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N.Strahl.N - JPop.com
Artist info
N.Strahl.N

N.Strahl.N

N.Strahl.N


Intro to the interview at tokafi.com Read the entire interview here... http://www.tokafi.com/15questions/15-questions-n-strahl-n/ Noise is often regarded as a primitive genre and with its primary focus on immediacy and energy, it often is. On the other hand, artists like Mario Löhr of N Strahl N are demonstrating that it also holds the potential of great depth and a fascinating, impenetrable degree of complexity. In fact, Löhr's elaborate, enigmatic Read more on Last.fm
Intro to the interview at tokafi.com Read the entire interview here... http://www.tokafi.com/15questions/15-questions-n-strahl-n/ Noise is often regarded as a primitive genre and with its primary focus on immediacy and energy, it often is. On the other hand, artists like Mario Löhr of N Strahl N are demonstrating that it also holds the potential of great depth and a fascinating, impenetrable degree of complexity. In fact, Löhr's elaborate, enigmatic and gracefully flowing arrangements seem to belie their roots in Industrial culture and so does his preference for sound artists like Asmus Tietchens and Esther Venrooy. The noise, however, does come in at the level of sound design, when field recordings and scrambled radio transmissions are turned into distorted blocks of greyish sonics, reworked into beats, drones and layers of crackle and combined into cinematic compositions of many different parts and movements.

While the years 2006 and 2007 were spent carving out a distinct nice for himself, 2008 has been the year of unlikely collaborations: Löhr has struck deals with acts unknown to many or with artists without obvious outward correlations and published a string of albums which were as impressive as they were heavy to digest at times. It has only served to sharpen the profile of N Strahl N. And while Löhr claims to have "no idea" as to what his magmum opus could sound like, there is a very real chance he may already have written it: His series of EPs centred around modern media of communication, self-released in tiny quantities, is merely awaiting an integral release on a label open enough to see the potential of the tryptich. With its clairity and cleverness, there is certainly nothing primitive about the music of this project.

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