Die Bearbeitung Des Generalized Other Man Kann Ruhig Darüber Sprechen: A Sonic Journey Through Chaos and Calm
Alright, let’s talk about this album—Die Bearbeitung Des Generalized Other Man Kann Ruhig Darüber Sprechen by Beckmann! & Kommissar Hjuler Und Frau. It’s one of those records that doesn’t just sit in the background; it grabs you by the collar and shakes your soul. Released in 2015 under the German label Der Schöne Hjuler-Memorial-Fond, this thing is a wild mix of electronic experimentation, ambient vibes, and noise chaos. If you’re into music that makes you feel like you’ve stepped into someone else’s fever dream, this is for you.
Now, I gotta say, the tracklist reads like chapters from an abstract novel. Tracks like Hjulersschicksalslied 04 (Phasen) and Hjulersschicksalslied 06 (Taylor Swift, Theodor Fontane, Mark Twain, Und Christa Wolff) stuck with me—not because they’re easy listening but because they’re… well, kinda unforgettable in their own weird way.
Take Hjulersschicksalslied 06, for example. Yeah, the title alone sounds like some avant-garde poetry slam. What got me was how it mashed together these fragments of cultural references—Taylor Swift? Really? And then boom, there’s Theodor Fontane lurking in the shadows. The track feels like overhearing snippets of conversations at a crowded café where everyone speaks a different language. There’s a layer of static-y noise underneath, almost like white noise on steroids, but somehow it works. You don’t listen to this track so much as experience it. It’s messy, confusing, and oddly comforting all at once. Kinda like life itself, right?
Then there’s Hjulersschicksalslied 04 (Phasen). This one hit me differently. It starts off slow, almost meditative, with these long stretches of ambient tones that make you think you’re floating through space or something. But halfway through, BAM—it shifts gears completely. Suddenly, you’re bombarded with sharp, jarring sounds that feel like your brain glitching out. Honestly, I wasn’t sure if I loved it or hated it at first. But after a few listens, I realized it’s not supposed to be “liked” in the traditional sense. It’s more like staring at a painting that doesn’t make sense until one day, it does.
This whole album is like that—an emotional rollercoaster that refuses to hold your hand. It’s raw, unfiltered, and maybe even a little pretentious, but damn if it doesn’t leave a mark. Listening to it felt like being invited into someone’s private world, except their world is made entirely of broken mirrors and half-finished thoughts.
And here’s the kicker—I can’t stop thinking about why they named themselves after Taylor Swift and literary legends. Like, what were they trying to say? Or maybe they weren’t saying anything at all, and that’s the point. Maybe art doesn’t always need answers. Sometimes, it just needs to exist, messy and imperfect, like us.
So yeah, if you’re looking for something safe and predictable, skip this one. But if you want music that challenges you, confuses you, and leaves you feeling like you’ve been turned inside out, give Die Bearbeitung Des Generalized Other Man Kann Ruhig Darüber Sprechen a shot. Just don’t blame me if it keeps you up at night.
