Dosenkunst - Graffiti im Rhein-Main-Gebiet

Graffiti IngelheimDie klassische Fahrradtour von Mainz nach Bingen führt am Rhein entlang und ist touristisch gut erschlossen. In Sachen Kunst gibt es dort aber nicht viel zu entdecken, auch diese bin ich schon geradelt. Für diese Strecke habe ich mir etwas besonderes überlegt, ich wollte alle mir bekannten Spots für Graffiti und Streetart anschauen und diese sportlich und fotografisch miteinander verbinden. Insgesamt hatte ich am Abend etwa 65 km auf dem Tacho, fährt man die Strecke aber direkt ohne große Umwege sind es wohl nur ca. 40 km. Die Suche nach z.B. traurigen Mädchen in der Mainzer Neustadt ist allerdings ohne ein bisserl Sucherei nicht machbar, auch wenn man vorher eine Karte mit Fundorten studiert. Aber das macht auch irgendwie den Reiz der ganzen Strecke aus, denn eine Schatzsuche macht mir mehr Spass als ein Fahrradrennen.
Zu den einzelnen Orten schreibe ich nicht viel, in den letzten Jahren habe ich immer…

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Reviews we love! This one seems not to be that good, but for the fact it’s not hyping it, it is!

I’m that free and copy it here in full.

KEY — PENTIMENTO (CD by Empiric Records)

There is not a lot of information here, basically because the press blurb sums up what we can also read on the cover; track titles and who did the music. Behind Key is Maiko Okimoto from Japan and she is responsible for the twelve tracks on this album. Empiric Records has a bunch of tags for this, which may (or may not) explain a bit more: ‘techno, breaks, industrial, ambient, japan, Tokyo, debut’, so at least we learned one important thing: this her debut release on CD (discogs lists also two 12″ records). I must admit I am not too well-versed in the world of dance oriented music to pinpoint the exact differences between ‘techno, breaks, industrial’, assuming the latter is the variation that contains beats, which in this case it does. There is not a lot of ambient on this release, that much I knew when I was done playing this. The opening piece, ‘Flee’, has quite a
dark texture to it, but otherwise these pieces are quite heavy on the rhythms; sometimes indeed broken up, sometimes more straightforward in a 4/4 time signature and sometimes with an essential extra amount of distortion to make it all a bit heavier than the rest. There is of course no such thing as ‘Ableton Live’ music, by means of category that is, but I’d say this comes close. The arrangements of beats and sounds, all neatly lined up, the addition of sound effects; it all shows the organisational power of that famous software tool, more so perhaps than many others who use this too, but maybe hide it a bit more. I spend a fine hour listening to this, while reading the morning newspaper, which might not the right kind of activity for this kind of music, but it worked well. Then I forgot all about what I heard until I heard it again. I am not sure if that is enough. (FdW)

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