Philipp Gropper’s PHILM at Loft

tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro

doors: 8.00 pm CET
concert starts:
approx. 8.30 pm CET

Sounds like this:
https://youtu.be/qvnWXm6mWF8

PHILM hits the bull’s eye of the zeitgeist target. No irony, no quotes, no intellectual theatrics, just sound and technique.
The four musicians have little to do with postmodernism. Instead of individually, they prefer to shine as a group. They are not concerned with association and deconstruction, but with creating and sharing. How old-fashioned! How revolutionary! The sound of PHILM is dense and fast and still has a lot of air, it is allowed to float and is allowed to fade out. It doesn’t scream in your face for no reason. Landfermann and Steidle are not just the rhythm section, they are constantly building a tightly interlocked sound machinery. Gropper and Stemeseder drive them, make them change tempo or temperature hellishly fast. Philipp Gropper’s saxophone doesn’t have the smooth lard of bygone days. It sounds edgy, yet never cold, for his motivic ideas are often of a spherical melancholy. Elias Stemeseder has a knack for strangely enraptured and at the same time haunting melodies and yet he can also do otherwise. Then he flips another atmosphere switch with electronic interjections or excursions in the direction of noise....

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tickets:
regular: 14,- €uro
students, disabled persons: 7,- €uro

doors: 8.00 pm CET
concert starts:
approx. 8.30 pm CET

Sounds like this:
https://youtu.be/qvnWXm6mWF8

PHILM hits the bull’s eye of the zeitgeist target. No irony, no quotes, no intellectual theatrics, just sound and technique.
The four musicians have little to do with postmodernism. Instead of individually, they prefer to shine as a group. They are not concerned with association and deconstruction, but with creating and sharing. How old-fashioned! How revolutionary! The sound of PHILM is dense and fast and still has a lot of air, it is allowed to float and is allowed to fade out. It doesn’t scream in your face for no reason. Landfermann and Steidle are not just the rhythm section, they are constantly building a tightly interlocked sound machinery. Gropper and Stemeseder drive them, make them change tempo or temperature hellishly fast. Philipp Gropper’s saxophone doesn’t have the smooth lard of bygone days. It sounds edgy, yet never cold, for his motivic ideas are often of a spherical melancholy. Elias Stemeseder has a knack for strangely enraptured and at the same time haunting melodies and yet he can also do otherwise. Then he flips another atmosphere switch with electronic interjections or excursions in the direction of noise.
PHILM distills the classic quartet of the 60s: no irony, no quotes, no intellectual theatrics, just sound and technique.
Sandra Hupfauf

„The longer I make music, the more important it is to me and the more clearly I perceive what music, what a band transports, what message it sends out. This essence, which can be experienced through the transcending quality of music, is what it’s all about, and it is absolutely independent of stylistics or instrumentation.
Pure virtuosity, pure intellectual flights of fancy, or the ubiquitous soft-spokenness bore me; what matters to me is directness and aura. I’m very attached to tradition, but I’m constantly trying to understand and carry forward its vitality and freshness, which in each case could only arise in a temporal context and at the same time ensured the old masters their timelessness.“ PG

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