Hitler and a small group of Nazis under his command managed to take over the country and force it into a state of belligerence and war. The war was indeed terrible, causing dreadful suffering to the people, exposing them to hunger, homelessness, deportation, and death. True, the Jews in Germany suffered as well and were persecuted by the Nazis. Sometimes they were sent to prison and on occasion to concentration camps, where at times they even died; yet only in the most isolated cases were they murdered.
The Germans themselves had no hand in the suffering inflicted on the Jews. The Jews fell prey to the unexpected Nazi takeover of Germany. Indeed, the Germans loved the Jews and very often helped to save them from the wicked, villainous Hitler, a non-German who successfully carried out his devious designs by deceiving the entire German nation.
The Allies were cruel; at times their actions were senselessly brutal—they bombed German citiesfor three consecutive years without rhyme or reason, destroying for the sake of destruction itself. Later they divided Germany, separating families and causing poverty and anguish. The very existence of this story is not surprising. Still, when presented to the non-German reader, whether American, British, or Israeli, the story is disconcerting and perplexing.
Prior to analyzing the basic story narrated by the texts in the following chapters, I will explore the patterns and construction of the German story, while scrutinizing the concrete strategies of processing the historical material. On the contrary—most of the texts for children include the important historical events and key players.
People and events—such as Hitler, the Nazis, Jewish persecution, the war, the reign of terror in the occupied countries, death, physical and mental maltreatment, destruction, hunger, and even the concentration camps—all appear in the text stage, imbuing the historical panorama with a sense of authenticity. As in every other case of the construction of an historical discourse, the material is processed in our case according to a preexisting model. The keys need not be collectively employed in the ordering of each and every one of the texts.
They appear in different variations, do not necessarily complement one another, and may even be mutually incongruous. Nonetheless, a majority of the keys structure the dozens of texts analyzed in this study. Stated differently, when a certain period, event, or figure is described in the texts, the portrayal is nearly certain to conform to the fundamental keys presented here. Time The story of the Third Reich takes place within fixed temporal boundaries. If the — period appears at all, the text emphasizes German suffering caused by Allied bombing raids.
The boundaries subsequently become flexible, ranging from the end of the war and the immediate period to the postwar years. Certain texts, especially those published in the s, may even extend until German reunification. Location The story of the Third Reich takes place within firm geographical boundaries. It describes the villages and large cities in Germany, as well as some areas in the east, mainly the Sudetenland from which German inhabitants were expelled.
Some of the stories mention the Russian steppe as a backdrop to the German soldiers who were killed. Most of the books make no mention of concentration camps. So are the Nazis. The Jews are a foreign element in German society. The Nazis rose to power in Germany as a foreign force, imposing their rule upon the country. They are not a creation of German society, nor a result of its deeds. The Nazis are not Germans, nor are the Germans Nazis. This key of the Other produces an analogy between Jews and Nazis.
The two groups exhibit physical similarities and share many other features, such as their ceremonies, their control over Germans, and their economic superiority. German Powerlessness History has repeatedly oppressed the Germans, who are left helpless against its onslaught. They were left similarly powerless in the face of the Nazi monster, which did as it pleased with the Germans, manipulating them like puppets.
The keys to Germany's past image German Resistance The overwhelming majority of German citizens abhorred Nazi rule; they participated in the resistance movement, sometimes actively but for the most part passively. Guilt The Nazis are responsible for the fate of the Jews. Germans, even if they lived near a concentration camp, did not have the faintest idea of what was being perpetrated against the Jews. Alternatively, the Germans were powerless to assist the Jews. The vast majority, however, did come to the aid of those Jews who were persecuted by the Nazis.
The Jews did not know how to make use of this assistance and failed to save themselves in time. The Jews, therefore, are ultimately responsible for their own fate. Moreover, a considerable number of Jews managed to survive, whereas many Germans did not. The younger generation is irreproachable. The Allies Although the Allies were supposed to end the nightmare, they brought great suffering upon the Germans. Unlike the British and Americans, who are simultaneously depicted as both good and bad, as both liberators and menaces, the Russians are generally presented as negative.
The German population was subject to Nazi persecution, decrees, and legislation. Opponents of the regime were sent to concentration camps. In the midst of all this, Jewish suffering is occasionally recounted as well. The Moral History must be studied in order to draw conclusions that are universal and humanistic, not personal or rooted in the immediate reality. As noted, this brief description of the keys of memory is based on an analysis of dozens of novels and short stories for children.
Klaus Kordon is one of the most prominent writers on the Third Reich. His nine books on the topic have won numerous awards. Die Lisa , which simultaneously presents verbal and illustrated text, is a preschool-level historical tale. The German past as portrayed in the book is centered around the figure of a young heroine named Lisa. Like the city of Berlin, the protagonist becomes an illustration of the history Kordon wishes to relate. The author is less interested in the figure herself and more in her ability to serve as a peg on which to hang history.
Lisa thus becomes an almost allegorical figure. Her personal feelings, opinions, and human desires do not exist in the world constructed in the story. A similar allegorical function is fulfilled by the house at No. The house was built during the great construction boom under Kaiser Wilhelm II and survived the war, later serving as part of the arena in which the reconstruction of postwar Germany takes place. After the war, the house at No. Lisa and Paul are tailors, and an illustration depicts them leading a fairly happy life.
The border between East and West Berlin runs straight through the street, just adjacent to the house at No. East Germany, colorless and gloomy, is depicted as the real punishment for the war. The high price he pays for this choice becomes clear later in the book. Whereas Kordon describes the eve of World War II as a time untainted by ideology, the family is split on ideological positions when Germany is divided. This is also the only time in the story when ideological disputes and political involvement by Germans are featured.
As the story progresses, the house and its occupants undergo changes. At first, the building becomes dilapidated. Tenants come and go. Young people and Turks move in. Like the Jews, the Turks fill the role of strangers, outsiders who interfere in the life of the German people. They take away jobs and leave many Germans unemployed. Notwithstanding, it is only the former Nazi who hates the foreigners, not the Germans. She is born several years before World War I and is approaching her death after the fall of the Berlin Wall.
But when the Wall between East and West Berlin was torn down and the two German states had become one again, a real vitality beat within her once more. Die Lisa, p. The same applies to spatial boundaries. From that moment on she lived in West Berlin. Von nun an wohnte sie in West-Berlin. The partition of Germany is also emphasized through the color palette used in the illustrations. Prewar Berlin is depicted in an array of vivid hues.
After the war, the eastern part of the city is painted in dull tones that give East Germany an air of darkness and gloom p. By contrast, illustrations of the western sector are full of dazzling colors pp.
At a house on the western side of the Wall, a brightly colored sign advertises a business, evidence of the resumption of normal life, while a sign on the first house on the eastern side is painted in dark colors. Only half of the dazzling city that existed prior to Hitler regained its former brilliance. According to this historical sequencing, the story of the Third Reich began during and after World War I, with its grave economic aftermath; continued through World War II; and ended after the war. Nonetheless, the rise of Nazism is described as a process in which Lisa played no part.
Like many others, Lisa kept a low profile, hoping the nightmare would soon be over. Lisa was terrified. She hoped the new government would not stay in power very long. Many had the same hope. By the time they realized their mistake, it was too late. Sie hoffte, die neue Regierung wiirde nicht lange an der Macht bleiben. Viele Menschen hofften das. Too many people had escaped from the other German state…. In order to prevent anyone from running away, the GDR government ordered the construction of a wall.
Lisa is a passive individual. She does not shape her own existence. The course of history decides whom she marries, where her children will live, what friends she will have, and how happy she will be. In the personal sphere, her passivity is manifested by the meaninglessness of her feelings. The story of Lisa finding love is typical. A German soldier returns from the war slightly injured, she falls in love with him, and they marry.
We see the soldier courting Lisa. Other details generally characteristic of love stories go unmentioned—hardly anything is said about how they spend their time together and whether Lisa falls in love with him. This bolsters the impression that Lisa is insignificant as a person—history alone is important. Throughout the tale, passive verbs and phrases are employed when picturing Lisa, while the regime is presented by the use of an active vocabulary. This generates the impression that Lisa is bobbing on the wave of the events, forced to adapt to her surroundings.
Her passivity is manifest both publicly and privately. Both as a young girl and as an adult, it is unclear what she actually thinks and where she stands politically. Between the lines looms the message that such personal concerns are trivial. Political, military, and economic processes determine her fate and that of every other German. Like Lisa, the other characters also stand powerless before the events of history, playing a subordinate role throughout its course.
The message is that the little power that people had was embodied at most in their passivity. By contrast, the leaders are depicted as wielding enormous, almost demonic, power. The Kaiser was aggressive, and Germany as a whole came to resemble him. World War I broke out because the Kaiser willed it; he and his generals prolonged the war for as long as they desired. Victims among the passive citizenry were legion. World War II likewise descended on the Germans due to the belligerence of an aggressive leader.
The leadership is again described as filling an active role. Hitler decided to go to war, and the nation was compelled to implement his plans:. Aside from the fact that they provide food to Germans, the text offers no further information about the Kohn family. Kordon gives Lisa a Jewish girlfriend only because his book needs a Jewish character.
