the freedom in music-making… the story of my first music release

For a long time I felt that recording music takes away a great part of its freedom. Music is a momentum of space and time, in which the borders between the music-maker and music-listeners vanishes in the flowers of interpretation. Some styles of music still show this today, eg. at punk rock concerts, klezmer or balkan-influenced music, or in indigenous communities’ music. A stage can create either a division, a hierarchy, a field of illusion, or a bridge to another realm. 

So far I found two ways, how to avoid or distance myself from this latter situation. Either by leaving the height of the eye level of the musician at the same height as the audience’s; this works best in acoustic environments or subtle amped concepts.

I often wonder, if it is really of such importance, that we record so much music to listen to it artificially? What if from now on, we would go back and only listen to live music? How would our everyday life look like, the streets, the villages, the towns, the cities, the restaurants, the bars, the coffee shops: If we exchanged speakers to real musicians with real instruments and a real audience.

Thus, recording music is a challenging matter for me. I feel that every time I turn a song or composition into a produced object, the freedom I love so much about the music and music-making is fading away.

The Far Music Release with piano and vocals was my first music publication. Written in 2016, I recorded and produced it in 2017. It was released two years later.

Thank you

Thank you for your support for this recording and during my studies at HfG Karlsruhe: Jonathan Bepler, Dr. Paul Modler, Christian Berkes