{"id":2633,"date":"2022-08-26T03:24:28","date_gmt":"2022-08-26T01:24:28","guid":{"rendered":"https:\/\/gruebelbach.de\/?page_id=2633"},"modified":"2022-09-05T01:41:51","modified_gmt":"2022-09-04T23:41:51","slug":"album-rock-dots","status":"publish","type":"page","link":"https:\/\/gruebelbach.de\/en\/presse-infos-zu-releases-von-konrad-gruebelbach\/album-rock-dots\/","title":{"rendered":"Press Release \u2797 ROCK DOTS"},"content":{"rendered":"\n

Versions in other formats:<\/em> ODT<\/a> \u2013<\/strong> PDF<\/a><\/p>\n\n\n\n

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KONRAD GR\u00dcBELBACH returns with second album ROCK DOTS<\/strong><\/strong><\/p>\n\n\n\n

Release: Nov 25, 2022<\/strong><\/p>\n\n\n\n

First Single ROCK DOTS (Release: Sep 16, 2022)<\/strong><\/p>\n\n\n\n

 Listen to the single ROCK DOTS \u2013<\/strong> HERE<\/strong><\/a> \/ Watch the VIDEO \u2013 <\/strong>HERE<\/strong><\/a><\/p>\n\n\n

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<\/a>Click HERE for hi res image<\/a><\/p>\n\n\n\n

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Aug 26, 2022 (Potsdam) \u2014 Konrad Gr\u00fcbelbach <\/strong>will release his second album ROCK DOTS [Gr\u00fcbelSound]<\/strong> on Nov 25, 2022. It follows BROTESTSONGS (2020), sung and murmured in German. The prelude to the album ROCK DOTS is made by the single with the same title ROCK DOTS on Sep 16, 2022. Listen in advance to the single ROCK DOTS<\/strong> \u2013 HERE<\/a>. You are welcome to watch the music video<\/strong> \u2013 HERE<\/a>. Pre-order\/Pre-save <\/strong>album ROCK DOTS \u2013 HERE<\/a>.<\/p>\n\n\n\n

\u201cThe ROCK DOTS are highly necessary from my point of view – in a border area of music history and my own biography. After all, the \u00dc in my last name puts me under the spell of the Rock Dots or also R\u00f6ck D\u00f6ts, which came up in 1967. What bands like Blue \u00d6yster Cult or Mot\u00f6rhead have in common is that they turned a feature of German written language into radical chic. In typography, Rock Dots are the mark of Cain of the evil German. The fact that I\u2019m switching to English for this (and probably some following) has a conceptual reason here: that we\u2019re seeing Anglicization in general, culturally and economically. Every German-language music release is already interrelated to an overall Americanized environment. I take the two points, the trema of one of the German umlauts that international heavy metal has claimed for itself, as loopholes leading into my own play with the English language. And, of course, a musical vocabulary that is never so clear genre-wise with me. The first album BROTESTSONGS was certainly something singer-songwriter-like with little excursions into electric guitar rock, Latin and a bit of jazz. ROCK DOTS has more electric guitar and synth sounds, with styles from the rock, jazz rock and electronica spectrum.<\/em>The level of lyrics and music videos for several songs again opens up several perspectives on the international motherland of pop. I\u2019m talking about pop culture in general as well as the horror genre in particular, or carrying on the voice of media theorist Marshall McLuhan, who was as profound as he was funny.\u201d<\/em><\/p>\n\n\n\n

The opener, the single ROCK DOTS<\/strong>, greets the listener with a half-slinky, half-velvety acoustic guitar sound composed of three sound tracks. Gr\u00fcbelbach himself can no longer recall how these three were mixed up altogether. At any rate, he had never heard anything like it himself. Among other things, it was thought that it could be an acoustic sound close to the distorted electric guitar. The use of the classical guitar with nylon strings was a conscious decision for the song, which is supposed to form a smirking opposition to what primarily determines the electric guitar: the ubiquitous English-language rock music of Anglo-American production.<\/p>\n\n\n\n

With the song lyrics, on the one hand, a dialogue is opened with the listeners, in whose own written language the double umlaut dots almost do not exist and who are now confronted with Gr\u00fcbelbach. On the other hand, the history of the \u201crock dots\u201d is rolled up, which began in 1967 with the band Blue \u00d6yster Cult. The singer of Mot\u00f6rhead Lemmi Kilmister (1945-2015) is directly addressed because of his predicate for the un-English \u00d6 in his band name: \u201cI thought it looked mean.\u201d<\/p>\n\n\n\n