Aside from her Jewishness, the reader learns almost nothing about her, except for several stereotypical, physiognomic features. On the basis of the internal color code, he cannot be regarded as German; in fact, he is later shown to be a Nazi. In this manner, the color lexicon reinforces the contrast between Germans and Nazis.
On the other hand, the similarity between Jews and Nazis is clearly evident—both are different, both are consequently alien. Neither is integral to German society.
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Like Else, Paul is dark, a feature stressed by the dark color of his clothing. He is always illustrated dressed in black. Moreover, Paul is never shown in uniform, the only male figure in the story who is always dressed in civilian clothing. One can conclude that Else chose a Jewish boyfriend.
Only later, when racial laws preclude marriage, does it become clear that he is a German p. The color-oriented resemblance between Jews and Nazis facilitates interchangeability. This transition is emphasized by an illustration showing Karl in the doorway of the store p. Both have dark complexions and are heavyset. One element, however, distinguishes Nazis from Jews—a large menacing dog, baring its teeth. The Germans are passive heroes in a fata morgana for which they bear no responsibility.
For example, it is not stated that the Germans brought Hitler to power by means of democratic elections or a legal electoral process. It is not stated that this resulted in the Jews being relegated to second-class status, but:. Jews were now considered subhuman. And also the Jews who had remained in Germany were taken away and arrested, and most of them were killed.
The preference for the passive voice is particularly conspicuous in the description of Kristallnacht. One night the windows of the Jewish-owned businesses were smashed and the shops were looted. Many Jews were beaten, others were killed. Almost all the synagogues were torched. Viele Juden wurden geschlagen, andere umgebracht. The events of this pogrom are not described in the text, nor is any further information apparent in the illustrations.
These fail to depict the perpetrators or the actual pogrom, and only the aftermath is shown. And so the mystery remains. Those responsible for the pogrom, its perpetrators, and the actual events remain unknown.
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Her parents did the only correct thing, and apparently escaped as a result, whereas Else remained and suffered a bitter fate. There is no account of their escape, it is not clear what ultimately happened to them, and we are not told just how their grocery store passed into the hands of another proprietor. The resulting message is that Jews who understood the ample indications provided by the November pogrom and who took their fate into their own hands were saved.
These descriptions relieve the Germans of all responsibility and downplay their guilt. The Germans were at most passive participants in Kristallnacht, which occurred long before the annihilation of the Jews and is recounted in the historical discourse as having caused mainly material damage rather than physical injury. Shifting the emphasis from Kristallnacht to the question of ultimate Jewish responsibility allows the convenient inclusion of the pogrom in the text.
As Domansky notes , it is no accident that the public historical discourse in Germany favored descriptions of Kristallnacht. These descriptions allowed recollections of the fate of the Jews at a time they were still living within German society, and attributed the Kristallnacht crimes to organized Nazi groups. Kristallnacht allowed the Germans to erect a new barrier between their desire to remember and their refusal to know, while recalling a Holocaust purged of nightmares. By contrast, the text clearly points an accusing finger at the Allies, shown as being directly responsible for more destruction and suffering than that caused by the Germans.
Even when it is stated that the Germans bombed civilian populations and entire cities, the depiction of the damage and ensuing havoc differs. The Allied soldiers appear to be in good condition, particularly when compared with their German counterparts. In a two-page illustration, two American GIs are shown in the ruins of Berlin. In the background, between the shattered buildings, we see a German amputee a former refugee or soldier limping homeward. Lisa was unable to help her Jewish girlfriend. Had she tried, she might have endangered her own children.
Thus, those who failed to take an active part in the resistance should not be criticized, and one should try not only to understand, but also to justify, their conduct. Lisa thought of her children and did not dare stand by her girlfriend. People who helped the Jews put themselves at risk. They risked their own lives. Wer Juden half, brachte sich selbst in Gefahr.
In Lebensgefahr. Even after the end of the war, Lisa does almost nothing. No one knew where he had been. Some said he had been in jail for what he had done during the Hitler regime; others told that he had been in hiding. Lisa only wanted to know whether he was ashamed of his crimes. Wo er gewesen war, wufite niemand. When addressing World War I and, later, East Germany, however, the text underscores the necessity of rising up against the regime. The book relates that the Germans rebelled against the government after four years of suffering during World War I, and that this uprising helped bring an end to the war p.
While resistance to Nazi rule is depicted as pointless and impossible, resistance first to Wilhelm II and then to the East German regime is shown to be feasible, desirable, and effective. In the illustration accompanying the text pp. The vividly colored illustration on page 9 depicts the uniformed men and the injured, wrapped in bandages, all victims of Wilhelm II. Did they suffer? Were they hurt? The text does not ask and thus does not answer. In this way, the Germans are presented as the sole victims of that war pp. The tenants of No. The blond youth Hans dies of hunger in Berlin:.
And at home people were dying because they had too little to eat and no fuel to heat their houses. When blond Hans died of starvation, his father wondered how the people could bring an end to the war. The Germans continued to suffer between the two wars, due to inflation, unemployment, and hunger.
And although Werner earned more and more every day, he and Lisa often went hungry. While depicting the terrible suffering unemployment caused, Kordon mentions the six million unemployed Germans. This iconic figure emphasizes the victimization of Germans by equating it with that of the Jews. A higher or lower statistic, accurate for another period, could have been quoted with comparable precision, but only the six million figure could have allowed Kordon, surreptitiously, to link German misery with later Jewish suffering, making the two analogous.
All over the world, there was less and less work. In Germany alone six million people were unemployed. Among them was Werner. Allein in Deutschland wurden sechs Millionen Menschen arbeitslos. Darunter auch Werner. This analogy between German and Jewish victims is strengthened later, when the book mentions Jews in the same breath with opponents of the regime who were arrested and imprisoned. The illustrations, on their part, contribute to the creation of an equivalence between Jewish and German victims. On page 18 we find an illustration showing Else standing before a truck full of human beings packed into a baggage compartment reminiscent of a dark cellar.
Else, wearing the yellow star, is surrounded by dark-visaged soldiers. By contrast, the opposite page shows a number of Germans compare this to the illustration of Else standing alone crouching in a cellar an air-raid shelter. The cellar is dark, similar to the closed baggage compartment of the truck. Above them we can see the city burning, set ablaze by the Allies. After describing the Berlin victims, the text proceeds to describe others.
Werner is killed in action, and Wolfgang is taken prisoner. The need to create more victims does not abate even after the war. The Moral Kordon comes full circle at the end of the book with the dismantling of the Berlin Wall. His purpose is not to reconcile with the past but to draw a firm line between past and present. The past serves to teach a universal message, as opposed to a particular one, and to serve as a moral for the future, in case the specter of war should loom again.
The transition from a particular moral to a universal one allows the author to present the image of the German past in a universal context. It does allow Kordon to shift the focus from past to future and to contend that the past must be studied solely for the prevention of any possibility of recurrence. Introduction Introductions and afterwords are written after a book is completed. Quite a few books begin with introductions penned by writers who enjoy public or literary status, particularly in connection with the Nazi period. The foreword may compensate for these limitations, offering a reflective and insightful view of the story.
Still, one may wonder what illustrated texts for small children and highly respected forewords have in common. Die Lisa, written for kindergartners, occupies a peripheral position in the German cultural system. What bearing does the analysis of such a peripheral text have on the German past image? In this regard, can we not assume that such a minor book bears no more than commensurate significance? Several indications prove the contrary, particularly because the book presents a specific image of the past to very young children and as such contributes to the inculcation of this image at a very early stage of life.
A number of forewords describe the circumstances prompting the author to write; often these involve semi-cathartic events serving to release repressed memories. The author may provide an account of himself, as well as opinions on the subject matter and sometimes the period described in the book. Writers of Introductions and Forewords Willy Brandt joined the Social Democrats in and escaped to Norway in as an opponent of the Nazi regime.
It was there that he disposed of his given name, Karl Herbert Frahm. In , he moved to Sweden and worked as a journalist, trying to enlist support for opposition movements in Germany and Norway. When Brandt returned to Germany in he became a member of the Bundestag — and leader of the Social Democrats. Between and he was mayor of Berlin, and he served as German chancellor between and Brandt was the Nobel Peace Prize laureate in Willy Brandt was chosen primarily due to his past as an opponent of the Nazi regime, as well as his stature as a premier statesman, which determines the suitable perspective for reading the book and comprehending its message.
Why was Brandt willing to write the introduction? Luft arrived in Palestine prior to Nazi rule in Germany, and she wrote for the European—and German—press even after the war. The Third Reich had no effect on her personal and professional life apart from a brief hiatus in her journalistic career. It is not insignificant that Luft and Brandt, as Social Democrats, share a common value system. Like Kordon in Die Lisa, Brandt prefers to describe the common future rather than the common past.
Any discussion of the past is meant only to facilitate discussion of a future based upon the age-old ties between Jews and Germans. Unlike others, I do not wish to forgo consideration of the murder of millions, but I certainly do welcome the fact that both sides have meanwhile gathered the courage to rediscover their common legacy, embrace it unhesitatingly, and regard new ideas attentively, often even appreciatively… Especially in recent years, Israel has become a close neighbor despite its geographical distance.
