With “Rampen (apm: strange pop music)” Einstriichen Neuhäusern presents a wonderful late work. Presse am Sonntag met the mastermind Blixa Cash in Berlin.
Einstein Newbuilding has been around for 44 years. What does the weight of time do to the band?
I'm surprised it's still there, this deep-sea monster called foldable new buildings. We organized a small festival during Easter for our supporters from the so-called Supporter Project. With him we practically invented crowdfunding. It was just a different name. That was 22 years ago.
There was no social media at that time. Was that more beautiful?
Yes. There were cables hanging in the yard and we were walking around carrying plastic cameras. We were at the forefront at that time. We learned the possibilities of digital intimacy from online pornography. Today, artists are expected to post everything from breakfast to studio work on Instagram. We are underestimating ourselves if we continue this.
Do your texts only appear during the recording process?
Yes. In the previous round I improvised. These improvisations are called Neubauer Lingo. I coined the term “supported slopes” for this because we had minimal appointments. Who starts, whether the piece is fast or slow. I have uploaded parts of notes I wrote at some point onto the teleprompter in order to develop them further. I worked with that on stage rather than relying on inspiration to strike. Sometimes it worked, sometimes it didn't.
The play “Pestalozzi” with the participation of educator Alexander S. Nile. Can we actually intervene through education, or is the essence already in people?
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