This welcoming gesture to the non-German-speaking world on the part of Gr\u00fcbelbach opens up various approaches to the English speaking pop world for the following nine other songs on the album ROCK DOTS.<\/p>\n\n\n\n

With the second single SPRAY<\/strong> (release: Oct 7, 2022) Gr\u00fcbelbach is probing a terrain somewhere between dubstep, deep techno and progressive house and is pumping quite decent beats. The whole thing is an ode to the sprayed something itself in its various manifestations. The song is accompanied by its own music video<\/strong> and the short documentary \u201cInventing \ud83d\udd0b SPRAY | The \u2797 ROCK DOTS Papers 1\/3\u201d<\/strong> on the Gr\u00fcbelSound YouTube channel<\/strong><\/a>.<\/p>\n\n\n\n

OUT OF ORDER <\/strong>verbally targets a certain \u201cMickey Mouse\u201d, who is accompanied by a bird. The experience of the fragile and precarious that characterize recent times of crisis are echoed in this song (originally written in 2019). The press organ CHARTS INSIDER, which is close to Gr\u00fcbelSound, remarks on the song: \u201can audio-mix like a shower-cubicle-turned-rubber-cell\u201d.<\/p>\n\n\n\n

As the third single EASIER TO SAY<\/strong> will be released on Oct 28, 2022 – the most reduced to acoustic guitar track of the album. The audio mix brings the sound of the strings and the voice very close to the ear \u2013 corresponding to the intimate insight into the consciousness of a lyrical subject, who is confronted with messages and perceptions of the outside world and reflects on accessibility and inaccessibility.<\/p>\n\n\n\n

With the album release on Nov 25, 2022, the song SIGN OF THE PAGAN<\/strong> is pitched as the fourth single<\/strong>. To some trap patter of a hi-hat, Gr\u00fcbelbach first conjures up a gloomy metropolitan world in which the sprayer captures his sensation of being \u201csick of it all\u201d on the wall. The further verses switch to other modes of communication and expression \u2013 in business discourse and in esoterically grounded poetry. Song title and refrain knot these motifs into abstract formulations about zero points of semiotics and meaning as commonplace and the rhetorical figure of the oxymoron, which unites diametrical opposites.<\/p>\n\n\n\n

Also highlighted by a music video<\/strong> is MARSHALL ft. MetalEd<\/strong>. This is one of two songs on the album whose lyrical layer is collaged only from existing material \u2013 in this case, a 1967 film interview with media theorist Marshall McLuhan (1911\u20131980). In the selected passages, McLuhan rolls out a few of his basic ideas about media effects and the embedding of media systems in a larger whole. The musical form maybe classified as deep house, even if the guitar sound remains somewhat more faithful to the analog era and exhibits the pleasant psychedelia that surrounded McLuhan in his day. In this case, the song and music video are accompanied by another video satire<\/strong> on YouTube: \u201cMeeting \ud83d\udc41\ud83d\udde8 MARSHALL McLuhan | The \u2797 ROCK DOTS Papers 2\/3\u201d<\/strong>.<\/p>\n\n\n\n

With THE KING TURNS UP<\/strong>, a conspiratorially tuned electric organ first sounds in the twilight, from which further meander some other synth sounds. The electric guitar joins in only for a few interventions \u2013 in a subdued timbre that somewhat bluesily evokes the classic rock era again, but here at the same time mildly deconstructs alongside a few deliberately echoing pathetic moments.<\/p>\n\n\n\n

SILENT NIGHT<\/strong> is the other song with music video<\/strong>, the second from found footage \u2013 in this case the horror feature film SILENT NIGHT, BLOODY NIGHT (USA 1972, directed by Theodore Gershuny). As a commercial film in the public domain, it is well suited to re-use in an abbreviated form that may accentuate the original film, condensing and re-perspectivizing it, focusing on meaningful and ambiguous dialogue sentences.<\/p>\n\n\n\n

These clips are combined in the music video with a second movie: The children\u2019s film SANTA CLAUS VS. THE DEVIL (MEX 1959, directed by Ren\u00e9 Cardona). The slasher horror of the first film is contrasted with a farcical fairy-tale landscape with a few technical-futuristic gimmicks.<\/p>\n\n\n\n

