Central Station (Alex Kemp Dub Mix) - stol
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Olaf Rupp. guitar
Stephan Mathieu. drums
«It is not so easy to describe a band like Stol. Especially because their music is a kind of crossover. Admittedly this does not sound very thrilling - it makes us think of a band XY who play their style, say Rock, and add something supposedly unusual to it, electronics by way of example. And then let’s be enthusiastic about the passages from analog to digital. Reality is much more deplorable and is called Post-Rock. Lukewarm coffee and a rancid bisquit. What is presented as a border crossing turns out to be but a proof of restricted creativity. In other words: if your music or your aproach to music is odd, then it won’t help to correct this by using modern hardware. Those who know this inwardly try out Techno purism or Drum and Bass fundamentalism all of them even better than those crossovers of two or three years ago.
Using the term crossover in a positive setting, like in the case of Stol, this means that not the integration of other styles and methods but the starting point itself is of interest which makes it possible to work with different musics.
This might become more clear if we listen to where Stol come from. Olaf Rupp and Stephan Mathieu have a spotless past of Improvised Music or - to call a spade a spade: Free Jazz. In the last 5, 6 years since they moved from Saarbrücken to Berlin the band worked intensively with the saxophone players Dietmar Diesner and Harri Sjöström as well as the bassclarinettist Rudi Mahall and - not to mention those countless shortlived formations and sporadic projects - they are members of the ensembles of Wolfgang Fuchs and Butch Morris. (Those names mentioned above might be quiet unknown in the world of Pop but this is a problem of the Pop guys, not the Freejazzers). Their crucial importance to the berlin scene of instant music players goes without saying.
Stol follow the distinction made by Hamid Drake between “small tradition” and “great tradition”. “Small tradition” means to copy your idols, be an epigon. Nothing new is added to the tradition of the old masters. “Great tradition” is followed by those who take models of techniques and abstract principles and confront them to the facts of present life instead of copying old patterns. Stol live this “great tradition” because they never think of copying the clichees of Free Jazz and still they never fail its high structural standard. Without copying their idiom they follow the sophisticated structures of Wolfgang Fuchs or Butch Morris whose music is rather an examination of basic operations which underlay a certain attitude of making music, especially of improvisation.
Stol play free music not as a picture (“Free Jazz reminds me of a room full of screaming cats” as Paul Bley put it) but as Meta-Music. A reflection on what it means when you say “group improvisation” or “Klangfarbenmelodie”. They work with the respective decisions which are neccesary to build a style.
This could be a raw description of the starting point. But even Meta-Music creates its own idiom - and this idiom is Pop.
Stephan Mathieu respects Ringo Starr a lot: simple and clear beats no frills, almost unpersonal but big sound: Starr prepared his set with bed sheets and turned the heads loose to archive his soft and mellow sound. We could say Mathieu plays a Free Jazz socialised Ringo Starr with Disco experience. But because this is impossible he plays not really Ringo but only himself. A lot of what Stol is playing (in studio - on stage things are different) makes us think of Post-Rock. But this is a kind of Post-Rock which is free of misunderstandings and bad compromises. Short reminicences of this old and long forgotten project are coming up that could be a new rock music that knows about Free-Jazz. Mathieu and Rupp follow this line by giving up all thoughts about “fusion”. They look for the common inside the strange, for years they play Free-Jazz but they grew up with Ringo Starr …
As all good concepts also the idea of Stol is not yet finished. Just see the slight iridicence of Olaf Rupp, leaving open whether he uses the guitar as a guitar or as a sound generator. It is the unspoken, the undecided that opens space for improvisation, for unconditional playing (together). It becomes clear that the decidedness of successful border-crossing is not so much related to the border and to the crossing but more to the person who is doing the step. Which means that it makes no sense to play Pop as a Freejazzer - only after Stol did exactly this (not unlike Jim o’Rourke).
They find themselves in a nomansland and far too busy about a senseless refining of tiny shreds of sounds from an answering maschine or of spanish pop songs - they are not going to bother with setting up their claim and restrict their field of activity. This is what good nervous breakdowns of Pop history are made of (see Beach Boys). Probably it would be better if the new album of Stol never appeared.»