Economic and technological exchange has intensified. Cultural ties have strengthened. Tourism has allowed many young people to form personal relationships and embark on a new beginning. Der wirtschaftliche und technologische Austausch wurde intensiver. Die kulturellen Beziehungen haben sich verdichtet. Heimkehr ins Unbekannte, p. He was twice arrested and questioned by the Gestapo in and but was not expelled. In , he was ordered to stop writing. This made him a symbol of the resistance to Nazism, even though he never harshly criticized the regime.
Thomas Mann, for example, who has been disparaged for doing just that. What this truth actually represents, however, is far from clear. The first two sections of Sternkinder were written during the war, between and , and left unprinted at the publishing house. The book saw light only in , in Holland, and was apparently intended for a readership consisting of Jewish survivors and the Dutch public.
Seemingly, the author assumed that the details of the war and the Nazi regime were common knowledge, and as a result the book contains no concrete information with regard to places, numbers, the genocide, or names of concentration camps. A new general introduction was added, as well as short introductions to each chapter. It is similar to the introduction in the Hebrew edition, which may have served as a reference. Incidentally, the Dutch and German editions contain four chapters, whereas the Hebrew edition splits the last chapter into two parts, perhaps as a means of emphasizing the liberation and the subsequent journey to Palestine.
Unlike the introduction to the Hebrew edition, the Dutch introduction does not specify the exact number of victims, and this information is provided in a short epilogue instead. Nevertheless, the German publisher neglected to add introductions to the individual chapters, as was done in the Hebrew and Dutch editions following Asscher-Pinkhof s death. Von Staden2 was the niece of Constantin Freiherr von Neurath.
This may result from the emphasis in the German introduction to the fact that she was not a Nazi supporter, despite her family ties. Ultimately she returns home, but it is no longer the home she once knew. The forces of evil violate the stillness of the valley with barbed wire, watchtowers, and police dogs. The land and earth are being confiscated, barracks built, and the valley closed to the citizenry.
As she herself acknowledges, this is also a way to allow Germany to rejoin the family of Western nations. We wanted to become a member of the family of Western nations. We wanted freedom, and we did embrace the democratic way of life. We wanted to travel and to study abroad, to learn about other countries, other people. Darkness over the Valley, Preface to the English language edition, p. The Keys Despite fundamental differences, the introductions are constructed upon the same keys as the narrative in Die Lisa, particularly with regard to the following issues: German victimization, the foregrounding of the resistance movement, German guilt, and the lessons to be learned from history.
The Victims. The introductions present the Germans as the central or even exclusive victims of the Third Reich. Nor are the survivors spared misery, suffering, and pain. The parents and their two remaining children are left alive in torment p. The increasing number of victims in the Scholl family links them to the larger family of the victims of nazism, and anyone associated with them shares their aura of victimhood and the cross they bear.
Thus the Scholl family becomes the manifestation of the tragic victims of the Third Reich, and a symbol of the Germans killed at the hands of Nazis. After a shared history lasting over six hundred years, the Germans had to leave the country…. Wir werden uns wiederfinden, p. This inclusive list of victims makes no specific references to Jews, gypsies, or to any other ethnic groups murdered by the Germans. Many European cities lay in ruins. Countless numbers of people had lost their lives, and many others had been forced out of their homes. Under Adolf Hitler, there had been persecution and murder….
Es war gefoltert und gemordet worden. The German victims are described as follows:. Police files indicate approximately 50, dead as a result of the bombing—men, women and children. Der erste Fruhling, p. Of the latter, about 1, survived bombardment, betrayal, and with the help of the populace—people willing to risk their own lives for the sake of another.
At first glance, Kordon seems to relate to all the victims, whether German or Jewish, yet in actuality he employs the Jewish victim merely to glorify and gauge the scope of German victimization. In any event, the Jews had it better than their fellow victims, such as the gypsies, among many others:. But the Jews did not remain the sole victims. Kordon continues to sketch the intertwined fates of the Germans and the Jews. During the years —, about , Germans were held prisoner in internment camps maintained by the Soviet military authorities in Germany.
Signs of Resistance. No fewer than five arguments, at times contradictory, are employed in these introductions to portray the resistance movement, resulting in ambivalent attitudes toward the resistance. All Germans resisted Hitler. Part of the resistance was passive. The Germans were ignorant of what Hitler perpetrated, and therefore they did not oppose his actions. Immediately upon learning of what Hitler was doing, the Germans began to resist. There was no point in resisting, as the regime was overwhelmingly powerful. Those who did resist achieved nothing, and their sacrifice was in vain.
Thus, even the uncle is granted the status of a member of the passive resistance movement. Instead, he maintains that the movement was composed mainly of communists, who also filled the prisons. Only later in the book does Kordon moderate his position, stating that the communists who led the movement were also emulated by others.
Unser Dorf und der Krieg Lena. Our Village and the War is based on the third argument, in which the lack of opposition is rooted in plain ignorance. Although Recheis initially states that opposition to the Hitler regime was widespread p. She, like many other young people, was seduced by Hitler and learned the truth only after pp.
The fourth and fifth arguments are seen in the biographical account of Sophie and Hans Scholl, who are portrayed as being different from ordinary mortals. In this account, Sophie and Hans possess mystical, superhuman powers that allow them to see into the future and the dangers held therein. Thus, they are able to see things that are obscured from the view of common people.
They sensed that they were starting a gust of wind where all had been becalmed. They sensed it more strongly than we do now. The Short Life of Sophie Scholl, p. Das haben sie starker gespiirt als wir jetzt. Das kurze Leben der Sophie Scholl, p. Thus is conveyed the tacit message that failure to take an active part in the resistance movement must not be criticized. Certain forewords evade the issue of guilt by ignoring it completely, others by skimming over the subject so lightly that barely a ripple is produced.
Guilt is assigned to Hitler, the older generation, the communists, or even general historical trends, yet never to the German people. The grounds for this guilt usually remain unstated, and references to the genocide perpetrated against European Jewry are shrouded and downplayed. The most extreme position dictates that one should not judge another person unless he is subject to the same circumstances. Consequently, the Germans living under the Third Reich must not be judged by those who did not experience that period firsthand. History should make us think rather than pass judgment.
All too often, we hurl accusations at others for errors we ourselves had no opportunity to commit. Die Geschichte soll uns zum Nachdenken veranlassen, nicht zum Verurteilen. In the afterword to Lena, she asks readers not to be too harsh in their judgment:. If we are to judge people who experienced that period, we must be aware that this was not a free country where information could be circulated unchecked, but it was also a reign of terror that was also employed against the members of its own people.
Lena, p. Brandt portrays himself courageously confronting the slaughter of millions rather than ignoring it. Alas, careful analysis shows that this is not the case. Brandt refers to the escape of 50, Jews, and almost entirely ignores the fate awaiting the Jews who stayed in Germany. The allusion to genocide is co-opted into an analysis of future relations between Israel and Germany. Awareness of the responsibility for the mass murder transcends all other considerations and emotions, of course, and yet—I think—a German may regret the destruction by Nazi tyranny of one of the most valuable assets of our not overly blessed history, namely the symbiosis between Jewish and German culture, which had proven to be so amazingly productive in the spirit of the Age of Enlightenment.
We are left with the hope that one day, under fundamentally different conditions, parts of this might be rendered fertile and be continued once again. But in those days the children knew exactly what they were singing. Father really had gone to the war. The story I am going to tell is true. It happened to me. It is a tale of Gunpowdertown. Fly Away Home, Foreword, n. Der Vater war im Krieg. Die Geschichte, die ich erzahle, ist eine Pulverlandgeschichte. Although the issue of guilt appears to be addressed directly, the guilt is not assigned to any tangible object, nor is any recipient for it to be found.
If Maybugs are not responsible for burning the land, neither now nor twenty-five years ago, then who is? And what exactly was burned? This country—Austria—was also burned by the Allies. Thus, the option of placing blame on the Allies is not ruled out in the introduction, which alludes to the burning of the land rather than the burning of people. The story takes place in the years —, at the time the war instigated by Adolf Hitler had just come to an end. Hitler is set apart from his ancient counterpart only by technological superiority.
If not for this distinction, Hitler and Herod would have shared the same historical notoriety. He [Herod] had to make do without modern implements of murder and transportation, or the blessings of the telephone and of bureaucracy. Sternkinder, p. Lisa Tetzner adopts a location-based relativization. In the introduction to her book, she concludes that the story related therein could also have taken place in cities such as New York, London, or Paris, although she later states that the events did not take place in Berlin coincidentally.
The possibility that they may occur elsewhere is not precluded. Maybe these stories could also occur in New York, London or Paris, any densely populated large city with crowded streets and tall, sunless buildings. Even so, they belong to Berlin. Die Kinder aus Nr. In her epilogue to Lena, Recheis writes that genocide has been committed in many other places:. But the study of history and the decades since [the war] have taught me that inhumanity has become and continues to be legally mandated, elsewhere as well. Several instances of genocide, some of which took place only a few decades ago, have in many cases already been forgotten….
Genocide continues! The Jews are forgiven for the crucifixion itself but not for the cooperation and tacit approval they gave the Romans. Thus is responsibility for killing Jews assigned chiefly to the long tradition of world anti-Semitism and consequently to Germans who collaborated with Hitler, just as the Jews were in league with the Romans. A man named Adolf Hitler appeared after the war [World War I] and promised the Germans improvement, order, work, comfort and more land. He incited the Germans, saying that the Jews were responsible for the chaos prevalent in Germany at the time, that they should be exterminated forever like vermin, to allow the Germans better lives….