The dialogue of several voices in the song derives exclusively from SILENT NIGHT, BLOODY NIGHT. The music video turns the \u2013 in Gr\u00fcbelbach\u2019s selection \u2013 rather enigmatical creep of Gershuny\u2019s film into a level of reality, which is juxtaposed with the personified struggle of good and evil with Santa Claus and the Devil as film characters of the older flick. The spacial structures of both films are interlaced to form a spooky unity.<\/p>\n\n\n\n

The last two songs, TIME DILATION<\/strong> and THE GREEN<\/strong>, are both very rhythmic variants with energetic-rock electric guitar in soloing mode. The former flatters the concept of time from the Relativity Theory, the latter lyrically takes into a vague natural landscape of the pure color green.<\/p>\n\n\n\n

The album is accompanied by an unprecedented, more than slightly satirical social media campaign<\/strong> with the centerpiece of memes on Instagram<\/strong> (https:\/\/www.instagram.com\/gruebelbach.music<\/a>), which also repeatedly refer to music and sketch videos<\/strong> via YouTube<\/a>.<\/p>\n\n\n\n

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TRACKLISTING<\/strong><\/strong><\/p>\n\n\n\n

1. Rock Dots<\/p>\n\n\n\n

2. Out of Order<\/p>\n\n\n\n

3. Sign of the Pagan<\/p>\n\n\n\n

4. Easier to Say<\/p>\n\n\n\n

5. Marshall ft. MetalEd<\/p>\n\n\n\n

6. The King Turns Up<\/p>\n\n\n\n

7. Spray<\/p>\n\n\n\n

8. Silent Night<\/p>\n\n\n\n

9. Time Dilation<\/p>\n\n\n\n

10. The Green<\/p>\n\n\n\n

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About KONRAD GR\u00dcBELBACH:<\/strong><\/strong><\/p>\n\n\n\n

The biography of Konrad Gr\u00fcbelbach runs diagonally to the dimensions of space and time by virtue of certain quantum procedures. Due to the expectations of a bourgeois environment, he first became a rock\u2019n\u2019roll advisor under German Bundespr\u00e4sident (\u00c4!) Walter Scheel<\/strong>, followed by some unsteady years as a freelancing publisher\u2019s editor and interpreter from Kyrgyz. For the sake of his first wife, the soubrette Hilda von Pufenkofen<\/strong>, Gr\u00fcbelbach spent four years in Madras<\/strong> (now Chennai), India. However, Gr\u00fcbelbach used his stay in India less as an educational trip than to write the first version of a novel with the working title \u201cKomet und Schweif\u201d (Comet and Tail). However, he discarded this completely after returning home.<\/p>\n\n\n\n

After earlier reserves had been depleted by the costly divorce<\/strong> from the von Pufenkofen, Gr\u00fcbelbach, who was still playing the piano at the time, took a five-year job as a copywriter and manager with hypno-coach Wahnfried Weller-Ziss<\/strong>. Through him, Gr\u00fcbelbach met H. P. Weller-Ziss<\/strong>, the editor-in-chief of the music magazine \ud83d\udc2e H\u00d6RMU<\/strong><\/a>. Supplied by H. P. with three discarded guitars and an electric bass, Gr\u00fcbelbach defected to the stringed instrument. For a longer time he navigated as a guitarist in purely informal circles.<\/p>\n\n\n\n

For several years now, Gr\u00fcbelbach has been making appearances on the Internet, in addition to his contributions to film history<\/strong> and a purely associative quantum theory<\/strong>. The first album BROTESTSONGS (2020) was described by Gr\u00fcbelbach as a \u201cself respecting success\u201d. H. P. Weller-Ziss qualified it as a \u201cmaster hogwash\u201d, but also as \u201cbaking mania\u201d. The released songs are flanked by memes via Instagram<\/strong> as well as all kinds of finds on Twitter<\/strong> and Facebook<\/strong> (besides Gr\u00fcbelbach\u2019s personal site<\/strong><\/a> also the #gruebelfind Music Tips<\/strong><\/a>).<\/p>\n\n\n\n

Photos and illustrations via Flickr<\/strong><\/a><\/p>\n\n\n\n

\u00a8     \u00a8     \u00a8<\/strong><\/p>\n\n\n\n

Connect with KONRAD GR\u00dcBELBACH<\/strong><\/strong><\/p>\n\n\n\n

Instagram<\/a> | Twitter<\/a> | Facebook<\/a> | YouTube<\/a> | LinkedIn<\/a> | Website<\/a> | Press Releases<\/a><\/p>\n\n\n\n

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