Are We There Yet?
by Cool Spring
Neil Sanders
blitheriver
Jerry F
Norimaki #7
assassinbug
Reinhard Gleisner aka ElectricR
Jim Keyerleber
midKnight Muse
Jon Coe
TechnicolorMan
Wolfram Jaschke
Glenraven
Nagual Amok
Diderot de Britto Jr
Marc Pelath
michael chivers
brick
aralee
Kathy Starkey
Knud Frank
floyd_83
Owen Keenan
Murray Weismer
Chris Chastain
petertwiggs
Danny Blake
Georges Kieffer
Mark Sullivan
Michael Mikesell
Gary Couse
PainoMan
symfoexperience
Rod Dalager
Leonardo MoonJune
Keith McCurdy
Sean Barnes
Orchid Feret
progmusicfreak
T e l T o n
dmwstrauss
Geno T
Neil Hobkirk
renek(a)
Richard Algar
TaKashi MuraKami
Frank Hadlich
cgbs
Ted Killian
KEDZIERSKI DANIEL
Earl Walker
John Anderson
WMG
Allan Barclay
George Hayes
leakstev
Michael Hunter/Ombient
francis beaubois
gpagano
paulguns
frippity
Robert Dickerson
thomas1965
John Guppy
Edward W Mudd Jr
Perry
Gregory Chludzinski
Mark Butler
andy wacek
bjarnenelson
Michel FARIOT
fleischhauer
Thom Jurek
andyrogersmusic
nicktate
squidward8
stuckens
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When We Traveled
10:48
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Down in the House
07:57
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The Ninth Beam
12:55
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The Final Train
09:55
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6. |
Are We There Yet?
09:40
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about
In October of 2018, in the good old days when we could roam the world at will, Bernhard Wöstheinrich arrived in the Hudson Valley to record again with David Rothenberg and Jay Nicholas, who call themselves Cool Spring. That round they opened for Soft Machine in Baltimore, performed in Brooklyn and Beacon, then spent two days holed up recording this album.
It has taken two years to sift through what happened, and in this vastly different world it’s time for the world to hear it.
But how to listen to music in these days when there is far too much of it?
The recommendations we tend to get from those digital authorities seem to be an answer to questions like “what is the music good for?” Will it help us find our center, finish our homework, fall asleep, or fall in love? Will it make our food taste sweeter, will it turn darkness into light, will it end poverty or fight global warming? “Trust the science” says Greta Thunberg, but the science on how to make music is rather inconclusive.
Repetition is good, says Princeton professor Elizabeth Hune Margulies. Random repeats were added to contemporary pieces by living composers, and nearly all listeners, including some of these composers (who ought to know better?), preferred music where the same sounds came back over and over again. Why we like loops I guess…
Algorithms still aren’t so great at predicting what we’re going to like or dislike. And some people think we should free ourselves from likes and dislikes, how else might we discover something knew?
Our music is an answer to a different question, “Are we there yet?” You might want to answer at once, “where?” but when I hear that phrase I remember my brother and I as giggling little kids in the backseat of the family car on some long drive to a distant mountainscape or beach, with hours ahead to go, asking over and over again the same question… knowing full well the answer would be—“no.”
What happens when we do get there? Will we have figured out how to engineer the perfect music to fulfill your complete listening desires? Will we get you satiated so you will have no need to listen to anything else? Or will we merely meet the criteria for today’s simple success… offering a taste of something tantalizing, to make you keep listening, ever wanting more, happy to be alive and hoping to find that answer that will ultimately satisfy?
Music, like philosophy, may be far better at asking questions than answering them. That’s why we keep making more of it, hoping, ever slightly, to brighten up your days and nights.
It has taken two years to sift through what happened, and in this vastly different world it’s time for the world to hear it.
But how to listen to music in these days when there is far too much of it?
The recommendations we tend to get from those digital authorities seem to be an answer to questions like “what is the music good for?” Will it help us find our center, finish our homework, fall asleep, or fall in love? Will it make our food taste sweeter, will it turn darkness into light, will it end poverty or fight global warming? “Trust the science” says Greta Thunberg, but the science on how to make music is rather inconclusive.
Repetition is good, says Princeton professor Elizabeth Hune Margulies. Random repeats were added to contemporary pieces by living composers, and nearly all listeners, including some of these composers (who ought to know better?), preferred music where the same sounds came back over and over again. Why we like loops I guess…
Algorithms still aren’t so great at predicting what we’re going to like or dislike. And some people think we should free ourselves from likes and dislikes, how else might we discover something knew?
Our music is an answer to a different question, “Are we there yet?” You might want to answer at once, “where?” but when I hear that phrase I remember my brother and I as giggling little kids in the backseat of the family car on some long drive to a distant mountainscape or beach, with hours ahead to go, asking over and over again the same question… knowing full well the answer would be—“no.”
What happens when we do get there? Will we have figured out how to engineer the perfect music to fulfill your complete listening desires? Will we get you satiated so you will have no need to listen to anything else? Or will we merely meet the criteria for today’s simple success… offering a taste of something tantalizing, to make you keep listening, ever wanting more, happy to be alive and hoping to find that answer that will ultimately satisfy?
Music, like philosophy, may be far better at asking questions than answering them. That’s why we keep making more of it, hoping, ever slightly, to brighten up your days and nights.
credits
released December 18, 2020
Bernhard Wöstheinrich: keyboards and virtual synthesizers, live-sequencing
David Rothenberg: clarinet, bass clarinet, soprano saxophone and iPad
Jay Nicholas: bass & wavedrum
Mixed and mastered by Michael Prawos
Artwork by Bernhard Wöstheinrich
www.davidrothenberg.net
www.allmusic.com/artist/jay-nicholas-mn0001839831
Bernhard Wöstheinrich: keyboards and virtual synthesizers, live-sequencing
David Rothenberg: clarinet, bass clarinet, soprano saxophone and iPad
Jay Nicholas: bass & wavedrum
Mixed and mastered by Michael Prawos
Artwork by Bernhard Wöstheinrich
www.davidrothenberg.net
www.allmusic.com/artist/jay-nicholas-mn0001839831
license
all rights reserved
tags
about
Bernhard Wöstheinrich Berlin, Germany
Bernhard Wöstheinrich elicits meaning from abstraction in electronic music and painting. He has studied graphic design and
has created an eclectic body of work in both graphics and music.
Bernhard speaks in his own musical voice; the musical arc of his work often moves from the curiously beautiful to the beautifully curious.
... more
discography
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contact / help
Bernhard Wöstheinrich recommends:
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Under The Tree, In The Sun #6.2
by 4GALThis is one of my recent hypnotic, trance-inducing favorites. Enjoy!
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A bit a cross of Vangelis and Schulze, but more hypnotically dense and modern, as well as emotional and exciting.
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Music of our Times
by Gary Husband & Markus ReuterThe ultimate ambient piano album.
go to album
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Behind Closed Doors 1
by Thorsten Quaeschning & Markus Reutersupported by 49 fans who also own “Are We There Yet?”
In 1981 I was with my father in a Tangerine Dream concert in the Stadthalle Bremen. This piece of music brought both memories of this event and a very fresh note on top. Wonderful music beyond time and technology.
go to album -
LTD004 Virtual House Concert (July 11 2020)
by Markus Reutersupported by 48 fans who also own “Are We There Yet?”
It was wonderful to watch this music being created and now to be able to enjoy it again.
go to album -
Impostor Syndrome
by OrbitalpatternsFrom NYC come these 10 songs shrouded in spectral synths and mysterious textures that alternately soothe & unsettle
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