![\"Mumbai](\"https:\/\/www.gruenrekorder.de\/Photos\/wenzel_mumbai_cd-gruen86.jpg\" "\\"Mumbai")
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Mumbai Diary | Bettina Wenzel<\/a><\/strong><\/p>\n FIELD RECORDINGS\/VOICE\/AKAPPAIKINNARI<\/p>\n Gruen 086 | Audio CD > [order<\/a>]<\/p>\n MP3 & FLAC > [order<\/a>]<\/p>\n Reviews<\/a><\/p>\n <\/p>\n 1. electric cricket \/\/\/ 4:58<\/p>\n 2. crowded \/\/\/ 3:47<\/p>\n MP3<\/a><\/p>\n 3. the day before yesterday \/\/\/ 4:10<\/p>\n 4. long hours \/\/\/ 8:02<\/p>\n 5. back courtyard \/\/\/ 5:59<\/p>\n MP3<\/a><\/p>\n 6. both sides \/\/\/ 2:51<\/p>\n 7. scraping ice in june \/\/\/ 5:10<\/p>\n 8. downfall \/\/\/ 4:13<\/p>\n MP3<\/a><\/p>\n 9. solo \/\/\/ 4:57<\/p>\n <\/p>\n 9 Tracks (44\u203210\u2033)<\/p>\n CD (500 copies)<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n VOICE as Instrument of Affection<\/p>\n Sound diaries have their seductive appeal. Unlike written memoirs, sketches, cartoons and photo journals they share a common feature with film documentaries – the temporal sound-image. Deprived of visual information (and of predominance of sight), sound-image attracts listeners\u2019 ears, penetrates their bodies, permeates through their minds, initiating the process of imagination and articulating lived as well as imagined experiences. No escape; intrusive meanings are always present. In contrast to moving images that reduce space and vision to the surface and depth of a screen, sound-images are capable of not only extending the listeners\u2019 universe but also making them aware of and signifying the impulses within their bodies. If combined with appropriate musical expression, as in the case of Bettina Wenzel\u2019s Mumbai Diary, the ambition to represent the unique artistic intention in correlation with genius loci and intimacy of a place where one finds oneself in a particular moment succeeds in producing interaction.<\/p>\n <\/p>\n Wenzel\u2019s abstract voice finds proper structural support in the concrete soundscapes (of urban origin) she created from the field recordings during her artist residency in Mumbai; it bodily spaces the intervals and foldings that house voice as their natural constituent. Although we do not see her, we feel that she is singing with her entire body; it is the body which paints the vocal lines and pointillistic textures onto the surface of a sound time-crystal. The resulting form was neither composed nor improvised; it was created by affection. As we know (from Bergson and Deleuze), the affection is coupled with the body that offers the internal space for the act of affection.<\/p>\n <\/p>\n Mumbai Diary is therefore not an itinerary, it does not provide listeners with any space-time coordinates or information from the life of its author. Rather it is a sound album, a collection of sound-images, thoroughly arranged by the memory as well as by the taste and style preferences of its compiler, composer and adapter in one person. She compiles out of the obsessive need to give a new meaning to the recorded fragments of her memory. She composes because she desires to manifest her relationships with the world and other people through a new meaning that is no longer dependent on the old codes and conventions of art communication and music making. And finally, she adapts the compiled and composed result to her instrument of affection \u2013 VOICE. It is the VOICE that brings into the memories of Mumbai, now embodied in the sound-images, the affection from outside – from the body of their originator. And the same VOICE generates later the affective response in the listeners, whose memories are not bound to the above mentioned genius loci. The VOICE becomes the guide through the unknown soundscape, thanks to the VOICE the soundscape becomes familiar to the listeners.