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At some point in 2000, having recorded three instrumental tracks on a little tape recorder, Daniel Buerkner walked into the office of the renowned german underground label Hausmusik. The tape caused interest and curiosity; the label from then on operated as a close encourager and partner of conversation in the future ongoing recording process.
In 2002, a collection of those early tape recordings was released, the flung ep. The tracks were mainly instrumental assemblages and based on puristic guitar lines, drum machines and organs, arranged and recorded at a foresty bavarian home.
During home recordings in Munich and Berlin in the following two years, leaving the four-track-recorder behind, the music started to develop, turning into a wider room held together by simplistic guitars, silent arrangements, modest complexity and - more and more - structures of reluctant singing. Field recordings were collected and electronic elements carefully formed into shape. A tight collage of song structures, instrumental sequences and fragments was assembled.
March 2004 saw the release of the result, the album Croquet. Coming with it, a wide echo in the german music press alternated from enthusiastic confusion about letting a piano note ring into silence for one entire minute, to a warm welcome of the intimacy of a child s time-capsule.
Having played live with several friends throughout the last years, Daniel Buerkner is currently playing with Sebastian Zehetbauer, who will take over bass and guitar playing. Daniel is singing and playing guitars, while a third inconspicuous band member rumours are that he seems to be called electric kesimesi should fill the room with electronic notes and noises.
It worked alright so far, on tour with Xiu Xiu in 2004 and on previous shows with Azure Ray, Iso 68, Carlo Fashion and others... So why would it change for the Rhâââ Lovely ?
-) 2002 : 'Flung' on Hausmusik.
-) 2004 : 'Croquet' on Hausmusik.
Soulseduction's point of view :
Croquet is a deliberate game that demands careful consideration. A calm hand, precision and skill are all necessary to be the first to knock the ball against the little wooden picket, signifying victory. But depending on the distances between the wickets, it may take hours until one reaches this goal.
Daniel Buerkner, the young man behind Squares on Both Sides, played "croquet" in Munich up until the year 2002, but now he‚s brought the game to Berlin. If one were to thumb through his record collection, they would find such diverse musical influences as Will Oldham, Papa M and Satie, as well as Autechre. Now, Buerkner presents the world with 11 new songs of his own.
Cautiously manouvering, gently nudging on and deliberately contemplating the next move, the music has much in common with its title. While Squares‚ previous record still had to manage without singing, Buerkner‚s shy, almost fragile voice can now be heard on Croquet. With timid assertion it moves with the chords, which are themselves unique in their modesty and unobtrusiveness.
Croquet doesn‚t disclose all of its personal inner-workings upon the first listening, maybe not even upon the second. It is an honour for the attentive listener to be entrusted with so much openly displayed emotion. It is like being taken by the hand and led into an attic, left alone for hours to discover one‚s past with all those dusty boxes and memorabilia. Audio samples, collected over the years with a portable tape recorder, make the record a surprising journey to new discoveries with each new listening, and leave one pondering what has just been heard. Daniel Buerkner is rich in time and patience.
Time and patience enough to cushion the sound of a tone with plenty of space, allowing it to fade away and die completely. Time and patience enough to expose the very roots of the emotions which have been expressed. The songs are concise and accurate, almost skeletal in nature, each note existing out of pure necessity. A tender album without theatrics, Croquet exists as a shy yet unabashed collection of songs.
Time passes without one taking notice, as the music gently scrapes at hidden memories. An image of a child‚s time-capsule comes to mind. Perhaps it‚s filled with glass marbles, colourful feathers, a toy prize from a box of Cracker Jacks or a small religious icon?a little stone from the beach. Wistfully, the objects are turned over, caressed one by one. An emotional inventory is being taken: nothing short of emotionally complete developments is presented on Croquet.
What comes across so modestly is in fact quite an achievement, for which recognition and thanks are due to Squares on Both Sides. The music will transport you to the distant corners of your own emotions, if you just let it.