"LET THEM GROW"
Double LP Rock Is Hell
music & lyrics, recorded, edited, produced by maja osojnik between 2013-2015
brut Vienna - 16 years klingt.org
In cooperation with Rock Is Hell
1. Tell me
4. Condition I
5. Hello, I can not find my head
6. Nothing is finished until you see it
7. Pale April
8. Let them
11. Condition II
12. Condition III
13. A lullaby to an unborn child, a love song
14. I was dying, so i am now probably dead
15. Authority B-side
16. Condition IV
instruments: vocals, field recordings, paetzold bass recorder, e-bass, melodicas, toys, radios, glockenspiel, cassette recorders, abandoned pianos, installations tubes, electronic setup with dj cd player and different guitar pedals
manu mayr – double bass (#2, #15,#16)
matija schellander – double bass (#2,#8)
tamara wilhelm - electronics (#4)
patrick wurzwallner – drums (#8, #9)
mixed by patrick pulsinger at feedback studio I.
mastered & LP cut by rashad becker, D&M
artwork by raumschiff engelmayr
photography by rania moslam
2016, all rights reserved by maja osojnik
supported by SKE-Fonds, ÖST.MUSIKFONDS, thanks to VBKÖ, Echoraum Vienna, Forum Stadtpark Graz and to all the friends, who offered me their silent homes to record
"A powerful, haunting, versatile record full of minutely elaborated and suprising details." (Susanna Niedermayr, Zeit-Ton, Ö1/ORF Vienna, 01/2016)
"It is a particular music, sometimes disturbing but alive, throbbing, a beauty almost animalistic." (Battiti, Rai Radio 3, Italy, 12/2015)
"(…) phew, on this Maja Osojnik is ablaze with righteous anger matched by fierce electronics, a storm of sound, proving that the spirit of Punk is alive and well, just don’t look for it in bands, OK? (…)Let Them Grow is not easy listening; it’s spiky and lyrical, with brilliantly dark instrumentals containing all manner of sounds absorbed from various sonic avant-garde movements but channelled into a distinctive, personal vision…..an amazing album…" (Robin Tomens, Includemeout2, UK, 01/2016)
"An orchestration based on an extreme Sonic layering, and an impressive mastery of vocal and instrumental techniques, make it an excellent sonic mosaic, that has many possible metaphorical readings, outcasts and no: the chasm." (Ondarock, Italy, 02/2016)
"An anthroposophical striptease of the soul, between dystopian chansons, primordial mantras, and musique concrète—both timeless and masterful." (Patrick Wurzwallner, Musician)
"This record is CATHEDRAL. It is an underwater-record. It is a night-record. It is a red-wine-record. It is a Dancer-In-The-Dark-record, also because the music is very often machine-like. It is a retreat-record, I think, it sounds like it, maybe even a fleeing-record, an escape from the social, the general social, into the self, where only the special and the particular people are allowed and where work is possible (to be accomplished) – this record – that serves itself. Because, outside of this self-place, that you have to create, that you have to occupy, that is not given to you but steadily challenged, it’s more like Severin Heilmann writes in Streifzüge No. 65 : The puropse of work is rarely the work itself, it rather equips one financially to recover from it in his or her free time. Thus one’s free time has not itself as content but one’s maintenance for work. Which inevitably entails that neither in work nor in free time one can devote oneself to playfulness…" (Philipp Schmickl, The Attic / Bucharest, Romania, 01/2016)
"Nach zahlreichen Alben und diversesten Kollaborationen erscheint nun endlich das erste Soloalbum der grandiosen Alleskönnerin Maja Osojnik. “Let Them Grow” – so heißt es – ist wahrscheinlich die größtmögliche Annäherung an Pop dieser ansonsten in den Revieren Klassik, Jazz, Neue Musik und Prog wildernden Künstlerin. Pop wie Donaueschingen freilich oder wie Darmstadt, wo die E-Elektronik daheim war." (Fritz Ostermayer, Im Sumpf FM4/ORF, Austria, 01/2016)
"Feedback loops, sounds of rain and machines in full function, ping-pong balls, seagulls, detuned pianos in combination with drones, hard beats and sonic miniatures together with mechanical breaths and, of course, the dramatic voice of Osojnik make Let Them Grow a strangely (mysteriously) dark musical work." (Musicpaper, Greece, 02/2016)
MAJA OSOJNIK (Vienna)
An anthroposophical striptease of the soul, between dystopian chansons, primordial mantras, and musique concrète— both timeless and masterful.
„So COME OUT, you rotten cocksucker, here's your fucking POP SONG.“
After fourteen band albums that range from old to new music, improvised to experimental, folklore to industrial, Maja Osojnik is releasing her first solo album LET THEM GROW, in which she searches for the simple song that combines all of these elements both in herself and in its sound.
"I am now almost forty years old. But instead of feeling that I understand the world better now than I did before, I have times when nothing at all truly makes sense to me anymore. I am amazed at how often this world is slipping out of my reach. In these moments, the world seems strange to me, and I seem a stranger in it."
LET THEM GROW is the product of a retreat, an introspection, a re-alignment. Osojnik asks about the self, asks whether it is possible—beyond the fundamental impossibility—to be understood. She asks about the things people do when they love others and about the things they suppress. What does it mean to live an emancipated life today? In this very personal album, Osojnik examines the strange phenomena of contemporary interpersonal relations, with songs that range from dirty to soft, sensual, dazed, complex, cold, spherical, poignant, and feminine.
„estranged we failed the terms of us, you see, i changed“
„why are you pretending not to stare at me?“
„i undress my distance“
„And what's with all that whispering? I'M NOT SLEEPING.“
„and then i imagine myself how i lovingly but yet convincingly scream at you“
„You will be informed of nothing! In a tight grip of massive boredom kevin wants to be punished, lisa has nowhere to go.“
„one last move and then i freeze“
Each sound on Osojnik’s album is carefully generated and uniquely de-familiarized, for example by using so-called “rejects,” which she compiles in a library of broken sound scraps. This collection consists of the results of digital gaffes and faulty processing, unintentionally distorted, overmodulated, or phase-delayed. “I am partial to what isn't approved by society—that which has been broken.” In the ether of LET THEM GROW, these rejects are re-generated, they are given context, they expand to become the substance of Osojnik’s songs.
On her first solo album, Maja Osojnik locks horns in solitude, surrounded by electrical sliding roofs, seagulls, turbo jet engines, pelting rain, ping-pong balls, feedback loops, and forlorn, strangely out-of-tune pianos. Pulsating drones and cascading sound clusters oscillate until they are violently disrupted by angular, trashy beats or sound miniatures made of hyperactive, machinelike breathing. Situated somewhere between analog and digital art, between virtual and real spaces, Osojnik uses her voice, her Paetzold bass recorder, and numerous perplexing sound objects, radios, and field recordings to weave a dramatic work of art, at once dark and soft.
Photo: Rania Moslam
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