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The curved prefix "re" designates a repetition that has, at best, a renewing quality. It's the high season in pop music. The words curling like "remastered", "re-edited" and "remixed" are already inflationary. The famous actor Philipp Hochmair, who has selected for his repackaging of "Everyman" Hofmannsthal the coolest Lockvokabel "reloaded".
What must be recharged at the old game of the death of the rich? The outer form if necessary. Because it is easy to find the language of the language. Even the philosophy of the philosophy of life, on the short sentence "The last jersey does not have pockets" is still as current. Hochmair, who has extensive experience with interpretations of monologues – for example, he edited the CD versions of Kafka's "Amerika", Goethe's "Werther" and Buchner's "Lenz" – now launches Hofmannsthal's "Everyman": the ideal marketing at the perfect time but still the joy of its successful entry this year in place of the Salzburg Cathedral.
Pop rarely falls in the theater
Hochmair's CD begins with a hubbub of voices and soft guitar sounds, which quickly become toxic. The electronic distortion indicates: "Warning, dangerous content!" Bubbles, screams coming from the echo chamber and clever quivering beats burn the eardrums. The volume of Hochmair, The Electric Hand of God, strives to create sound badociations with street art at the Moondog and the hard avant-garde practiced by the baritone pop Scott Walker in his last work.
These are smart tricks: after all, pop music did not find much revolutionary when literature or drama came into play. The sensitive exception of John Cale in Dylan-Thomas, "Words For The Dying ". British keyboardist Rick Wakeman was lost in 1974 in a pompous Zusitschung of Jules Verne's "Journey to the Center of the Earth". It was not much better when groups of contemporary subjects used the genre "rock opera". No matter if Pretty Thing, The Who or Pink Floyd, the musical result has always been mixed. Also local tried. Richard Schönherz and Manuel Rigoni recorded the rock opera "Victor" at London's Abbey Road Studios in 1975. In Germany, Flea de Cologne has developed the socially critical opus "The Vulture".
"A lot of money is smart," Hochmair murmured mischievously in an agreement that was dwindling. "Satan has no other name than money," he says, too: strong apocalyptic sounds. Hochmair then buzzes his pbadion, sounds sometimes frisurzerstörenden, male caressing himself gently. After the affair of love, the Quiqui hides, as is called death in Vienna. Then you hear a slight noise, sometimes daring, a complaint of electronic guitar. The lesson of freeing oneself from greed and thirst for power is without doubt the opus. And that's what it's all about in the end.
On Thursday, November 29, an album release concert will be held at the Vienna Burgtheater. The album itself will be released on Friday, November 30, the same day, a concert will be held at St. Stephen's Cathedral in Vienna.
("Die Presse", printed edition, 29.11.2018)
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