Andreas Spechtl’s (frontman of the band Ja, Panik) unbelievable new album Thinking About Tomorrow, And How To Build It is a multifaceted work. It is personal — the auteur Andreas Spechtl invites us to look deep into the soul of his “I”, which, as Arthur “Je est un autre” Rimbaud noted, is the I of another. It is rooted in history — the musician Andreas Spechtl constructs an emotional bridge to the cosmic music of Can and the aural sculptures of Conrad Schnitzler. It is, finally, a modern and hybrid work — the observer Andreas Spechtl mines deep strata of sound and samples in his sonic quarry, layering them over a constant bass drum, capable of launching every DJ set into a new space and time continuum.
We hear: traditional Persian percussion and string instruments, sampled by Andreas Spechtl, rearranged and treated with contemporary beats, filters and effects. Aural structures rise up in space, as complex as they are fascinating and disorientating. Nevertheless, even-tempered rhythms mark out a more familiar path approaching narratives in recent electronic music.
Thinking About Tomorrow, And How To Build It was composed in Tehran, a metropolis of 12 million people and the capital of Iran, often portrayed in the western world as the “Heart of Darkness” or “The Land of Fear”, notoriously located on the “Axis of Evil”.