February 2003
Formed in 1986, electronics
duo FURT are Richard Barrett and Paul Obermayer. defekt’s cover art quotations from Bertrand
Russell and Edward Bond (there’s an unlikely coupling) convey a paradoxical mood of desperate hope,
clutching at straws to survive intact. The music too is remote from frivolity. Electronics are used neither
as diversion nor effect but to soberly treat and transform sound materials, to voice solidarity with ghosts
of the restless and disappointed. FURT’s music is itself tense with unrest. Marking the 60th birthday of
German composer Konrad Boehmer, Plint takes brittle matter from an improvised piano duet and
compiles and extends it into agitated skeins of scurry and quest. Gute Nacht hurls echoes of
Schubert’s doomladen Winterreise into a scramble of frenzied sound fragments, gloriously gloomy
yearning for transcendence weighted with inarticulate scree. Volksmusik, on the other hand, is an
eloquent flaying of Austrian right-winger Jörg Haider and his fascist FPÖ. Its chilling tell-tale
assemblage discloses and demolishes its target’s rhetoric and aspirations as effectively as a John
Heartfield photomontage. This music was initially presented in Vienna in 2000. The bulk of the CD is given
over to ULTIMATUM, a 45-minute essay in electronic phraseology dedicated to Karlheinz Stockhausen.
Barrett admires Stockhausen for his persistent mid-20th century reinvention of music’s terms and tropes.
There’s irony, if not equivocation, in FURT’s re-sounding within their own extended and uniquely evolved
form of that post-war inventiveness, with its accumulated freight of historical signification. Then again,
a cosy homage would not be true to FURT.
Julian Cowley, The Wire
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