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How nice it would it would be if we could turn back time and land in an era when songs still seemed innocent and performers untainted. Until this time machine is invented, though, we will have to deal with a sense of the end of music history. It seems as though all the stories have already been told, all the songs magnificently explained – music history has long since becoming radiantly intimidating with reference recordings, and distancing oneself from this requires considerable imagination.

Listening to Susanna Ridler’s album [koe:r], one notices that a feasible escape from this dilemma could be found in an approach of fusioning existing styles. In her own pieces, Ridler designs artificial soundscapes on the computer, which she combines with her own remixes of solos by such stellar musicians as Peter Herbert (contrabass), Wolfgang Puschnig (saxophone & flute), Thomas Gansch (trumpet & fluegelhorn), Helmut Jasbar (guitar) and Rainer Deixler (drums).

The CD [koe:r]: A contemporary exploration of electronics, pop and jazz that uses melancholy, down-beat sound characteristics similar to Trip Hop from the late 90s.

Self-recorded audio material joins with the possibilities the computer offers – with all of its methods like sampling, distortion, time-stretching, pitch-bending, etc. Songs like Summertime, Fever, Comes Love and Corcovado are undogmatically elevated to a surprising new level – on the one hand old standards are garbed in new styles that are unusual for them, and on the other they are newly interpreted in a way that borders on a new composition.

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