Most of the Germans believed Hitler and thought that the Jews were responsible for everything. They began taunting the Jews, abusing them, ultimately killing millions of Jews, women, men, and children in the cruelest ways. Er hetzte die Deutschen auf. Die Juden seien an dieser Unordnung schuld. Man miisse sie auf die Dauer wie Ungeziefer vernichten, damit die Deutschen besser leben konnten…. Die meisten Deutschen glaubten Hitler, die Juden waren an allem schuld. Judith und Lisa, afterword. In the afterword to his epic trilogy Wendepunkte Turning Points , written in , Kordon attempts to view Nazi war crimes within the context of communist crimes.
It is also true that a cruel system oppressing and persecuting those who expressed different ideas was in place in the Soviet Union for many years, similar to that which existed in the former Nazi Germany. The introductions fail to clearly indicate a culpable party. To conceal the abyss of the past is to endanger the path to the future. Anyone attempting to embezzle the guilt of those years is no patriot, but a defrauder.
Whoever tries to turn innocent youth into clueless youth is only adding new guilt to that already existing. How exactly they will know what to ask is left untold. Wendelgard von Staden is the only author who places some blame upon the Germans in an introduction. Notably, the accusations are included solely in the introduction to the English and Hebrew editions:. We had worked to repair some of the damage done by the generation of our parents….
When we reached adulthood we were left with little to believe in, least of all the greatness of our country. Rather, we were confronted with a sea of destruction, of terror, of millions of people murdered in our name. The Moral. Without exception, the introductions seek to draw a moral from the stories. However, no attempt is made to cope with the fact that the Scholl siblings constituted a small minority, and most certainly not to promote self-castigation as the moral.
Vinke might have discussed the obligation to oppose tyrannical regimes and dictatorships, or asked why most young people chose not to fight the Nazi regime. Yet Vinke failed to ask these questions, because he sought a universal moral and not one pertaining specifically to the German people.
Vinke does not expect young people to learn anything from their own history pertaining to their present, apart from the need to be aware of racism or violence. I have written this book to counter this adage. It is about the struggle to begin again when all seems to be lost. It is dedicated to Crutches and to Thomas, who have bequeathed to us the message that the human being is also the friend of humankind. There are no better or worse people, whether Jewish, Muslim or Christian, black, yellow or white.
There are only people amongst people, and all have equal rights. The world belongs to everyone. Es gibt nur Menschen unter Menschen, die alle gleiche Rechte haben. Richter begins his best-selling Damals war es Friedrich with a motto omitted from the English and Hebrew editions in which he equates Jews, blacks, and students among many others.
All may fall victim to foreign forces, which he does not identify. Then, it was the Jews…. Tomorrow it might be the whites, the Christians or the civil servants…. Damals waren es die Juden…. Damals war es Friedrich, n. This is the heart of the matter. Through its ostensibly innocent orientation toward the future, the German historic discourse finds its refuge from the past. This is the moral sought in all the introductions. This generation, untainted by the Hitlerism of the previous generation, must accordingly convey the knowledge to future generations.
To what kind of knowledge does she refer? Does von Staden fear that the younger generation will forget the past, or is she concerned that their past image will be distorted? What, in her opinion, is the correct image of the past? Is this not a clear indication that, although she may not be aware of it, the story told by von Staden to German readers differs from the one told to non-German readers? The prevailing narrative for children fails to acknowledge the existence of a Snow White alive and well beyond the hills. It is not the past itself they wish to see, but its wishful representation, which dominates the public discourse of German society, a past with which the German people can live comfortably, and that they can, without question, pass on to their children.
Chapter Three Constructing an Image of the Past. Other authors assert their reliance on personal memories and describe experiences firsthand—even if the author did not experience them personally but only read about them in various sources or heard about them from others. Many writers might honestly believe that their story is personal and distinctive, flowing from their own wellsprings of memory and their knowledge, and fashioned with no ulterior motive. Yet this is not the case. Though probably unaware of it, the author functions within a preexisting framework of the composition of historical discourse.
Discussions of the innovation, creation, re-creation, and rewriting of a national or group past image have been central to many debates in the varying disciplines of philosophy, meta-history, historiography, sociology, psychology, and semiotics. Already by the late nineteenth century, mechanisms of memory and forgetting were subject to academic scrutiny.
He ascribed much importance to historiography—to the extent that he feared its potential to threaten the existence of the nation. Forgetting, I would even go so far as to say historical error, is a crucial factor in the creation of a nation, which is why progress in historical studies often constitutes a danger for [the principle of] nationality. Indeed, historical enquiry brings to light deeds of violence which took place at the origin of all political formations, even of those whose consequences have been altogether beneficial.
Unity is always effected by means of brutality; the union of northern France with the Midi was the result of massacres and terror lasting for the best part of a century. Though the King of France was, if I may make so bold as to say, almost the perfect instance of an agent that crystallized [a nation] over a long period; though he established the most perfect national unity that there has ever been, too searching a scrutiny had destroyed his prestige.
The nation which he had formed has cursed him, and, nowadays, it is only men of culture who know something of his former value and of his achievements. Yet the essence of a nation is that all individuals have many things in common, and also that they have forgotten many things. Renan  , p. How will the Germans of tomorrow see their land, the West, themselves? One may assume that the continuity will be maintained. But, this is not certain…. In a land without memory, everything is possible. Wie werden die Deutschen morgen ihr Land, den Westen, sich selbst sehen?
Aber sicher ist nichts…. In einem Land ohne Erinnerung ist alles moglich. The construction of a past image is by nature teleological. This has been observed by many scholars. Even so, I'll bet no-one saw this one coming! That this is a very personal revisiting of the duo's past is made clearer still by the all-new tracks which pop up later such as 'I Love 64' which offers an intriguing take on a famous question from The Beatles listen to it to see what I mean!
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But, should this nostalgia have left you pining for the return of yesteryear one title offers the sobering truism that 'We Cannot Go Back To The Past'; wise words indeed! Dabei haben es mind. Dabei sind mind. Dazu gesellen sich ein paar neue, von mind. So geht das. Das Booklet mit den Geschichten hinter den einzelnen Songs runden den durchweg positiven Eindruck ab.
Der Albumtitel 'R. O' sowie das auf dem Cover abgebildete Datassetten-Laufwerk lassen es erahnen. Stefan Poiss und Markus Hadwiger aka mind. Dagegen haben es die von beiden Protagonisten selbst geschriebenen Titel bisweilen etwas schwer. O' zumindest eine Chance geben schon allein der Eltern wegen. Wer dennoch dem gewohnten mind. Check it out! DE - Medienkonverter - Ralf 7.
Y es que la banda austriaca siempre ha tenido mucho de 'videojueguil'. Es imposible no emocionarse ante la escucha de los primeros compases de 'Last Ninja 3', tema con el que da comienzo el regreso a aquellos tiempos gloriosos. El tema, sobre todo, gana en profundidad y dramatismo. Nachdem mind. Ein rundes Album. Unter dem Titel R. O unterbrechen mind. Durch bewundernswertes Arrangieren haben mind.
I still remember it like it was yesterday when I got my first computer as a birthday present from my uncle. As you can imagine it was a Commodore 64 with the good old floppy drive. Yeah that one with the wobbling discs. I don't know how much time I spent playing games on it. Even tried writing some little animations! But it never became more than that. BOX would be releasing an album as homage to this famous computer, and particularly to some of the music created with the capabilities of its sound chip SID, all those nostalgic memories re-surfaced.
The journey into the glorious past is kicking off with 'Last Ninja 3'. I only needed to hear a couple notes from the main theme and I was back scouring the lands with my ninja, fighting against enemies. The melodies were perfectly embedded by MIND. BOX into a parade of pounding, edgy beat works that reinforce the kind of heroic mood, and how I love all those bubbling sounds. The sound gradually evolves, connecting more and more melodic elements to the only slightly altering rhythm.
One time those are modern, sustained layers of ambience; other times they come in the form of beautiful piano movements. Lots of little details can be discovered - if you're ready to join in on the rescue mission. The interlocking, driving beats it is underplayed by add a complex modern twist. My thoughts started drifting far away as soon as I've heard the introducing melody. It melds endless plaintiveness with a feeling of eternity in ethereal environments, complemented by a comparatively minimalist throbbing beat.
The best thing has been kept for the last track of the record, titled 'Whatever Mattered'. It opens the door to a place where past and future flow together as seamlessly as never before, forming immense ambient seas for you to drown in. But that's not even the best thing about it. It is without a doubt Stefan Poiss' finest performance as vocalist.
The idea behind 'R. O' and its realization deserve praise. BOX brought back with their new album a piece of computer history, and a lot of deer memories for many of us. I think I'm going to have to get myself a decent emulator now and start playing a bit. Highly recommended! There is always something mysterious and magical about a new release from Mind.
The technical and structural brilliance of their music is still present on the new 'R. O' album, but most of the material this time consists of classic tunes from classic Commodore 64 games, playfully reinterpreted by the meticulous Austrians. The Commodore theme also runs through their own compositions on the disc, like the dance bomb '8 Bits' and the blissful ambience of 'Whatever Mattered'. These are paired with apt cover versions of 'The Last Ninja' and other melodies from the past I'm sure many of you retro gamers out there will recognize and thoroughly enjoy.
