Sakropop „Bei Verwendung einer Beatband in der Lautstärke auf die Gemeinde Rücksicht nehmen!"
The “decreasing numbers of young participants in church services” was often explained in the 1970s with an “extensive marginalization of the lifeworlds of young people“ in the services. Perforce the church had to accept pop music as the most important form of expression of young people. The long, difficult and tragicomical integration of pop music in church is told by the history of Sakropop. Sakropop is “new church music with the stylistic devices of modern popular music”, according to Martin Bubmann, the Diedrich Diederichsen of that scene. Sakropop integrated the countless contradictions between religious dogmatism and the promise of freedom in pop music and brought them into an adequate form: Sakropop is perhaps the most alienated form of pop. There is nothing authentic about it! And that is, well, pop. Sakropop is probably the strangest sub-genre of all pop. It is practiced only within an almost invisible subculture. It is, well, incredibly strange music.
The pop theoretician Frank Apunkt Schneider will play highlights from his extensive sacropop collection and explain them. Frank Apunkt Schneider is a writer (for example for Testcard, monochrom, Bad Alchemy and Intro) and member of monochrom, Vienna. He just published Als die Welt noch unterging - Von Punk nach NDW.
monochrom, founded 1993, is an internationally active art-technology- philosophy collective, based in the Vienna Museumsquartier. The members of the group are: Johannes Grenzfurthner, Günther Friesinger, Evelyn Fürlinger, Harald List, Anika Kronberger, Franz Ablinger, Frank Apunkt Schneider and Daniel Fabry.
kommentiertes Plattenauflegen von Frank Apunkt Schneider, Bamberg (monochrom)