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Die Knödel

Die Knödel possess redefined Austrian blasmusik (brass-band music), a genre that appears to be caged in business kitsch configurations reinforcing the German/Austrian cliché of lederhosen guys and dirndl young ladies constantly drinking beverage and taking in sauerkraut. No critical music fan ever expected this sort of music to involve some innovative potential, and instead of reviving an creative corpse, Die Knödel possess fathered sort of post-modern blasmusik for the brand new millenium. You can find traditional rhythms of Austrian folk-music which lend the bottom for a variety of interesting sound experiments relating to the comprehensive music group lineup of blowing wind and string equipment. Die Knödel will be the brainchild of Christoph Dienz (bassoon, dulcimer, vocals) who’s responsible for a lot of the compositions. Like him, another band associates, Alexandra Pedarnig (bass, dulcimer), Michael ?-ttl (electric guitar), Julia Fiegl (violin, solid wood laughter, vocals), Walter Seebacher (clarinet, dulcimer), Cathi Aglibut (violin, viola, vocals), Andreas Lackner (trumpet, flugelhorn, bass), and Margret Köll (harp) are located in Tyrol, an area in southwestern Austria bordering on Italy. In 1993, that they had their Compact disc debut with Verkochte Tiroler (also called Overcooked Tyroleans in the North American marketplace), and its own success was instant. Die Knödel performed continuously throughout their homeland and became probably one of the most fascinating functions of ’90s Austrian music. Panorama, a assortment of non-Knödel compositions, and Die Noodle! had been both released in 1995. Just like the debut, both albums are filled with interesting suggestions. In 1997, Der Unfisch adopted, a soundtrack for the film of the same name by Robert Dornhelm, and something year later on, they offered a collaboration using the Seattle-based composer Amy Denio: Simply no Lo Therefore Polo, an opera about the life span of Italian explorer Marco Polo.

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