All the arpeggios and bass sounds are fully intact, so to speak, but I miss some of the typical Mind. They do the bitpop thing with elegance, but their own quirky song writing still shines the most here. There is no 'Change' or 'Amnesia' on this awaited new album, but still plenty of earcandy for the fans, myself very much included. I would like to take this opportunity to say a big public 'thank you' to mind.
It's unexpectedly emotional and has touched me personally on multiple levels. I have to admit, I haven't heard of mind. The Austrian duo consists of Stefan Poiss and Markus Hadwiger, and together they have several albums, live performances, and numerous other musical accomplishments under their belts. The love of their craft brings a very high quality of sound to this album that has really impressed me. The album's style cannot be summed up in a single word: it's electronica mixed with a generous amount of SID arpeggios, some tracks have multifaceted lyrics with deep meaning behind them, and they all ooze the sort of melancholy that stops you in your tracks.
In short, it's not just bits and bytes, there are some very real emotions behind the music, too. The booklet that comes with the CD provides not only short snippets about each remix, but it also brings to light the personal relationship both Stefan and Markus had with the Commodore and its SID chip, which I'm sure many SID fans will be able to empathize with.
My only complaint is that a few of the lyrics are out of order in the booklet compared to the actual track listing. But overall, it adds a much welcome human touch to the album's nostalgia and greatly enhances the value of the entire package. The way I see the album it consists of two major acts: the first act contains the SID remixes, and the second act contains their own Crelated compositions. As much as I admire their SID remixes, to me the real highlight of this album is the second act.
First Act There are not that many ways to cover the intro of 'Last Ninja 3' and mind. What's different with this powerful, in-your-face mix, though, is that it features probably the best use of the original SID tune in a remix ever. What a great opening track for their album! When I first heard their version of 'Lightforce' on RKO, I had some reservations about it, especially concerning its distorted lead that kicks in at However, the more I listened to it, the more it grew on me and eventually it has become my all-time favorite Lightforce remix.
When they add their own twist to this tune towards the end is where this remix really shines: it has a certain thoughtfulness to it and I find myself gazing away when it's over The remix of 'The Last V8' is a fairly significant departure from the original tune, but its new arrangement has a very natural flow to it.
The game- appropriate lyrics thankfully included in the booklet or available online, because they're somewhat hard to decipher are a pleasant surprise and the vocals fit this arrangement like a glove. Maybe they remixed a tune of 'Supremacy' I haven't heard before, but this track is the one that seems to contain the least of the original SID of all their remixes, at least in its first half. Whatever liberties they took with it, though, it really works. What I really like about this track is how it's full of mind.
The arrangement follows that of the original rather closely and has a great mixture of spookiness and suspense; it's engaging and serious all at the same time. Second Act '8 Bits' is so deep on so many levels, it should really become the official anthem for all fans of 8-bit home computers.
The vocals are sung by a faux-femme voice, but what is being sung is what's really captivating here: '8 bits are enough for me', s he opens the refrain, longing for long-gone times devoid of emulation, all sung over a catchy melody-line that is hard to get out of my head. Frankly, it feels a little out-of-place on this album, even though its style is very similar to that of the other tracks. What I am missing here is the connection to C64 and SID nostalgia, even though I can understand its historic signficance for mind. Frankly, I have a hard time deciding whether 'I Love 64' is a love ballad for the C64 or for modern bit computers.
Yet again, the lyrics on this track work on so many levels, everybody can bring their own perfectly valid interpretations to the table. Ironically, 'We Cannot Go Back To The Past' tries to do just that: bring back the old times with some vintage analog sounds and good old fashioned electronica, despite what the whispering voices tell me on this track. The arrangement at times reminds me of popular tunes from the 80s, but it's all presented in a modern package with subtle hints.
And so we arrive to the last track of the album, which I also happen to think is the best one, because it's the one that touches me the deepest. It was 'Whatever Mattered' that convinced me of the duo's mastery of the audial arts: it's deeply emotional, it's undeniably rooted in SID music, it's mixed and arranged perfectly, every single note has a purpose.
As Stefan mentions it in the booklet, this album is 'wrapping up the past': it waves goodbye to what's behind them, providing a closure to open up new doors in the presence. Whenever I listen to this track, all my C64 and SID related memories of the past decades rush through my mind and it reminds me how far we've come since then.
Whatever mattered, indeed EN - Remix64 - Lala. Fascinated by the legendary C64 computer the Austrian Mind. Box got the idea to set up a particular concept for their new album. The idea sounds a bit crazy, but when it comes to originality this duo set up by Stefan Poiss has already illustrated a great knowledge. I here get the impression to hear the influence of Jean-Michel Jarre transposed into a new electronic species. Several songs remain instrumental, which is a pity if you know the whispering style of singing of Markus Hadwiger.
Some of the most surprising songs on thisalbum reveal a great sense of experimentalism and research. It features a kind of psychedelic guitar sound leading themusic into pure astral dimensions. This is a brilliant experience. The sounds and arrangements running through this song are simple genius. The song has much more danceable vibes than the rest, which will be an easy way to get the track on the dancefloors.
We here get once more all the potential of this band based on meticulous arrangements and outstanding synth sounds. I think this release remains faithful to their style while it shows an evolution in song writing and production skills. Nun hat sich das Duo mal was anderes einfallen lassen. Man schnappte sich musikalische Klassiker des Commodore 64, der damals auch aufgrund der genialen Titelmusiken seiner Spiele zum Kult avancierte.
Einige der bekannten Melodien von damals hat man neu arrangiert und auf CD gepackt. DE - Streetclip - Chucky. Es war die Zeit der Postlagerkarten, der Commodore-Rechner und der miteinander konkurrierenden Computergruppen. Box handelt. Doch auch der Musik merkt man an, dass das Duo mit Feuer bei der Sache ist. Geschmackssache sind hingegen die selbst komponierten Songs auf 'R. Aber ein Versuch schadet sicher nicht.
Was kommt nach einer Trilogie? Music fur die Massen haben mind. DE - Zillo - Marc Urban. Auf 'R. Der Abschluss des Albums wird mit dem grandiosen 'Whatever Mattered' begangen. Denn die Stimme und der Gesang bei miab waren einer der Punkte, die den Reiz dieses Projektes ausmachen. Trotzdem spielen mind. Auch 'R. O' ist ein weiterer Baustein in einer bisher unvergleichlichen Diskographie. Insgesamt kommt 'R. DE - [U]selinks - Basti 9. Yes, this is still a release of the German Dependent label, but surely one of last items until they close the doors. More than ever before MIAB could work out a track, which features both, an unstoppable floor-filling attitude and decent consumption on your home entertainment.
No boredom on here, but a catchy and nearly Futurepop-like tune with addictive synth textures. Even if this short SiCD is limited, it is a must-have for the fans - finally the recent happened position No. Herinnert u zich nog mind. In de nazomer van bracht de groep zijn langverwachte 3de full-CD 'Crossroads' uit die net als de 2 vorige albums 'Lost Alone' en 'Dreamweb' op heel wat lovende kritiek kon rekenen. Omdat de groep echter de goedheid zelve is, besloot men om de resterende exemplaren van deze sterk gelimiteerde single via mailorder ter beschikking te stellen aan de fans.
Dark Entries kreeg ook een exemplaar en ondergetekende - zelf een grote MIAB-fan - heeft het genoegen om hem voor u te recenseren. Dit maar liefst 2 keer, want de single bevat naast een clubversie van standaard lengte 'Short Storm' ook een uitgebreidere versie die bijna dubbel zo lang duurt 'Long Storm'. Ik zou zelfs voorzichtig durven zeggen: beter dan het ingetogen origineel. Wel vind ik de 'Short Storm' te verkiezen boven de 'Long Storm', daar de laatste met zijn bijna 9 minuten duurtijd net iets te veel van het goede is. Na deze 2 clubversies trakteren de Oostenrijkers ons op het nooit eerder uitgebrachte 'One Day', een dromerig nummertje in de kenmerkende MIAB-stijl.
Een remix die niet slecht is, maar m. Al bij al kan deze DJ-single in zijn geheel beschouwd zeker en vast geslaagd worden genoemd. Leuk tussendoortje en in elk geval verplichte kost voor de doorwinterde MIAB-fan. Es ist das definitiv letzte Release von Dependent. Was danach kommen wird, kann man eigentlich nicht voraussagen.
Mit Pauken und Trompeten verabschiedet sich damit ein geniales Label und macht noch einmal deutlich, wie schwer es heute ist, gute Musik zu bekommen. Box as promo in my postal mail. It is also the very last release of the Dependent label and this makes it a nice present as thanks for the support our zine gave this sympathetic quality label over the course of the years. The title track is one of the most accessible songs on Crossroads, the latest album by Mind. This song is featured in a short new mix on this single and in a twice as lengthy club mix, with in both versions a heavy danceable beat in it.
New synthesizer lines have been added to the song as well and in this version it is an even better track compared to the original. That this is the last Dependent release is a shame, and it shows that yet another quality label goes down as a result of the download culture. Box will have to find a new label and hopefully they manage to do that. What Used to Be is in a way a very suitable title given the circumstances. EN - Gothtronic - TekNoir 8. Der Titel-Track ist in drei Versionen enthalten. Auch dieses Konzept geht auf und findet seinen berechtigten Platz in der Club-Landschaft.