<\/p>\n <\/p>\n So, what can listeners hear (and feel) during the affective sound walk Bettina Wenzel invites them to? Unconventional, extended vocal performance used as a means to define herself against a foreign culture. Pleasure of the immediate need to vocalize. Barthesian grain of the voice in full effect. Expressive voice escapades against sound patterns alienated from their original environment. Improvised vocal comment to an appropriated religious song disturbed by traffic noise. Suggestive percussive textures woven from metallic sounds and breathing noises. Unidentifiable sound objects versus clear vocal intention. Unexpected juxtapositions of ambitious onomatopoeias and indeterminist formalisms. Potential stimuli to fictive narratives\u2026<\/p>\n <\/p>\n As the chronology and causal-consequent relations are no the focus of in this sound album, you can listen to its impressive sound-images-affections in random order. M.D. could stand for Mumbai Diary as well as for membra disjecta in this case.<\/p>\n <\/p>\n Jozef Cseres, aesthetician of arts<\/p>\n September 2010<\/p>\n <\/p>\n www.wenzelvoice.de<\/a><\/p>\n www.wenzelvoice.de\/mumbai<\/a><\/p>\n www.facebook.com\/profile.php?id=553258571<\/a><\/p>\n mail: bettina@wenzelvoice.de<\/a><\/p>\n <\/p>\n All COMPOSITIONS BY BETTINA WENZEL<\/p>\n FIELD RECORDINGS\/ VOICE\/ AKAPPAIKINNARI BY BETTINA WENZEL,<\/p>\n APRIL\u2013SEPTEMBER 2009, MUMBAI<\/p>\n MIXED BY BETTINA WENZEL, MAI 2010, COLOGNE<\/p>\n MASTERED BY JOKER NIES, JULY 2010, COLOGNE<\/p>\n PRODUCED BY BETTINA WENZEL<\/p>\n PHOTOS\/ DRAWINGS BY BETTINA WENZEL<\/p>\n Artwork BY CHRISTA MAREK<\/p>\n TEXT BY JOZEF CSERES<\/p>\n \u00a9 Bettina Wenzel 2010<\/p>\n <\/p>\n SPONSORED BY KUNSTSTIFTUNG NRW<\/p>\n <\/p>\n Soundscape Series by Gruenrekorder<\/p>\n Gruenrekorder \/ Germany \/ 2010 \/ Gruen 086 \/ LC 09488<\/p>\n EAN 4050486032947 \/ GEMA<\/p>\n <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Annette Eckerle | Neue Zeitschrift f\u00fcr Musik<\/a><\/strong><\/p>\n Bettina Wenzel ist Stimmk\u00fcnstlerin und Komponistin. Das Material der Komponistin ist das Material der Stimmk\u00fcnstlerin und umgekehrt. Ihre Ausbildung hat Bettina Wenzel von 1992 bis 2001 am Centre Artistique Roy Hart in Frankreich absolviert, nach der Methode des Stimmspezialisten Alfred Wolfsohn und dessen Sch\u00fcler Roy Hart. Die Idee Wolfsohns von der totalen Entgrenzung der Stimme, womit in erster Linie ein Tonumfang gemeint ist, der jenseits der \u00fcblicherweise akzeptierten geschlechtsspezifischen Auspr\u00e4gung liegt, benutzt Wenzel in ihrem Sinne f\u00fcr intermediale Performances, f\u00fcr Stimmen-St\u00fccke, die inspiriert sind von den bewegten Bildern des Alltags, vom Sound einer Stadt, vom Klang einer Sprache. Wenzel betreibt im weitesten Sinne die Arbeit einer akustischen Kartografin der Gegenwart. Dass sie es dabei mit st\u00e4ndig in Bewegung befindlichen Grenzen zu tun hat, macht ihre Arbeiten wiederum auf wundersame Weise zu vitalen Momentaufnahmen, zu historischen Dokumenten, die dennoch nicht zu altern scheinen. link<\/a><\/p>\n <\/p>\n MusikTexte – Magazine<\/strong><\/a><\/p>\n <\/p>\n <\/p>\n Petr Ferenc | \u010cesk\u00fd rozhlas<\/a><\/strong><\/p>\n Betina Wenzel: Pohlednice z Bombaje<\/p>\n Nahr\u00e1v\u00e1n\u00ed ruch\u016f okoln\u00edho sv\u011bta je stejn\u011b star\u00e9 jako nahr\u00e1v\u00e1n\u00ed samo \u2013 mo\u017en\u00e1 jen o n\u011bkolik okam\u017eik\u016f mlad\u0161\u00ed, uv\u011bdom\u00edme-li si, \u017ee nejstar\u0161\u00ed zn\u00e1mou nahr\u00e1vkou je voskov\u00fd v\u00e1le\u010dek s p\u00edsn\u00ed Maru\u0161ka m\u011bla jeh\u0148\u00e1tko. Lovectv\u00ed zvuk\u016f je nicm\u00e9n\u011b discipl\u00edna roz\u0161\u00ed\u0159en\u00e1 a p\u011bstuj\u00ed ji takov\u00e9 popkulturn\u00ed ikony, jako je \u010cty\u0159l\u00edstek, i legendy industri\u00e1ln\u00ed hudby.