Originally released on cassette in 2016 on Feathered Coyote Records. Brannten Schnüre are one of those neo-romantic music experimentalists who add to a long tradition of celebrating folk tale and exoticism. Their meticulously crafted loops, hesitant melodies and heavily nostalgic lyricism could easily be translated to what the late philosopher and music critic Mark Fisher called “hauntology”, a postmodern longing for a lost future. To describe the beauty of Geträumt Hab’ Ich Vom Martinszug, however, the term seems somewhat dissatisfying. Romanticism is a hard nut to crack in the Anthropocene, and Brannten Schnüre’s realms of the cerebral are too deeply ingrained in a German tradition of storytelling to define them within popular paradigm. Geträumt Hab’ Ich Vom Martinszug was recorded in 2014 in Würzburg and functions as the autumn part of the band’s seasonal cycle quadrilogy (the other segments being Aprilnacht (SicSic), Sommer im Pfirsichhain (Aguirre) and Durch unser zugedecktes Tal (Youdonthavetocallitmusic)). It deals with the Saint Martin’s parade, a mostly European tradition to celebrate the medieval spirit of Saint Martin of Tours, friend of children and patron of the poor. Around November 11th, children come out on the streets with lanterns and sing ancient songs in exchange for sweets. It’s a period of snugness and expectation, of yearning and dreaming, and therefore a consummate subject for the duo to scrutinize. To the adult’s ear the dream of the Saint Martin’s parade isn’t all that consolatory. The dark and slow loops of Christian Schoppik rather sound like motifs for a welcome paralysis. Sometimes as a gentle backdrop for vocals by Katie Rich and Schoppik himself, the repetitive structures serve as tricksters that trade innocence for the uncanny. The dream becomes a fever dream which quickly absorbs the listener into a vacuum, an eternal post-panic attack semi-relief. Maybe that’s the amazing paradox of Brannten Schnüre. The space they occupy is never comforting — as if being locked up inside a Carl Grossberg painting — but it’s also a subliminal aural zone you do not want to leave. It’s music as being, as a stream, devoid of climax or catharsis. And because it is flux and being, and exists to be taken, it speaks in art’s purest form. Layout by Johannes Schebler. Mastered by Pieter De Wagter. Edition of 500.