Dass Mind. Introduction This release was initially planned as a DJ-Club promo only with some reworked version of the 'Crossroads' track 'What used to be' and a bonus track. But then it was suddenly decided to make it available to the fans. Strictly limited to copies. Track Review What used to be Short Storm - 'What used to be' is still one of my favourites on 'Crossroads' and now it has been reworked for the clubs and the result is great.
The typical spherical synth arrangements collide with a straight and club-friendly beat. The separate elements and sounds get more time to unfold and in some parts the track works with some noisy mesh-ups rather untypical for the band, but fitting well into the arrangement. One Day - 'One Day' is already available as a hidden bonus for those, who bought 'Crossroads' and therefore got access to the hidden area with their code.
Only one day is necessary to change a life forever. Sometimes it's rather minutes or seconds. It's amazing that a whole life can be turned upside-down in the blink of an eye. Hopefully it changes for the better. Stefan performs the vocals in a polyphonic chant. One layer with the clean vocals and the other one with the alienated and pitched vocals. What used to be Peter Rainmanns Turning Point Mix - This song wastes no time and directly starts the track with pumping beats and loops.
Rainmann also uses some sounds from the original version sometimes in his mix. During the verses, no melodic synths are used. Just the chant is added to the drum arrangement to build up atmosphere. The chorus comes up with some melodic sounds, that remind me of trance music but it sounds good. The last release of Dependent. BOX who have the honour to be the very last release on Dependent and it was the right choice.
The reworked versions will be on heavy rotation in the clubs for a long time, that's for sure and as a little bonus you'll also get the lovely track 'One Day'. It really would be a stroke of bad luck if M. But until then, we can't do anything else but waiting. This new maxi comes a few months after the release of the Crossroads-cd. MIAB remain probably one of the most talented projects in progressive electronics although they never got the deserved recognition.
The title song released on Crossroads is the right song for this maxi. I especially like the 2nd remix for being a bit more trance-like. Theres also a less fascinating remix made by Peter Rainmans. As a bonus comes the exclusive One Day-song, which is a real weak b-side track. This maxi is however a nice addition to the 3rd full length of MIAB. BOX aber dennoch ziemlich gut. Das war's dann also. Der Titeltrack zeigt Mind.
Mit 'What used to be' in der Hand brauchen sich Mind. Durch die vergangenen drei Alben haben sie sich einen hervorragenden Ruf im Electro-Pop Genre erarbeitet und deuten mit der Maxi an, dass man noch einiges von ihnen erwarten kann. Das voraussichtlich letzte Dependent Release ist eigentlich gar keines, denn die strikt limitierte Auflage wird nie in den normalen Handel gelangen. Inhaltlich bekommt man den Titel-Track in drei Varianten verabreicht. I have always wondered if it is possible to write about literature or music if the book or the piece of music gets you really excited.
While you are overwhelmed by emotions provoked by the power and the beauty of the work of art you are obliged to abstract your mind from it in order to appreciate the style or the complexity of rhythms and arrangements in cold blood. This time I would like to talk about the new Mind in a Box album called Crossroads.
The third album of this Austrian duo begins with two epigraphs. These words once said by some Greeks who are already dead, I presume, suggest that nothing is real actually. This topic follows through the whole album thereby defining its obvious idea. This being maybe an obvious deduction, though it is a truism indeed, the protagonist of the whole metaphorical story comes to by coping with all of his suffering and doubts, he obtains it as part of his life experience, all his personal troubles, through the trial of loneliness which is the main motif of all of the three albums of Mind in a Box.
That is why at the very end this thought gets its own virtue of evidence. Abundantly arranged, this complex palette of sound where you can find echoes of old-school futuristic techno, vivid strikes of powerful trance leads together with the industrial exhibiting its manifold of alien hi-tech sounds and samples, smoothly combines with the charming pop harmonies. For it is pop music indeed. And it comes with the abundance of shrewd and splendid lyrics. The amount of lyrics is maybe excessive for the whole sci-fi industrial atmosphere, but they really have much to share.
And you should believe me, the lyrics is worth listening. Because this is one of those exciting cases when music occurs as a sort of polygon where you can observe the hard logic of passion and the emotional game of mind meet and separate. That kind of discord has always been one of the main extremely attractive and affecting features of Mind in a Box.
I want to recommend listening to this album mostly to those who, as I am, are keen on thoughts of what the modern world is. Is it a trap for a man or is it a unique opportunity to find yourself. To those who are avidly interested in what is ahead of us, us as the humanity.
Zohar Shavit-A Past Without Shadow (Children's Literature and Culture) (2005).pdf
For Mind in a Box are humans indeed, they really belong to our time, being ready for the future. EN - Alexey Sozonov -. This, of course, is the trademark and for sure one winning point for MIAB. Their style can be surely called authentic, and even if this duo has never entered any stages to perform their stuff live, their encouragement is still unbroken. Not to forget the tasteful dark cover art featuring a short story written by A. Gruber, www. Stev's given career is as a video game composer, but his love of electronics and the sensory tease of merging graphics with sound effects and music gave rise to a desire for breaking into a Pop landscape that has grown 'artificial' in more ways than one.
Piecing together catchy songs wasn't all he was interested in accomplishing. He came up with the Mind. Box concept, a metaphor for everything that prevents our minds from truly being free. Crossroads is his third effort, following 's debut exploration into everything that causes us to retreat inward and live out our lives with a feeling of perpetual solitude.
Its sequel, 's Dreamweb, furthered the thoughtfully articulated ideas while adding more contemporary EBM flourishes into the mix. The music of Mind. Box isn't the most original collection of sounds you're going to hear. In fact, it harkens back to a lot of the techno and Trance released throughout the Nineties. Stev has an impressive ear for melody however, and while you will certainly experience recognition of music from years past, there's never a moment when it seems the themes or passages were lifted entirely from another artist.
In essence, Stev is creating familiar songs that still sound original and definitely carry a stamp of emotional resonance that is unique to this particular individual's growing body of work. Let it not be said that M. B doesn't give you your money's worth. This brand new collection of tracks clocks in at just under seventy minutes, and includes a 24 page booklet containing a short story, lyrics, and a code to unlock bonus content on the M.
B website. That's quite a bit to digest. But is the music alone worth your time? Most certainly, the answer is yes. These thirteen songs engage the listener like a long and impressively varied journey that enriches as well as entertains. One is given to the feeling that this isn't just a diverse patchwork of rhythms and pleasing sounds but an inviting world begging for exploration. Each song tends to start out traditionally enough, but just when you think it's growing too bland or ultimately repetitive Stev keenly throws something in that stimulates further interest, whether it be a curious synth line, echoing sound effect or slight shift in rhythm.
Admittedly, the vocals come across as tremendously over-processed, changing from track to track through the use of pitch transposition, vocoders and the like. This can be somewhat grating but does succeed in keeping the record from wallowing in any degree of sameness. When you're dealing with something of this length and scope, it's imperative to keep the listener engaged. While not without its minor flaws and miscalculated diversions, Crossroads impresses in how well it engrosses and maintains its hold over you for such a broad period of time. From the crashing waves and bolts of storming electricity on display in 'Amnesia' to the arresting club propulsion of the aggressive 'Identity,' as well the eerily moody atmosphere of 'Fear' and the orchestral magnitude of 'Run For Your Life,' the sounds, styles and textures are almost always lush and captivating, accented heavily by the depth and subtle urgency in the singular voice behind the music.
Spoken word passages bind many of these pieces together making it more than a collection of themes and stories but also a cohesive work of artistic achievement that searches the human soul while reaching for a sonic stratosphere. Whether you're familiar with this artist or not I must recommend you check out Crossroads, then seek its predecessors.
They are bold efforts that stand out in an age of bland, superficial forays into contemporary music. Box posseggono sin dal loro fortunato esordio e che fa la differenza fra loro e la spietata concorrenza. Fatte queste premesse possiamo finalmente tuffarci nella nuova fatica del duo, fra l'altro corredata da un booklet di ben 24 pagine che illustra per filo e per segno l'intero concept del disco, basato su di una storia scritta da Andreas Gruber.
Pur senza uscire troppo dal seminato, i Mind. Released in the dying days of superb German label Dependent single What Used To Be taken from this was to be the final entry in the label's catalogue - MIND for you fact freaks , Crossroads is the third and seemingly last chapter in Stefan Poiss and Markus Hadwiger's thought-provoking noir SF concept trilogy. Now wait a second! Waddaya mean 'concept'?! Fear not electronic music fans; in place of 70s prog-rock pomposity we have anthemic club music that balances its euphoric warbling Autotuner voices with a refreshing lyrical intelligence and depth of thought that if not entirely 'concept' in the strictest sense has a narrative strong as a Raymond Chandler novel.
Box's Dreamweb trilogy shares reasonable amounts of DNA with the Matrix trilogy, and if the third entry in that series was a flabby CGI money shot dragged out over two hours, Crossroads is an independent, low budget but polished thinking man's SF entry. Though lacking as clearly a delineated story arc as its predecessors, this album manages both to stand alone and deliver an end to the fascinating and shadowy journey dreamt up by our two Austrian creators.