<\/p>\n Okoln\u00ed sv\u011bt lze nahr\u00e1vat a pozd\u011bji zpracov\u00e1vat v\u0161elijak. N\u011bkdo vytv\u00e1\u0159\u00ed \u010dist\u011b dokument\u00e1rn\u00ed z\u00e1znamy, jin\u00fd exotick\u00e9 zvukov\u00e9 pohlednice. Francisco L\u00f3pez osvobozuje zvuk od ve\u0161ker\u00e9ho kontextu a vyd\u00e1v\u00e1 sn\u00edmky bez n\u00e1zv\u016f a obr\u00e1zk\u016f na obalech, tak\u017ee poslucha\u010di nezb\u00fdv\u00e1 ne\u017e opravdu pouze naslouchat. Christina Kubisch zase po m\u011bstech prov\u00e1d\u00ed skupinky z\u00e1jemc\u016f vybaven\u00fdch sluch\u00e1tky zachycuj\u00edc\u00edmi elektromagnetick\u00e9 impulzy bezdr\u00e1tov\u00fdch s\u00edt\u00ed, detektor\u016f v n\u00e1kupn\u00edch centrech a podobn\u011b. D\u00e1n Jakob Kierkegaard nahr\u00e1v\u00e1 subbasov\u00e9 podzemn\u00ed dun\u011bn\u00ed islandsk\u00fdch gejz\u00edr\u016f, Ameri\u010dan David Dunn sn\u00edm\u00e1 pouh\u00fdm uchem nesly\u0161nou \u010dinnost k\u016frovc\u016f.<\/p>\n N\u011bmeck\u00e1 um\u011blkyn\u011b Bettina Wenzel je p\u0159edev\u0161\u00edm zp\u011bva\u010dka, jej\u00ed album Mumbai Diary nahran\u00e9 v indick\u00e9 Bombaji je proto kombinac\u00ed ter\u00e9nn\u00edch nahr\u00e1vek a bezeslovn\u00e9ho zp\u011bvu, p\u0159ipom\u00ednaj\u00edc\u00edho ob\u010das projev Ivy Bittov\u00e9. V\u011bt\u0161\u00ed \u010d\u00e1st z\u00e1znam\u016f, do kter\u00fdch Wenzel zp\u00edv\u00e1, je dosti pohlednicov\u00e1 a exotiku z nich lze poznat na sto hon\u016f. Jako by zp\u011bva\u010dka sv\u00fdm hlasem komentovala album fotek z v\u00fdletu.<\/p>\n Poslucha\u010d, kter\u00fd m\u00e1 v oblib\u011b rafinovan\u011bj\u0161\u00ed, abstraktn\u011bj\u0161\u00ed zach\u00e1zen\u00ed s field recordings, bude albem Mumbai Diary mo\u017en\u00e1 zklam\u00e1n, stejn\u011b tak milovn\u00edk zvukov\u00fdch dokument\u016f, kter\u00e9ho bude ru\u0161it Bettinin zp\u011bv. T\u011bch n\u011bkolik abstraktn\u011bj\u0161\u00edch m\u00edst, ve kter\u00fdch se jej\u00ed hlas sejde s neok\u00e1zal\u00fdm z\u00e1znamem, jeho\u017e p\u016fvod nelze okam\u017eit\u011b ur\u010dit, za poslech sice stoj\u00ed, celkov\u011b je album na m\u016fj vkus ale pon\u011bkud m\u00e1lo zapeklit\u00e9.<\/p>\n Dozv\u00edd\u00e1m se z n\u011bj pouze to, \u017ee Bettina Wenzel m\u011bla hezk\u00fd v\u00fdlet.<\/p>\n link<\/a><\/p>\n <\/p>\n Andreas Fellinger | freiStil<\/a><\/strong><\/p>\n \u201eMumbai ist wie zwei Pole eines Magneten: anziehend und absto\u00dfend zugleich\u201c, erinnert sich die K\u00f6lner Vokalistin Bettina Wenzel an ihr halbes Jahr in der indischen 18-Millionen-Einwohner-Stadt, genauer in deren Stadtviertel Bandra. Die Kunststiftung Nordrhein-Westfalen und das Goethe-Institut hatten ihr dieses Arbeitsstipendium erm\u00f6glicht. Wenzel revanchiert sich f\u00fcr die Einladung mit einem akustischen Tagebuch. Einem Tagebuch, das allerdings nicht linear erz\u00e4hlt, sondern punktuelle Impressionen festh\u00e4lt, sie mit Fantasie dokumentiert, interpretiert und f\u00fcr vokale Assoziationen verwendet. So finden sich neben ihrer Stimmkunst diverse field recordings, von Stra\u00dfenszenen, \u00f6ffentlich gespielter Musik und verschiedenen Klangobjekten. Dar\u00fcber und dazwischen regiert Wenzels einf\u00fchlsame, in aller Einf\u00fchlsamkeit pr\u00e4gnante Stimme, die sie ab und zu, aber ohne technische Hilfsmittel, ins Unkenntliche moduliert. Tja, und dann finden wir endliche wieder einmal ein Poster einer CD beigelegt, darauf sehen wir eine gezeichnete Skizze der ersten zehn Tage von Bettina Wenzel in Mumbai.