Im Rahmen der Vernissage der Ausstellung “8B – die gute besserung” von Cindy Schmid & Urs Bumke spielten die The Splendid Ghetto Pipers ein Freiluft-Konzert im Innenhof des Amtsgerichts in Greifswald. In dem von Wänden von Glasfenstern umschlossenen Terrain entfalteten sie über zwei Stunden stehende Klänge und fließende Drone-Flächen. Hin und wieder entfernten sie sich von ihren Instrumenten und überließen die Sounds der eingespielten Loops ihrem eigenen elektro-akustischen Verhalten im Widerhall des Innenhofs.

Video: Fleischervorstadt-Blog

„Die Gute Besserung“ – Release als Doppel-CD

Aus den Aufnahmen entstand die Doppel-CD „Die Gute Besserung“. Die mittlerweile vergriffene Edition ist auf 50 Stück limitiert und erschien als Doppel-CD in handgemachter Hülle mit zwei Einlegeblättern und einem Pflasterstreifen mit dem Logo des Labels.

The Splendid Ghetto Pipers - "Die Gute Besserung" (RDRR0007)

The Splendid Ghetto Pipers – „Die Gute Besserung“ (RDRR0007)

Two Tracks, 103 Minutes of soundy Soothings, warm Breezes of blissful Drones and velvet Walls of Sounds.

According to the Title “Die Gute Besserung” (which can, in one level of meaning, be translated with “good and speedy Recovery”), these two Tracks generate an Atmosphere of Tenderness and Equilibrium, changing from Tension to Relaxation, from static Hum to soothing Guitarloops and rumbling Walls-of-Fuzz.

An assuasive Quality shines through these Recordings of waltzing Drizzletones and violet Buzzings. Akin to previous Releases, a distinctive Way-of-Play sets the Tone within these two Tracks by The Splendid Ghetto Pipers. A dreamy Sense of Interaction combines the sweeping Post-Postrock-Guitar-Waftings by Bassbees and the melancholic, sort of Loren-Mazzacane-Connors-like Lofi-Jarrings’n’Ramblings by Huey Walker – all grounded by those deep, sizzling Drones within their Loopdevices.

Here and then, gurgling Synthesizers, uproaring Noises and osscilating Delays row into this constant Groove, freeing up the Space for another Wave of quieter Guitartones – until they fade away in their very own endless Looping…

…which is what Track 2 (“Loops”) documents with full Consequence. While the Musicians have left their Instruments, the Loops are rolling on and on, wandering around each other, ensnared by the vernissagy Sounds of talking People and clinking Glasses, which underlines its Feel of Wellbalance and Tenderness. To be honest, after 15 Minutes, there is a short Reappearence of the Musicians – to push the Loops, a little bit, a slight Return, giving the sleepy Jingle-Jangle another Poke for its next thirty Minutes.

(Release-Info, 2013)

Zum Release von „Die Gute Besserung“ entstand ein Videotrailer mit einem programmatischen Ausschnitt aus Martin Scorceses Krankenwagen-Noir-Film „Bringing Out The Dead“. Hier sitzen Nicolas Cage und Patricia Arquette im wippenden Fond des Rettungswagens und nähern sich, verlorene Seelen die sie beide irgendwie sind, in der Düsternis der – in mehreren Wortsinnen kranken – New Yorker Nächte, das erste Mal einander an. Hochromantisch, minimalistisch und trocken inszeniert. Ihre Lächeln sind vorsichtig, aber doch das erste Mal im Film eine zwischenmenschlich echte Wärme aufzeigend.

The Splendid Ghetto Pipers – Die Gute Besserung, 2013


The Splendid Ghetto Pipers – Die Gute Besserung (Release Date: Dec. 20th, 2013) from Rakkoon Recordings on Vimeo.






With a name like The Splendid Ghetto Pipers, you don’t know what to expect. But it certainly isn’t an epic hour-and-a-half long drone fest, which is exactly what Die Gute Besserung is. Recorded live, the CD takes you through layers and layers of noise, static, hauntingly subtle melodies and tenderly quiet guitars. Great winter music. (Norman Records)

“promising drone-newcomer duo from Greifswald, Germany, presenting a live recording made Sept. 2013 with its full 103 minutes of handmade drone-glory performed w. guitars&electronics….’warm Breezes of blissful Drones and velvet Walls of Sounds‘; comes in very nice selfmade printed cardboard cover with photo-inlay” Drone Records

“[…] Time is an artificial construct shaped by perception, and perception is the key to understanding this recording.  The first disc moves and moves and moves, while the second disc loops and loops and loops.  Is time stagnant, or is time moving forward?  Are we stagnant, or are we moving forward?  The title track contains so much mutation that it seems a different track by the end.  Born in a bed of ambience, it goes to sleep in a field of drone.  Launched in tone, it lands in abrasion.  Thin notes grow fat.  The pure grows distorted.  And yet, none of these changes are drastic.  While listening, one thinks of the tiny, incremental, often unnoticed changes that occur over the space of a life. […]“ Richard Allen /


zurück zum Kalender