Die Tödliche Doris im Bausatz

That’s what they like, these humans. Seeking for the perfect visible form. A from, that endlessly rewinds endlessness. That copies beauty with beauty, yet to be decided, what beauty is. What makes a unique shape, a marvelous appearance? How does it shine? The idea. The one, that is always changing its appearance. How can one thing in general be many things in particular? So far, only Die Tödliche Doris managed to come close to answers. Since 1980 it’s constantly peeling herself. From one shape to another. Physical, and not so physical. Air, concrete, plastic, ideas, ideals. Wigs and cobblestones. Hi-Heels and uniforms. Photographs and videotapes. Field recordings, songs, SO36 anarchy in the true sense of the tribe. Doris was out there. Doris is out there. Doris is everybody. Now even more than ever. She was never yesterday anyway. The future wasn’t her thing either. And in the present, she has never been seen. At this very moment, when “Im Bausatz” comes to live, Doris is all. Finally. Yet not eternally. A Kashual Plastik tape, digitally enhanced with bonus tracks, featuring contemporary producers from around the world, listening to names like Aaron Dilloway, Brandstifter, T.V.S.T., Hugo Capablanca, ML, Beau Wanzer, Nika Son, Laura Not, or Saskia Lavaux. They all been Doris for a while. Totally tödlich. Fooling around with original recordings of the original Doris of whom nobody really knows who she really was. They followed a call from the modern-day social network spheres, where Die Tödliche Doris asked the world to reshuffle some old original tape recordings. Out of the millions of submissions, Doris selected 36 works, that together shape the Doris of today for a brief moment of time. All remixers, re-shufflers, editors, sculpturers, creators fashioned rugged limousines in sound. Stretched and edged. Arrhythmic and rhythmic. Some closer, some farther to the original. Tearing saws, tape drones, ghost paroles, veiled choirs, voices from the afterlife, pulsating synths, distant telephone calls, tripped out rhythm patterns – Doris is really tödlich. Heißen sie Doris? A thousand voices with one word. “Im Bausatz” brings elegantly shaped music for lethal explosions, that questions the "construction" of truth, that is always at issue. A music kit, that comes as multiple conceptions of tonality, as all reality has the structure of a differential trace. Deconstructed constructions, nothing seems to fit together, and yet a 36-track strong opera of the many Die Tödliche Doris rises from the dust of its own identity, identifying you with it in Doris. “Hallo Hallo, wir senden euch jetzt Unterhaltungsmusik!” All authorized by author, musician, and artist Wolfgang Müller, of whom they say, he met Doris quite often…