![]() He hears the tracks as “a narrative” of Bauhaus’ “interdisciplinary approach.” The first track, “Gestus,” has the sound of someone physically working with tools like cables and cords and knobs, channeling voltage into new and useful shapes. Those principles, which include no distinction between art and craftsmanship, minimalism, intelligent use of resources, and the famous “form follows function,” can be used, in true Bauhaus fashion, in all creative fields, and through them, Grenzler created Shapes. Grenzler specifically searched for Bauhaus ideas in music, hoping to “discover a possible formula that would mathematically give me a foundation.” But Bauhaus never produced fruitful musical styles, so instead Grenzler had to use Bauhaus principles to construct his own path. ![]() “I can't remember what might have triggered my fascination with the Bauhaus,” Grenzler says about the new album.”It could be a piece of furniture, a painting.” He describes his initial recordings as disappointing, but later travels to Weimar and research in his home city of Zurich rekindled questions about the movement across all its multiple manifestations. That explored the artists’ thinking about the visual arts, including the paintings of Giorgio Morandi, and captured in sound what Grenzler described as the “architecture in my mind, an environment to shape.” Shapes, then, is both a conceptual and literal further step in his thinking.Įssay by An Moku: Eine Annäherung an die Musik des BauhausĪ/2/shapes-for-a-name-eine-annaherung-an-die-musik-des-bauhaus/ The concept behind Shapes (for a Name) began with the end of Dominik Grenzler’s previous album on Puremagnetik, Less (2021).
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