<\/p>\n link<\/a><\/p>\n <\/p>\n Aurelio Cianciotta | Neural<\/a><\/strong><\/p>\n of city traffic. Glimpses of a background with exotic music and citations that emerge alienated from their original context reassemble during atonal passages into extended audio emergencies that include metallic sounds, squeaks, gloomy lullabies and sighs. In „Mumbai Diary“ Bettina Wenzel shares with us an intimate universe, a deliberately fragmented and „gibberish“ narration, characterized by a precise geographical connotation, yet still very personal in the eccentricity of musical forms, intentionally ever-changing and sharpened by the possibility of intrusive meanings that always lurk in the delicate interweaving of stylistic connections. Here are iterations that, despite the many recordings made by the artist, have been largely rebuilt in a home setting – Wenzel’s Indian apartment – as part of the search for a sound quality that in the „road catches“ was merely hinted at. Finally we arrive at an intense sound, with nasal voices in harmony with the equally loud and evocative sounds of the eastern metropolis.<\/p>\n link<\/a><\/p>\n <\/p>\n Interview Bettina Wenzel | By Guillermo Escudero \/ LOOP<\/a><\/strong><\/p>\n German vocal artist, composer and improviser sound artist Bettina Wenzel works in different fields like performances combining voice, video and objects. Furthermore vocal compositions only and as improviser and performer she has been through out Europe, USA, and India. On \u201cMumbai Diary\u201d, her most recent audio work she has recorded a wide range of sounds that the city give: car engines, people talking and screaming, birds, religious chants, objects and of top of this Wenzel added her vocals works expressed by the different emotions she felt in relation with the sounds. A very deep work indeed.<\/p>\n www.gruenrekorder.de<\/a> and www.wenzelvoice.de<\/a><\/p>\n <\/p>\n Which relation has your vocals with the street sounds on „Mumbai Diary“?<\/em><\/p>\n \u201cIt\u2019s not so easy to give an answer, because the relation is created in a very intuitive way. By listening to my Mumbai field recordings as manifestations of the outside world, I listen in same time to the sounds of my inside world. Mumbai city was basically an unknown surrounding for me, where I didn\u2019t grow up or where I don\u2019t live normally. That makes that the sounds I hear are sometimes remaining without cognitive explanation. For example the bird sound you can hear in ‚Mumbai Diary‘ is the sound of a bird I\u2019ve never seen. But for me, the sounds that bird makes are more interesting than to know how it looks like. Because it confronts me to a new and fascinating world that makes me act and react. My vocal sounds are a kind of answer to what I hear. All vocal sounds are based on the emotions that I have at the moment I\u2019m listening to the street sounds. They are recorded separately from the field recordings and consequently based on remembered emotions.\u201d<\/p>\n <\/p>\n Which was the criterion to choose the street sounds during your stay in Mumbai?<\/em><\/p>\n \u201cI enjoy myself to be in a surrounding, where I can hear very spare and small sounds, getting my ears very sharpened, especially listening to noises coming from the street when I find myself inside a building. i made a lot of recordings of the city from inside my apartment, but those recording where not usable for the CD because they where to distant to represent the listening quality I had in reality. So I decided to produce some typical sounds inside of the apartment itself. I smashed empty plastic bottles – as I had to do every day – and recorded the sound, then added the vocal sound. Besides listening to small sounds I like to be overwhelmed by a big street sounds with high intensity as well. In Mumbai I could find and record those full and complex sounds during religious street feasts. Corresponding to this intense sound, I choose during the voice recording session a powerful nasal vocal sound and felt virtually being part of this joyful noise making street. In Mumbai diary you\u2019ll find very in time and small sounds and very powerful sounds as well. The criterion was to give the most diversity of sounds; this diversity is corresponding diversity of the city.