The ever-changing program of the subway controller: Armed with guitar and piano - that's how you know Matthias Keller. For his legendary readings and singings, the renowned FAZ praised him as a "true entertainer". And as such, he now comes on stage with two microphones in his holster. High noon at prime time. On the floor around him: a battery of buttons, switches, pedals and cables. From this loop station the new program has its name: LOOPINSLAND.
Keller mutates into a "one-man big band." One voice for all cases - nothing seems impossible. Track by track, rhythms, harmonies, melodies and effects are built up to a complete song, a complex scenery. The audience experiences this creative process up close, is fascinated and captivated, also by the confusing choreography that Keller's feet put on the parquet. Tretminen, that's what the artist calls his electronic helpers. What began as a mad experiment on these has long since become a consistent concept.
Keller, who has been working successfully as a professional speaker, singer and musician for over 20 years, pulls out all the stops of his skills with LOOPINSLAND. Playfully he succeeds in the flying change from bitterly nasty blasphemy to heartrending gospel (Down in the river to pray). He convinces as a Balkan brass band as well as a pop band, conjures the sound of the hippie era (A horse with no name) and the cool sound of the eighties from his throat (Blue monday). Lyrically it stays with clever nonsense and word acrobatics, whether he's making phone calls to himself, natural brain doping or presenting a collection of absurd warnings. The charming jack-of-all-trades casually and confidently beat-boxes his way through Hessian word formations and lectures in the best Terra X dramatics about the earworm. Hand puppet use included. Thus Keller succeeds perfectly in implementing his acoustic principle also visually: the game with himself!
