At the end of the 19th century, a rise of music as an entertainment related commodity, associated with the system of capitalising and managing its rights through institutionalized copyright collectives, made it increasingly necessary to graduate music into more or less useful and mainly offsettable categories. To dissociate music, that needs to be reserved and supported financially, because of it’s worth for society and a specific importance, from ordinary content with an aim to entertain, the terms of “Serious Music” and “Light Music” were created. Today interdisciplinary fields like culture studies recognised and analysed such graduating processes in every kind of cultural content, and named these classifications “high culture” and “pop culture”, in addition to attributing a worth, a necessity, the respect and the right to exist to every part of cultural living. Further a technical differentiation of music also isn’t suitable anymore.
The three Musicians Daniel Brandt, Jan Brauer and Paul Frick probably were never interested in such differentiations, even if they are familiar with them. With the band BRANDT BRAUER FRICK, they created their own draft of danceable or club suitable music, that should be based on the organic background of classic music. On the debut, and their first live shows, the sound system was built by self recorded samples of classical instruments which were played and arranged live. Or as the band said in those days “we already do a lot more live work than an usual Techno DJ would do, but the ultimate concept is, to produce every sound live by an ensemble”. No sooner said, than done BRANDT BRAUER FRICKreleased their second album Mr. Machine, grown into THE BRANDT BRAUER FRICK ENSEMBLE with support of seven fellow musicians.
The upcoming third album Miami – out from March the 8h on via !K7 records – is another step forward in the way of constructing this hybrid of classic and electronic Music since BRANDT BRAUER FRICK decided to let different artists, particularly vocalists took part on some of the usually instrumental tracks. So the feature list contains big names like JAMIE LIDELL, Gudrun Gut and Nina Kraviz. Of course each musician gives an own touch on his song but also the arrangements became more playful, tricky and detailed. Especially Broken Pieces and Empty Words which both feature JAMIE LIDELL show how brilliant those two pieces, the singer’s soulful voice and some minimal but organic techno beats could fit together.
The voice of Nina Kraviz, however, only appears in bits and pieces on the song Verwahrlosung and turns it into a more dark electronic sound. The remaining parts of the album show some epic and partly danceable but mostly experimental aspects where acoustic and electronic parts balance each other. BRANDT BRAUER FRICK develop their own microcosm of sound again with adding different influences, they show their eagerness of experiment and a nearly mathematically sense for producing an own way electronic music.