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Shadow Position

There are four tracks, four different windows to look out from our studio in D�sseldorf into the street and their different layers of sound. Four horizons, four spy holes in the door, four eyes, four shopping windows. Four landscapes. Witness the electric city and the power house. Strafe F.R. is sitting inside the fuse box. The electric chirp of the night. The socket in which we sleep. The dog comes, in order to devour Strafe F.R. First, he eats the rebellion and next he bites the Strafe. The house and the body, both are earthed and the veins are vibrating. Between the third and the fourth hour of the morning we enter the realm of insomnia. You fly by not using an airplane. An old woman is cleaning the door bells with her own spittle. The old man is distilling schnapps in his back garden. The swimmers are gliding through the day on top of a greasy film. The reception is a flare into seconds until it fades away into noise again. The kettle drum gives the rhythm of breathing, the bass determines the time. You stumble forward, forward into the next day. From our window we see a public building where there exists a toilet, it's porcelain shows the most beautiful craquel� fissures. There is an historic poster of Lenin. It is fixed on a garden fence in the landscape and the stinging nettles grow over it softly swinging in the wind. There are shadows but there is also brightness, this means there are complementary colors and contrasts, movements, and reflection until there is stillness. We see the back-breeding of cattle in the Neanderthal age and at the same time we look into the large heating room of an art museum, where we observe tubes and their upstream pressure regulators.
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