The attitude of the so-called "68 generation and the rock music of the 1970s are an important starting point for Luise Volkmann, but precisely not the modelling clay from which her own songs are created. Her fascination ranges from the protest music of the Woodstock era to the destructive elementary power of punk. Whoever wants to place her songs between Frank Zappa, punk and Carla Bley is certainly not wrong, although this does not necessarily correspond to the intentions of the Cologne-based artist. She still finds this special mixture of youthful recklessness, spontaneous activism and the existential pressure behind each statement touching today, but at the same time she is aware that she is not a child of that era. She finds her own formulas to reach that seemingly buried intensity in the here and now, with which music could change the world back then. On "When The Birds Upraise The Choir", Luise Volkmann breaks with all expectations. Certainly, historical or current references to other large formations can be made, but strictly speaking, this album is without precedent. Not only does it define its own genre beyond the triangle of free jazz, progressive rock and avant-garde chamber music, but it also puts the artist"s responsibility towards society back at the centre. Luise Volkmann defends herself against the neutral irrelevance of a large part of contemporary music from jazz to pop. She is prepared to interfere, to share something of herself, and has found like-minded people who are determined to do so together with her in the most resolute way.