*2024 stock* "Beyond classical music and free jazz, but also beyond abstract electronic music, there is the large field of instrumental music coming from classical music, which creates new listening habits without falling into one of the two negative extremes of New Music or Muzak. Performance Moritz Fasbender, pianist, theatre musician, fan of David Lynch - like Lynch in his films, she works with a very specific attention to echo chambers and the quietest disturbing noises, and how these can be effectively incorporated into compositions so that they evoke cinematic free spaces in the listener's head in an instant.
Over the last two years, Moritz Fasbender has composed 13 pieces for her debut album "Rabbits", including several miniatures that always move in intuitively measured fields of tension: between Blüthner grand piano and prophet, between natural and asserted echo chamber, with and without static noise, meandering between reality and imagined film image.
Some of the pieces on "Rabbits" have what at first glance appear to be coded titles such as "Eight Atoms", "PMR Code" or "W123". Friederike Bernhardt, whose stage name Moritz Fasbender goes back to an existential family story, is not an abstract painter, which is why her pieces are not called "untitled". However, she paints great stories in music. And just as in painting it depends on which colours, which primers, varnishes and techniques are used to articulate oneself, in music, behind the level of melody and composition, there is also the level of atmosphere and narrative - both resonating spaces filled with references and a sudoku of personal memories. None of her song titles are arbitrary. They are all pieces of a puzzle in a larger mosaic.
Something wonderful happens when you listen to "Rabbits": film noir images appear in your head as if by magic. And as in the film with his technique of editing/counter-editing, Moritz Fasbender cuts electronically prepared piano against the sounds of a Prophet synthesiser in the pieces, which Fasbender has explored playing over the last two decades and has become a virtuoso on this instrument. But Fasbender also cuts moods against each other that once again seem to come from noir films - admittedly, this is a broadly defined noir concept that ranges from "Blade Runner" to "Dead Sleep Well", from Melville to Tarantino. But it is precisely these atmospheric cuts that make "Aspect Ratio of an Atom" such a radical and at the same time radically audible nocturnal suite - a film score for lonely nights.
With the two aphorisms "Three Armed Men at the Foot of My Bed" and "Three Armed Men Leaving My House", Moritz Fasbender gives the album a remarkable bracket. Placed at the beginning and end of the album, they create a recurring memory moment of melodies that function like flashbacks in a film. Coming from the theatre, Friederike Bernhardt only believes a story if it is told well. Following this credo, she composed a full-length album with "Rabbits", whose extraordinary range - from Vincent Gallo, Bohren & the Club of Gore to Terre Thaemlitz - is unrivalled. With Fasbender, we are listening to a woman who is setting new standards on the borderline between classical and electronic music, sleepwalking between analogue sound and virtual echo chamber." - Max Dax