DERWEIL
Hubert von Goisern: Derweil - 1988-2006
Derweil
- CD 1
- 01. solide alm
- 02. heast as nit
- 03. koa hiatamadl
- 04. oben und unten
- 05. spinni
- 06. iawaramoi
- 07. schleiniger
- 08. goisern
- 09. weit, weit weg
- 10. kuahmelcher
- 11. gott erhalts
- 12. juchitzer (wia die zeit vergeht remix)
- 13. panchen lama
- 14. kham-lu
- 15. afrika-overtüre
- 16. abreisejodler
- 17. akipenda
- CD 2
- 01. da diab
- 02. spåt
- 03. fön
- 04. fia di
- 05. mercedes benz
- 06. da dåsige (new mix)
- 07. i bi ån
- 08. poika (new mix)
- 09. afrika (new mix)
- 10. neuer tag mit mohamed mounir (new)
- 11. schau, schau, wias regna tuat
- 12. diandl, woaßt nu den bam
- 13. über d' alma
- 14. wann i durchgeh durch's tal
- 15. kohler
- 16. schönberger
- 17. da insrige
The past is given much too much attention, interest, time, space, energy and veneration. Often reference to the past ist enough for the legitimisation or apologetic justification of current behaviour. But the archives are overflowing and if we don't want to get stuck in the past, we must also learn to clear out and forget. there's always something freeing about forgetting too.
I was accordingly dismissive in the face of the record company's suggestion of putting together a "best of" album. But time is inescapable, essential even, for our worldly existence. And that's why we need memory too. There is now here and now without the past and the future. Music itself cannot work without the powers of recall. A melody, a rhythm - music comes from continuity, when sounds of the moment are experienced in relationship to the previous notes, then "can't you hear, how the time is passing..."
Nonetheless, a look back, listening back, is something strange, even impossible. Heraclitus: "you never step into the same river twice" applies here too. When I hear the music from the sometimes long-past studio and live productions, what I remember above all is the intentions of thiese time and how I felt back then. That was interesting - but I wanted someone else to choose the pieces. Excluding songs hurt. To name but a few: Die Strassn, Aus is, Schåd, Dollars, Anglacht, Goassbeitln, Wieder hoam, Landlertanz, Wildschütz ... But to hell with it, it's already so much it beggars belief. In this spirit, this is me
Hubert
May 2006 in Salzburg
Derweil
The best of Hubert von Goisern with an unreleased recording and three new mixes!
"It is the same sky as at home," thinks Hubert von Goisern. "Just a different detail." Hubert lies in the sand of the desert of Mali, it is the night after a chaotic concert during a chaotic Africa trip, and he tries to collect his thoughts. It is the same sky. It is the same world, just another continent. "The question of what I'm doing here doesn't arise. I am here."
A few years before the musician had formulated a similar thought in a lyric: "Es is' die selbe stråss'n / de di' hoam führt oder fort" ("It's the same road / that leads you home or away") Coming home. Arrival. And nevertheless not staying anywhere, being at home nowhere and everywhere, geographically and theoretically, musically, artistically. Never keeping the found or the inherited, giving it up for the new that grows on the humus of the old.
And now, in summer 2006, for the first time a "best of" from Hubert von Goisern, which unites everything - the Alpinkatzen time from Hiatamadl to Heast as nit, the "new" Goisern with the artistic developments which followed and the "Trad"-Hubert, who approaches the music of his homeland with respect, curiosity and a fresh pair of ears. Hubert von Goisern has long been one of the most successful and versatile Austrian artists, with more than 1.5 million CDs sold, nearly 1000 appearances in 12 countries; who has his say when something isn't right in his homeland or elsewhere. Finds music all over the world and when it's Bad Goisern, knows: we all live in the same world. The same sky is above us, just a different detail.