ROME – Die Aesthetik der Herrschaftsfreiheit 1-3

ROME - Die Aesthetik der Herrschaftsfreiheit 1-3

 
STRICTY LIMITED COLLECTOR’S VINYL EDITION
OF THE CD WITH THE SAME TITLE.








• Clear 3x12“ vinyl
• 180g audiophile vinyl
• Gatefold cover
• Printed inner sleeves
• Three postcards (DIN A6 each)
• Sticker (148 x 105 mm)
• Hand-numbered by Jérôme Reuter
• Personally signed by Jérôme Reuter
• Strictly limited to 500 copies
 
ROME have already created a highly impressive back catalogue: eleven albums and several EPs in eleven years. Since the project's early days, Jerome Reuter has won an ever-increasing fanbase via indescribably moving and dark musical landscapes pertaining to ideological as well as historical homelessness. Reuter has always mastered the art of transporting the listener into a unique musical world. ROME's discography is a collection of complex and inter-woven works. The stylistically and musically French-dominated 'Nos Chants Perdus' (Trisol 2010) for instance, was set in the French underground of the 1950s and 60s, whereas its predecessor 'Flowers From Exile' (Trisol 2009) was concerned with the Spanish civil war and the freedom fighter's subsequent exile in France and elsewhere. As Jerome Reuter was researching both of the above-mentioned albums, there repeatedly appeared in his mind's eye the quivering vision of a greater, underlying truth, an endeavour, an ideal, which was equally inherent in all of these histories, all of these individual biographies unearthed. This quest, during which the essence of an aesthetic gradually emerged, led to Amsterdam, southern France and Spain, and many other spots in the back yards of history.

The result is a song cycle in three volumes; over 150 minutes spread across three CDs, now slightly edited for the vinyl re-issue. The cycle is bound together by spoken word parts, breathing the spirit of the works of Bertolt Brecht, Pablo Neruda, HM Enzensberger and Gustav Landauer among many others. Three albums, three different recordings, each with a different sound. Between 2010 and 2011 Jerome Reuter retreated to Belgium - which seems fitting considering that the country was at that time essentially without government - in order to live and work in a converted farmhouse studio in a secluded environment. International current events - the uprisings in Tunisia and Libya at the doorstep of Europe - accompanied the recordings and brought to the whole an acute topical connection and an unexpected but appropriate contemporary historical framework.
 
Although Reuter by no means set out to portray exact historical facts, the listener nevertheless obtains a concrete historical experience. He creates an aesthetic which attempts to get to the bottom of the sensuality and meaningfulness of the struggle for freedom, while at the same time avoiding any finger-pointing and the contextlessness of art for art's sake. Parallels in content and form to Reuter's literary role model Peter Weiss's trilogy 'The Aesthetics of Resistance' are not unintended; the reflection of the relationship between art and politics forms one of the core elements of the trilogy.
 
If art isn't underpinned by the greater part of an ideal or is based on a utopia (however futile it may be), then it is hollow and could by no means be considered subversive - which is what would be desirable. Without a genuine counterworld, art is only narcissistic folklore and the artist who regards himself to be uninfluenced by current events is merely a designer.
 
The sumptuous packaging carries with it a whiff of extravagance and wasted grandeur, especially in a time in which freely available MP3s determine the appreciation of music consumers, and in which the relationship between music and the actual physical sound carrier is rapidly disappearing. But this work of art is no solitary pleasure. It demands to be more than a curiosity for the more sensitive parts of a washed-out bourgeoisie. The form isn't self-congratulatory, nor are the sentiments trivial or coincidental.


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