Felix Klopotek, 07.1997
1989-1998
Olaf Rupp www.audiosemantics.de
Stephan Mathieu www.bitsteam.de
Stol at Discogs.com
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Stephan Mathieu. drums
«It is not so easy to describe a band like Stol. Especially because their music is a kind of crossover. Admittedly this does not sound very thrilling - it makes us think of a band XY who play their style, say Rock, and add something supposedly unusual to it, electronics by way of example. And then let’s be enthusiastic about the passages from analog to digital. Reality is much more deplorable and is called Post-Rock. Lukewarm coffee and a rancid bisquit. What is presented as a border crossing turns out to be but a proof of restricted creativity. In other words: if your music or your aproach to music is odd, then it won’t help to correct this by using modern hardware. Those who know this inwardly try out Techno purism or Drum and Bass fundamentalism all of them even better than those crossovers of two or three years ago.
Using the term crossover in a positive setting, like in the case of Stol, this means that not the integration of other styles and methods but the starting point itself is of interest which makes it possible to work with different musics.
This might become more clear if we listen to where Stol come from. Olaf Rupp and Stephan Mathieu have a spotless past of Improvised Music or - to call a spade a spade: Free Jazz. In the last 5, 6 years since they moved from Saarbrücken to Berlin the band worked intensively with the saxophone players Dietmar Diesner and Harri Sjöström as well as the bassclarinettist Rudi Mahall and - not to mention those countless shortlived formations and sporadic projects - they are members of the ensembles of Wolfgang Fuchs and Butch Morris. (Those names mentioned above might be quiet unknown in the world of Pop but this is a problem of the Pop guys, not the Freejazzers). Their crucial importance to the berlin scene of instant music players goes without saying.
Stol follow the distinction made by Hamid Drake between “small tradition” and “great tradition”. “Small tradition” means to copy your idols, be an epigon. Nothing new is added to the tradition of the old masters. “Great tradition” is followed by those who take models of techniques and abstract principles and confront them to the facts of present life instead of copying old patterns. Stol live this “great tradition” because they never think of copying the clichees of Free Jazz and still they never fail its high structural standard. Without copying their idiom they follow the sophisticated structures of Wolfgang Fuchs or Butch Morris whose music is rather an examination of basic operations which underlay a certain attitude of making music, especially of improvisation.
Stol play free music not as a picture (“Free Jazz reminds me of a room full of screaming cats” as Paul Bley put it) but as Meta-Music. A reflection on what it means when you say “group improvisation” or “Klangfarbenmelodie”. They work with the respective decisions which are neccesary to build a style.
This could be a raw description of the starting point. But even Meta-Music creates its own idiom - and this idiom is Pop.
Stephan Mathieu respects Ringo Starr a lot: simple and clear beats no frills, almost unpersonal but big sound: Starr prepared his set with bed sheets and turned the heads loose to archive his soft and mellow sound. We could say Mathieu plays a Free Jazz socialised Ringo Starr with Disco experience. But because this is impossible he plays not really Ringo but only himself. A lot of what Stol is playing (in studio - on stage things are different) makes us think of Post-Rock. But this is a kind of Post-Rock which is free of misunderstandings and bad compromises. Short reminicences of this old and long forgotten project are coming up that could be a new rock music that knows about Free-Jazz. Mathieu and Rupp follow this line by giving up all thoughts about “fusion”. They look for the common inside the strange, for years they play Free-Jazz but they grew up with Ringo Starr …
As all good concepts also the idea of Stol is not yet finished. Just see the slight iridicence of Olaf Rupp, leaving open whether he uses the guitar as a guitar or as a sound generator. It is the unspoken, the undecided that opens space for improvisation, for unconditional playing (together). It becomes clear that the decidedness of successful border-crossing is not so much related to the border and to the crossing but more to the person who is doing the step. Which means that it makes no sense to play Pop as a Freejazzer - only after Stol did exactly this (not unlike Jim o’Rourke).
They find themselves in a nomansland and far too busy about a senseless refining of tiny shreds of sounds from an answering maschine or of spanish pop songs - they are not going to bother with setting up their claim and restrict their field of activity. This is what good nervous breakdowns of Pop history are made of (see Beach Boys). Probably it would be better if the new album of Stol never appeared.»
Felix Klopotek, 07.1997
1989-1998
Olaf Rupp www.audiosemantics.de
Stephan Mathieu www.bitsteam.de
Stol at Discogs.com
Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.