The members each take on a distinct and separate role Markus H writes the lyrics and Stefan P all the music. The finished blend of trance patterns with more up front futurepop elements is as convincing a template for this uncommon division of compositional labour as one can imagine. It will be interesting to see if they choose to continue in the same vein now that their opus is complete. The accompanying booklet includes the lyrics for all the songs - perhaps more important to a full understanding of the band's intentions than many others.
It also contains a short story by Andreas Gruber set in the Dreamweb universe, based around the character of Black who features in the album's narrative. Identity stands out on the vocal front, the choral refrain utilising perhaps MIAB's most punchy voice to date and the result is impressive. I'd be interested to hear more vocal explorations into this territory. When really on form, they can also turn out successive songs well over six minutes long without running dry three quarters of the album's thirteen tracks run over five minutes.
Meanwhile, those who like Skyshaper era Covenant may momentarily hear a resemblance on The Place whose opening solo piano gently shifts into digital strings and Stefan P's cleanest voice. Crossroads is not flawless. For my tastes there are probably too many higher BPM songs and with thirteen tracks, a bit of judicious trimming could have resulted in a greater sense of variety - something chapters 1 and 2 Lost Alone and Dreamweb still demonstrate.
There is also excessive use of the treated vocals which are jarringly Believe Cher at times; and I'm not convinced by some of the mixing for example a sequencer on Amnesia briefly sounds like the very odd one half only of a stereo track. But that is just the balanced critic in me doing its job. Crossroads proves that there is enough richness in both the ideas behind the Dreamweb concept as there is in its execution to comfortably fill three albums across four years. It was a bold thing to imagine, an even bolder thing to attempt, and remarkable that these guys actually pulled it off in such a credible manner.
With the circle now complete, the Dreamweb trilogy of Lost Alone, Dreamweb and Crossroads, whatever its shortcomings are, will remain an impressive achievement. Wszystko co najlepsze w muzyce Mind. Brawo, brawo i jeszcze raz brawo. Das neue Werk von mind. So war es bisher und mit 'Crossroads' wird das ganze zur Perfektion getrieben.
Bevor ich ins Detail gehe: Meiner Meinung nach ist dies nicht nur das beste Album von mind. Denn mind. Und wie von m. Fazit: Quantitativ und qualitativ ist 'Crossroads' von Anfang bis Ende ein absolut brilliantes Album. Ein akustisch wie optisches Gesamtkunstwerk, dass auf musikalischer Ebene intelligenten Electro und auf lyrischer Ebene geniale Texte bietet. Pericolo scongiurato, tanto per mettere le cose in chiaro fin da subito: con 'Crossroads', i mind. Dicevamo, 'crossroads'. Si comincia subito, senza fronzoli, con Introspection, Amnesia, Into the night, Identity IT - ElectroWorld - theMaze.
Zukunft also ungewiss? Dieses Mal wird der Fokus auf den Protagonist, es handelt sich um einen Mann namens Black, gerichtet. Er steht am Scheideweg seines Lebens. Keeping up with the intense release schedule we're presented here with the latest excellent album from this unique electronic music project. Fans are going to love this disc as it continues to build on the solid foundation that we enjoyed just three years ago with the debut album. It's all here: a mixture of different styles of vocals from deep and heavy processed vocals to crisp and clear tenor and always included that higher robotic style, a solid electro-pop sound mixed with trance and dance-friendly beats.
Spread out across thirteen excellent tracks, this album is a stellar piece of work. As with the previous works we have a thematic album here with a story of a man beginning with 'Introspection' which talks about waking up realizing that someone had tried to erase his memory, but the sleepwalkers had saved his mind. Again, thoughts of dark movies like Dark City are evoked by the melancholy trance-laiden electro-pop music from this intro track and on through favorites like 'Amnesia', 'Identity', 'Fear', 'Stalkers' and so one..
While the thematic approach is always very cool on each album, each track can still stand on it's own in the dance club or across the radio waves. The stellar dance beats and pulsating electronic loops provide the solid backdrop for each piece while vocals alternate between the different styles that Stev has been able to perfect over these years.
One thing I did notice about this album is that his natural voice seems to come out on more tracks, pushing aside the robotic vocoded and processed vocals, like a transition, becoming more human though every album and track has always been loaded with pure emotion, cutting through the vocal processing and cold, unfeeling electronic sounds.
Once again, this is an excellent work that fans are going to love. Don't hesitate to get out and pick it up, because you won't regret it. If you enjoyed the first two, you'll love this one. Rating: 4. Box has build up quite an extensive fanbase with their previous albums despite the fact the band does not perform live. They have achieved that with a fresh and consequent approach of futurepop. On their first two albums their original approach of futurepop electro was not only fun and renewing but also packaged into good songs. On the new album Crossroads this however is different.
Musicwise Mind. Box is still a master in delicate soundscapes and auditive sculptures packaged into danceable songs with a wide array of electronic influences. Crossroads however is a more difficult album and the songs are not always as catchy either. Regarding concept the story of Black continues on this album with the meeting of the Night character, forcing him to make choices which result in doubts, anger and other emotions such as fear.
Crossroads is a title that covers the content well. Unfortunately this album is musicwise not always equally satisfying and some songs could have been more focussed too. Despite the slight disappointment with the lack of real killer tracks this third album of Mind. Box is definitely not a bad recording. The music of this band is too good for that. Hopefully Crossroads will bring the band a new recording deal since their current label Dependent will call it quits in the near future.
Austria's Mind. Instead of just throwing some overwrought, vaguely philosophical vocals over a four-on-the-floor kick and adding some oversized synth builds, Stefan Poiss and Markus Hadwiger have put the 'epic' back in 'epic trance' by using the inherent drama of the genre to craft an ongoing storyline that combines the espionage thrills of the Bourne Identity films with the futuristic paranoia of the Matrix trilogy. The third part in the series begins with an agent, known only as Black, struggling to recall the events of the past few days: a surveillance operation gone very, very wrong.
Themes of espionage and identity lost and recreated criss-cross throughout the album, all set to gorgeously produced electronic beats, and though this stuff works best as the soundtrack for the story it tells, it's certainly not the old-fashioned sort of rock opera; each of these songs works just fine on its own on a purely musical level. If there's anything wrong with this album, it's that it ends on a cliffhanger.
Having escaped the sinister agency he worked for, will Black forge a new life and find peace, or will his shadowy former employers get retribution? Similarly, having brought guitars into the mix, will Poiss and Hadwiger move into big beat territory and Chemical Brothers influences, or is it just a red herring to throw us off the trail? The wait for fans of this leading edge electronic outfit will be a frustrating one.
Wer kennt sie nicht: Mind. Und vermutlich fallen auch Alle durch's Raster, die mit rein elektronischer Klangerzeugung feat. Sozusagen Kapitel 3, aber abgeschlossen ist die Geschichte hiermit noch nicht Aber genau hierbei macht sich der Unterschied zu den vorangegangenen Alben bemerkbar. Gleichwohl ist jeder Titel trotz seiner sofortigen Wiedererkennung als Mind. Zum Abschluss wird es sogar klassisch! Hier zeigt sich, dass die Klangerzeugung 'handmade' vs.
Las composiciones de mind. Este poco ha cambiado de su primer y alabado por la critica 'Lost Alone'. La segunda destaca por el aire noir y ochentero que le otorgan sus notas de piano. Un mundo oscuro dominado por La Agencia y en el que solo la Dreamweb con ayuda de sus Sleepwalkers es capaz de rescatar a los seres humanos de su vida de esclavitud.
SP - Mentenebre - 8. So here it is. One of the most anticipated albums of the last couple of years. The follower to the magical journey of the Dreamweb. I don't think Mind. Box needs any further presentation anymore after their two previous groundbreaking albums. Worth to mention though are the answers to the questions that most often pops up when this band is discussed: - No, they don't play live.
Box is strictly a studioband and maybe that's why they are so good focusing on their music and not getting up on any high horses being able to release one good record after another when so many other bands fails to do that I really hope to see them live one day though. Second answer is: - Yes, they are from Austria. Must be one of the most successful artists from this land after Mozart. Crossroads starts off where Dreamweb left off. It's still a fine mixture between techno, electro and ambient. Clearly a winning concept.
As I had listened to the snippets from the album far too many times already before listening to the whole album it didn't bother me too much that the first two songs Introspection and Amnesia are quite dull. Amnesia feels like the song is repeated twice and starts over again after the half song. It's like Introspection, it never takes off really.
I get this feeling a couple of times with this album. Some songs does not appear to be enough worked out thoroughly. This is also the case with the song Identity which has it's moments but there's no proper introduction so it feels like the song starts in the middle of it and then has some rather lame and slow parts which somewhat causes it to loose it's overall impression. One of Dreamwebs strong faces was the build up of the songs.
The songs surprised you with parts you didn't expect at certain moments and that was entertaining and a good thing because you didn't get tired of them that easy. Crossroads songs is more like single versions put together on an album. Nothing wrong with that but it's just not as equally innovative.
Don't get me wrong now. Most of the songs are half good and half good Mind. Box songs are mostly really great compared to much of the stuff released nowadays so.. And of course there are some really nice diamonds here aswell. Fear for example. This song gives me shiver up my spine everytime I listen to it.
