Performing in the church at WAVES festival also felt rather extraordinary. I like to look to play for the stars and trees.īoth of those shows you mentioned were exceptional! Performing “Cybernetica” at Pop-Kultur was the first time I’ve created and shared a piece that was mixing everything together – power-point presentation meets pop-concert and personal diary mixed with advertisements. Playing outdoors at night can be great for example. I love performing in spaces that were not intended exclusively for the purpose of giving concerts. The way we experience sensory input is so complex and the set and setting are a big part of that. I saw you lately twice, the first time at Pop-Kultur Berlin festival where you performed a stunningly great commissioned work, and then one week later in Vienna in the quite impressive Canisius Kirche.ĭo you feel that the places you perform your music have actually a big influence on the concerts?Ībsolutely. In that way I guess part of my process is making that invisible wrapping somehow visible – or rather integrating the meta layer into the work itself. It’s impossible for me to think about creating art or even making lunch for that matter without being aware of the meta-processes that are integral parts of what is being made. Whatever we make and experience exists in relation to everything else. Marshall Mcluhan said “Environments are not passive wrappings, but are, rather, active processes which are invisible.” Are you in general a person that reflects a lot about her art as well as life in the bigger picture? The liner notes to „Remote Control“ start quite reflective with re-questioning the state of now and its importance for music. Lucas added some nice melody lines and helped with the arrangements on a few songs. After I felt like I did all I could, I decided I wanted to bring the songs to another level production wise, so brought the songs to ET (who co-produced and mixed the record and also produced the Fenster album “Emocean”) Together we re-recorded certain elements, especially vocals, and went deeper into refining the sound world. It was my first time producing, so I was really learning everything from scratch and needed to see what I was capable of. For my first record “Remote Control” I composed and produced all the demos more or less on my own. With Discovery Zone I have a much more personal and introspective way of working. We tried to cultivate our own little world in which we’re creating together like parts of a machine – transcending our individuality to become something else. I specifically ask this as you did work together with your fellow Fenster band member Lucas Ufo (World Brain) and producer ET.įenster is an incredibly collaborative project. And I feel like I’m just getting started. I honestly didn’t know what would come out of it (if anything at all) but now I’m happy I did it. I was following my intuition and curiosity – two important motivating factors in any decision making process for me. I think, paradoxically, one of the motivating factors was that I was afraid to do it, and I needed to understand why. But I definitely came out in wonderland 🕳 🐇 Starting Discovery Zone felt like taking an existential leap of faith down the rabbit hole into the unknown. It was super important for me to figure out who I was on my own – both personally and musically. For different reasons, after our last record came out, we all felt like we needed a break from planet Fenster. Over the course of about eight years we made four records and a feature length film and toured all over Europe and North America. It happened really quickly and was a totally unexpected plot twist in the story of my life. JJ: Fenster was the first and only band I was ever in. JJ, you are also a member of the band Fenster. Recently she presented the project with the stunning performance “Cybernetica” at Pop-Kultur festival in Berlin, right now she is touring around Europe. Most Kaput readers know JJ Weihl so far as the charismatic singer of the Berlin based modern pop band Fenster, portrayed on kaput by Lisa Schmidt-Herzog three years ago. Since then the Manhattan born artist went for what she calls an “existential leap of faith down the rabbit hole into the unknown” and started Discovery Zone, a solo project exploring the deep web of 80s pop and beyond. Discovery Zone, photographed during “Cybernetica” performance at Pop-Kultur-Festival at Maschinenhaus (Photo: Camille Blake)
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