\u201d<\/p>\n <\/p>\n How the different places where you have been influenced your vocal works\/performances?<\/em><\/p>\n \u201cEverywhere I go, I go there with my body and my emotions. All sounds I listen to, provoke a reaction in my body and my mind. This reaction is in my case transformed into vocal sounds. most of the places I went in Mumbai did trigger those reactions in an very intense way. So I recorded the sounds of those places by remembering my emotion later on. In a next step, I recorded the voice in a studio by choosing how to respond to the different sounds from Mumbai places and their special characters. During my 6-month residency in Mumbai, I also developed a vocal performance piece using four fans called \u2018black_fan_quartett.\u2019 in many places -almost everywhere- even in trains; I could listen to sounds of fans. Their shapes. Age and speed where influencing the sound in many ways and inspired me using this diversity for a composition.\u201d<\/p>\n <\/p>\n Which is the vocal work challenge the most?<\/em><\/p>\n \u201cI think, to get another idea of beauty. For me, vocal sounds have a special beauty- even the \u2018broken\u2019 ones. But only if they are related to an emotion and if that emotional power is then transformed into alternative vocal expression. The most challenging is to continue to search for this quality of voice beyond singing techniques or purely traditional criterions.\u201d Guillermo Escudero \/ January 2011<\/p>\n link<\/a><\/p>\n <\/p>\n Guillermo Escudero | LOOP<\/a><\/strong><\/p>\n This is the work of German vocal artist, composer and improviser sound artist Bettina Wenzel which consists in nine pieces created while she was attending as an artist-in-residence in Mumbai, India in 2009. She has studied vocal techniques, contemporary dance and dancetherapy in Europe and has performed her vocal works in Europe, USA and South Asia. On top of the field recordings of street sounds, found objects and religious musical ceremonies Wenzel makes guttural and breathing noises, high tones but also there is space for vocals that reach silence. The vocal sounds are neither composed nor improvised, is the own language of an artist that takes its own risk in her avant-garde proposal.<\/p>\n <\/p>\n Este es el trabajo de la artista vocal, compositora, improvisadora alemana, Bettina Wenzel que consiste en nueve piezas creadas durante su estad\u00eda como artista residente en Mumbai, India en 2009. Ella estudi\u00f3 t\u00e9cnicas vocales, danza contempor\u00e1nea y danza terap\u00e9utica en Europa y se ha presentado en Estados Unidos, Europa y Asia. Encima de las grabaciones de campo con sonidos de la calle, objetos encontrados y m\u00fasica de ceremonias religiosas, Wenzel realiza ruidos guturales y de respiraci\u00f3n, altos tonos pero tambi\u00e9n hay espacio para el silencio. Los sonidos vocales no son compuestos ni tampoco improvisados, sino que es el propio lenguaje de una artista que se la juega por propuestas arriesgadas y vanguardistas.