Dwarphs are no band. Dwarphs are residents from an entirely foreign world. Their first long-playing record HISS is an anthropomorphic chronicle, a collection of stories about enlivened elemental beings from bytes to mountain crystals. The electricity of the rock speaks out of HISS and within it the traces of the constructors. Who they were, what they have accomplished, that's all gone. But their canons, their successes and tragedies were put on record within a music, whose language we are not able to speak. Full of curiosity about their own abilities they sing, beating forms out of polymer, fog and sweat. Lost and melancholic they mourne over failed endeavours. For us their words are merely distortion, plucking and beating, but for the ever since driven Dwarphs all of this had meaning. What remains are not the occurrences but the emotions of their protagonists, loudly rolling through these halls where they left behind entire lives.
HISS is no concept album. HISS simply is the result of two restlessly working heads. There is a reason why fantasy always needs a foreign language in the first place – those who truly want to create something otherworldly need to find a totally unlikely context, need to mystify their own ideas and retrace them to the origin. There also is a reason why mine workers and seamen all over the world are singing songs during their graft: with a common rhythm the burden is changing to a connective joy and the individually meaningless worker is becoming a creative force. The smallest are always the ones who are creating the greatest in the end, because they know about the necessity of their mutual movement.
HISS by DWARPHS is minimalistic post-noise, which couldn't be more spacious and all-consuming. Released in April 2019 on the Berlin-based non-label MIKROKLEINSTGARTEN, it's the only DWARPHS record that will ever exist. But that does not mean that the playful world of DWARPHS isn't just beginning.
released April 5, 2019
Recorded in Heartware Studios Leipzig, September 2015
Recorded & Mixed by Hannes Rackow
Mastered by Max Stern
Ich habe "Vertigo Days" kurz nach Erscheinen ein mal gehört, gemocht und erst einmal leider vergessen. Heute beim Überfliegen meiner Notizen bin ich wieder daraufgestoßen und habe bemerkt, WIE gut das eigentlich ist.
Am schönsten finde ich das "Into Love"-Pattern zu Anfang und Ende. mr_modern_music