It is just so beautiful and the lyrics are so fine and true. Stalkers, the song who made it to the Septic VII compilation released in March is very nice and probably the second best song after Fear. Redefined is another great song. I gave Dreamweb 9 or 9 and a half, next to perfection.
The poetry corner - Vol. 2
Crossroads is an 8. I'd say they managed to pull it off once again. Crossroads has good lyrics, good melodies and sounds and the fantastic ambience which is Mind. Box trademark. After the Dreamweb heading to the Crossroads. Where will Mind. Box go after this?
Onto the stages I hope! Good songs are: 3, 4, 6! Jeder von uns kennt diese Momente: Man steht vor einer Entscheidung, die sich auf das gesamte leben auswirkt. Abermals kreieren Markus Hadwiger und Stefan Poiss mit ihren Sequenzern und Synthesizern einen komplexen Emotionskosmos, der sich immer aus der melancholischen Grundenergie speist. Die typischen Elemente, die mind. BOX created their own niche inside the electronic music scene. Their unique blend of different styles has conquered the hearts and minds of fans and press all over the world in a storm and is meanwhile known as techno pop.
The name MIND. Accompanied by a heavy break beat and wide synth layers, the deep voice tells us a story. It is more a spoken-word performance than real singing, but it fits perfectly to the song and its atmosphere. The character is trying to remember why he suddenly woke up in a shabby flat with cracks, torn-off tiles and wires hanging out of the wall. At the same time it seems he doesn't want to know much of his past.
He senses that he has done some terrible things in his past. The song spreads a very cold atmosphere. It has, what I call, the 'Lost alone' feeling. It also reminds me a little bit of 'Change'. During the chorus the song develops further and further. Layer after layer appears and also strings join in. The mood is different from the verses. Simply brilliant!!! Into the Night - Just further with another very long song. Maybe this needs more time. The lyrics in this song are performed like spoken word. The only lines are sung are in the chorus and appear many times in this track.
The music in this song only seems to exist to accentuate the story that's been told. It consists of e very strong beat and a dominating synth line. Identity - 'Identity' is a quite danceable track. It starts right away with the drums and synth layers and then the chant starts. It deals with the inner conflict of the protagonist. Well done Boys!!! Night was not afraid Fear - A clinking synth melody that sounds as if it comes from deep underwater and that also will be the leading melody. A voice that is not from this world. Those two parts guide you through the verses and soon a playful rhythmic construction appears on the scene.
During the chorus or that what seems to be the chorus, you will notice a sudden change in the vocals. They are heavily pitched and processed so the almost sound like female vocals. The vocals are also surrounded by dense strings and pads. Stalkers - Have you ever had the feeling to be followed? The protagonist is fully aware of the fact that he's followed. The story in 'Stalkers' is told from 2 different perspectives. The drums a very layered and diverse but nevertheless danceable and the synths are always bleeping which gives the Song a retro feeling.
What used to be - Now we're coming to one of my favourite songs on the album. BOX are fortunately able to fill it with enough diversity, so it never gets boring. The monotonous and pumping beat is beefed up with some really nice sounds and effects. The Place - A beautiful slow-ish and dreamy ballad. Later also slow drums appear. Redefined - From a balladry track, we now come to a faster and more danceable track. It also seems like a breakthrough for the protagonist. And I was not afraid anymore Crossroads - The title track of this album is a great club anthem and will surely appear in many DJ sets all over the world.
It has all the requirements, necessary for that that. A demanding and pumping beat, reinforced with some crunchy and distorted synth effects, that encourages dancing. We have different moods expressed through the various processing of the voice and also a multi layered string arrangement for the atmosphere. Run for your Life - The final track, according to Stefan Poiss, also functions as a bridge to the next album.
Very slow but constantly, a wide synth gets audibly, just to get replaced by a classical arrangement. Still there are those sounds that are already a trademark for them, for example the processed voice of Stefan Poiss to create and display different emotional conditions and moods. The MIND. BOX universe is not reduced to music. BOX won't cease to exist after Dependent closes down. They will continue to produce and release music. So let's hope they will find a good Label very soon. Last but not least the artwork deserves to be mentioned.
It was created by Ingo Roemling and is a mixture of 3D Graphics and traditional drawn pictures. The booklet also contains a short story written by the Austrian Science fiction author Andreas Gruber and a code to unlock additional stuff. People who persistently claim that everything in the electronic genre sounds the same should have all Mind.
I did not think it possible to create such a rich, brooding blend of electro, techno and club sounds. I loved this abstinate duo when 'Lost Alone' came along, seemingly out of nowhere. Musically and technically, I don't think many can measure up to gentlemen Poiss and Hadwiger on their quest for perfection. There is no significant change in style or sound on 'Crossroads', but every element has been lovingly refined and out comes an epic piece of electronic history. The constant voice alterations are still present, but add more than they take away, in my opinion.
Processed, vocoded vocals better suit the mysterious darkness created through these epic, multi facetted soundscapes. A couple of tracks are left with only Hadwiger and his somewhat questionable English, suddenly bursting the cosy sci-fi bubble I have been ensconced in.
The many effects help blur the linguistic flaws more efficiently. The booklet treats us to a gloomy short story, starring the band's alter ego Black and his adventurous struggle with his own psyche. It makes for great reading while listening to 'Crossroads', fitting the musical theme brilliantly. Here and there Mind. But I suppose that's true of all geniuses. One of the best bands to be found on the Dependent roaster surely is M. B, and even though their previous album Dreamweb did not match the quality of their debut release Lost alone, this Austrian duo have reclaimed their full glory for this album.
Expect an astonishing big fat production with gently vocoded vocals that actually make sense in the whole mix. Let it be clear that this album is a feast for the ear of an experienced listener. Glowing beats bump you around the ears accompanied by well chosen layers of synths. The best of MIAB unites in tracks like Amnesia or Fear showcasing their qualities which should deserve major airplay, but we all know how easy that is sic.
Lets see who will pick up this band now that Dependent has decided to call it quits. Einzigartig, das trifft es wohl. Man kann es nicht genug betonen. Ebenfalls im Booklet enthalten ist ein Code, der zum Download dreier weiterer Songs berechtigt. Doch man kann ganz sicher sein, dass sich andere Labels nach Mind. So, it should come as no surprise that their musical projects take on elements of gaming. Specifically, starting with their debut, Lost Alone, MIAB have creative a consistent narrative for all of their releases, the lastest of which, Crossroads, finally gives the listener key insight into the narrator Mr.
Black and his motives. I rarely make suggestions on album's cover art or how one busy their music, but I must urge that anyone wishing to obtain Crossroads after this glowing review, should really purchase a hard CD vs. A little like an auditory Bourne Identity, Mr. Black's mission and identity are virtually unknown. He often calls Mr. White presumably his boss for instructions and the listener embarks on a journey for understanding.
When we last left Mr. Black, he was submerged in water and has just been set free by the 'Sleepwalkers'. The track 'Amnesia' shows that even though the events and motives are unclear, there is no turning back. The path of destiny is set; and it is up to you and Mr. Black to find the truth. If this starts to sound a little like A Scanner Darkly, I'm certain it is no accident. There is an intentional sci-fi element and by proxy, nourish element to all of mind. The crucial thesis that man is walking through the world in an uncertain state and possibly controlled by a machine, goes as deep even as the band's namesake.
Paranoia, dreams and loss of identity flood songs like 'Into the Night' and 'Stalkers'. Tempered by retrained electronics, the sound dictates the pace of the narrative. Without the addition of pounding guitar there is almost a dream-like quality to the music that makes mind. The most compelling aspect of Crossroads is the emotion it produces. Call it emo-electronica if you will, but the pop-oriented sound versus, say, the cold industrial of their musical peers becomes the heartbeat of Mr.
The warmth creates empathy within the listener for the plight of the narrator. To draw a theatrical parallel, while Harrison Ford's character in Blade Runner searches for the same kind of understanding in a machine-driven world, there is never a feeling produced by him; or at the very least, only minimal glimpses of humanity.
While, MIAB venture into the same sci-fi territory, they manage to humanize their character through their sonic graphic novel. Black but a new beginning as well. Black maybe reaching his moral crossroads, but mind. Doch bleiben wir beim Wesentlichen, der Musik. Wer M. Doch auch diese verfallen keinesfalls in plumpe Strophe-Refrain-Strophe-Schemata. BOX hier attestieren, fernab von allen stumpfen Trends, die derzeit die Szene beherrschen. Dubbi, dubbi e ancora dubbi. Non che pecchino di preparazione professionale, ma questo terzo episodio non mi convince in misura sufficiente da poter dare un giudizio fulmineamente positivo.
I concetti delle liriche proposte navigano in lungo e in largo attraverso argomenti che vagano tra storie di solitudine, paura, self control, esplorandone e sviscerandone l'essenza, esse non risentono quindi di alcuna incomunicabilita' ma 'solamente' di un concept che ha gia' offerto tutto il possibile da tempo. Qualche valida prospettiva multidimensionale si avverte con 'Into the night', ritmata e danzereccia frangia electro, levigata a lucido da synths generanti arie di buona levatura.
Un piano d'atmosfera introduce 'The place' electro-meditativa che si procurera' un posto di prestigio nella top ten delle songs piu'cerebrali dei MIAB. Markus Hadwiger e Mr.