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Philipp Krebs: inherence

(2023)

Seit dem Ende der 1970er Jahre hat der KORG MS20 als einer der ikonischen Synthesizer die Produktion von Popmusik nachdrücklich beeinflusst. Sein charakteristischer Klang bildet die Vorlage für unzählige digitale Doubles und Nachahmungen, die den Sound des Pop bis heute prägen. In »inherence« stellt Philipp Krebs diese Beschaffenheit in den Mittelpunkt: Die rohen, analogen Sounds des KORG MS20 treffen auf den digital-elektronischen Sound von Pony Says. An dieser Schnittstelle entspinnt sich eine gegenseitige Infiltration: Wer liefert die (technische) Vorlage, wer die Reproduktion?

Philipp Krebs
© Nikola Kaloyanov

Philipp Krebs (*1994) studied composition with Martin Schüttler and Marco Stroppa at the Stuttgart State University of Music and Performing Arts, philosophy at the University of Stuttgart and composition with Gordon Kampe at the Hamburg University of Music and Drama.

»In my youth, I was fascinated by the products of the (pop) culture industry and have not let go to this day. As an enthusiastic consumer and ideology-critical recipient of cinema films, video games or streaming formats, I am always on the lookout for the interfaces where trends in pop and high culture intersect and–consciously or unconsciously–influence each other. In my work in recent years, in addition to notation-based pieces, I have therefore been primarily concerned with work for theater, film and installation, in which sound design and music are an essential part, but are often not the focus. As a composer, I examine current trends and tendencies in dealing with the design of sound in the media of the pop cultural mainstream; starting from the question of how different art forms operating with sound influence each other across genres.«

Philipp Krebs

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Philipp Krebs: inherence

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