<\/p>\n link<\/a><\/p>\n <\/p>\n Brian Olewnick | Just outside<\/a><\/strong><\/p>\n In which Wenzel deploys site recordings from Mumbai which are perfectly enjoyable, ranging from street sounds to musical ceremonies, but insists on threading them with her vocals which, generally speaking, are somewhere in Shelley Hirsch territory, admittedly not a destination I find very appealing. She’s good at what she does, her vocal pyrotechnics impressive I guess (sometimes sounding eerily like a shenai) but the question lingers: why? Why place oneself so prominently into the mix? What have you really added? I could imagine something more along the lines of Pisaro’s „Transparent City“ where the composer’s contributions are deferential to the recorded sounds, in this case, Wenzel’s vocals being just another element in the mix. But here, it’s far too much her, and what she does isn’t all that interesting. Where’s Ami Yoshida when you need her?<\/p>\n link<\/a><\/p>\n <\/p>\n Oreshkin Sergey | maeror3.livejournal<\/a><\/strong><\/p>\n \u041a\u0442\u043e-\u0442\u043e \u043f\u0440\u0438\u0432\u043e\u0437\u0438\u0442 \u0438\u0437 \u043f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0439 \u043c\u043d\u043e\u0436\u0435\u0441\u0442\u0432\u043e \u0444\u043e\u0442\u043e\u0433\u0440\u0430\u0444\u0438\u0439, \u0447\u0442\u043e\u0431\u044b \u043f\u043e\u0442\u043e\u043c \u0440\u0430\u0441\u0441\u043c\u0430\u0442\u0440\u0438\u0432\u0430\u0442\u044c \u0438\u0445 \u0438 \u0432\u0441\u043f\u043e\u043c\u0438\u043d\u0430\u0442\u044c \u043e \u0434\u0438\u0432\u043d\u044b\u0445 (\u0432\u043f\u0440\u043e\u0447\u0435\u043c, \u0442\u0443\u0442 \u043a\u043e\u043c\u0443 \u043a\u0430\u043a \u043f\u043e\u0432\u0435\u0437\u043b\u043e) \u0441\u0442\u0440\u0430\u043d\u0441\u0442\u0432\u0438\u044f\u0445. \u041a\u0442\u043e-\u0442\u043e \u043f\u0440\u0438\u0432\u043e\u0437\u0438\u0442 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<\/a><\/p>\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/preview\/gruen086_02.jpg\")
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\nDie vorliegende CD Mumbai Diary tr\u00e4gt all diese Charakteristika in konzentrierter Form geborgen schon in ihrem Titel. Sechs Monate lang war Bettina Wenzel im Jahr 2009 als Stipendiatin der Kunststiftung NRW am Goethe-Institut in Mumbai, Indien. Dort sind neben den Vorarbeiten f\u00fcr die Mumbai-CD auch Performances entstanden wie black fan quartett f\u00fcr Stimme und vier Ventilatoren. Mumbai Diary nun ist akustisches Abbild und musikalische Reflexion der ersten zehn Tage, die Wenzel in der Megapolis Mumbai verbracht hat, ein H\u00f6r-St\u00fcck in neun Teilen, ein akustisches Wege-Netz des Viertels, in dem sich die Autorin aufhielt, ein akustisches Dokument ihrer Streifz\u00fcge.
\nDas erste Soundposter ist mit Electric Cricket \u00fcberschrieben. Es ist ein Spiel mit klanglichen Identit\u00e4ten. Die Quelle der kribbelig-knistrigen Soundkoloraturen ist nicht eindeutig identifizierbar. Eine Dekodierung des musikalischen Materials ist wohl auch nicht intendiert. Es geht Bettina Wenzel offenbar eher darum, dem H\u00f6rer das Gef\u00fchl zu vermitteln, dass eine Stadt eine B\u00fchne ist, dass Ger\u00e4usche kulturell gepr\u00e4gt und in dieser Pr\u00e4gung auch zu vermitteln respektive als Material zu interpretieren sind. Im weiteren Verlauf dieser Introduktion, deren Titel Electric Cricket poetischer Leitfaden und falsche F\u00e4hrte zugleich zu sein scheint, implantiert Wenzel ihre sprachmusikalischen Koloraturen, die den Duktus indischer Kunstmusik ebenso reflektieren wie den flie\u00dfenden Rhythmus der benutzten Ger\u00e4usch-Environments. Im weiteren Verlauf dieser CD also wird der H\u00f6rer, geleitet von bildhaften Titeln wie Crowded, The day before Yesterday, Long Hours oder Scraping Ice in June, dem Stimmengewirr auf Mumbais Stra\u00dfen begegnen, der perkussiven Musik, die eine kleine Prozession begleitet, oder auch den Kl\u00e4ngen indischer Musikinstrumente und eben Wenzels Stimme, sprachlos-sprachm\u00e4chtige Antworten formulierend auf den Mumbai-Sound.<\/p>\n![\"Mumbai](\"https:\/\/www.gruenrekorder.de\/Photos\/wandelbare-stimme.jpg\" "\\"Mumbai")
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