiences he made flowing together in his music. Creativity means for him to put things out of their usual purpose and use them in an unexpected way - to create „something out of nothing“.
Commonly we won’t associate electro acoustic and noise music with this landscape, but most probably just because of some semi intelligent prejudices. After all we owe lots of brilliant and crazed electronic music to this state of rural isolation. Cluster, Michael Rother and Embryo preferred tweedy surroundings, so did the Kosmische Kuriere in their Swiss exile. Indeed these bands may represent references for his work, but Lind Bohm opted not for the simple way celebrating the heroes of the 70’s.
Lind Bohm merely concentrate on a reconstruction of these audio experiments, than to copying good old and well known krautisms. So “Kraut” stands for rather sound and production aesthetics and refer to unexploited potentials in this field of audio creation (ambiguously track title like “Faust im Nacken” support that aspect).
Though you can find some “clicks” and “glitches”, but most of the sonic material hits you like the full dose of audio tape manipulation and old analogue equipment. Lind Bohm definitely stand out in the bunch of similar noise artists. Call it Avantgarde if you want. Especially when you remember this very special branch of fine arts with grand earnings for electronic music: fluxus!
SKUG (Germany, 2009), www.skug.at
Contribute on The Wire Tapper 30 CDwww.thewire.co.uk
The latest volume in WIRE's series of experimental and underground music compilation CDs.
Contribute on The Wire Tapper 25 CD www.thewire.co.uk
The Wire Tapper 25 is the latest volume in Wires ongoing series of new music CD compilations to be given away to all readers with the April issue. Containing a cross section of the most cutting edge underground artists, The Wire Tapper 25 features work from Hana, Nicholas Szczepanik, Manekinekod, Tchicai/Hurley/Sanders/Coxon, Sheik Anorak/Weasel Walter/Mario Rechtern, Philippe Petit & Friends, My Cat Is An Alien, Bohm & Cooper Marquardt Duo and many more. Click here for a PDF with the full tracklist.
Lind Bohm, focalizes on the interaction between real instruments, voice (filtered, distorted) and computer. The result moves towards a cut-up between John Oswald , primordial electronica and softer Merzbow.
Check "From Under My Nose", "Davi Ergo", "Lark Kinsky", the beautiful "Jennerwein II", Daniel Menche style) or tracks (when he risks some serious songwriting) like (Hemocyan, Faust im Nacken). Awesome.
BLOWUP (I), April 09, www.blowupmagazine.com
This music has the aversive force of poetry
Andrea Liuzza (I)
Spectacular demonstration of noise, maximalista and baroque
Sintetic Collage (FR)
Organic and machine are not an opposition ... But the result of your music means more life than some layman can suppose in the world of „noise“ Bravo ! Elements and noises are alive friends
It‘s like a building of a new architecture for infinity of audio stimulus
This songs are the follows..........the really beautiful nervous follows of this very deep integral sculptures.....very intense and ritual. Impressed!
Christophe.g /Tellemake (FR)
Installation Sommer 2010 Salzburg - Betrayed Society
Work / smallholder
Scythe, a couple of saws
....sweat, rotten towel
proud > Hartz
......pontiff vs. ipope