Thursday, 21 February 2019

Gefärhliche Klons - Reise Durch A Sunday Afternoon -1981- (Cassette, Pop-O-Records), Germany

*Archaic Inventions 6 Years Anniversary Post!*

Gefährliche Klons (Dangerous Klons) were a duo from Marburg, Hessen that consisted of Iggi Unpop (Exo Neutrino) and Uwe Linke. They started their musical project after a visit to legendary German Neue Deutsche Welle band Der Plan. Obviously they also took their name from the band's song Gefährliche Clowns (Dangerous Clowns).

Both members of Gefährliche Klons were very much inspired by The Residents, just like Der Plan was. Der Plan even named their first album after the The Residents concept Geri Reig. The principle that you can get best results with doing the least you can. Gefährliche Klons later also morphed into new incarnations like Little Clones, FunTastiKlons or Different Clones (VOD released some of their music as part of the German Punk Wave Box Set), but this cassette was their first output ever.

Reise Durch A Sunday Afternoon was self-released in an edition of 20 copies in 1981 and was recorded with the minimal tools of a tape-deck, toys, a mouth-harp, a xylophone, guitar and maybe some kitchenware during the course of a Sunday afternoon. It displays how the Gefährliche Klons were even more primitive than Der Plan, lacking even the implementation of synthesizers and other electronically generated sounds. It's a great example of the NDW scene of the early eighties that sometimes even used a non-music attitude in doing music anyway. More punk than punk, since you don't play punk! It reminds me of other German acts like Die Parkhaushänker or Der Ewige Musikant.

On the amazing Tape Attack blog I found a fanzine from 1981 called C.T.Z. Mainz and it includes a little review of Reise Durch A Sunday Afternoon. It's great how you can actually piece together all these different bits of obscure information. On the cover of the cassette you can clearly read that there are 24 different tracks and I started to dissect the tape into those different tracks until I found out it was impossible. So I left the tape unindexed in its two different sides (the dangerous clones got me...)

This is an amazing absurdistic Der Plan-related NDW relic from the early 80's DIY cassette culture. It contains nice primitive music, humor and maybe the best DIY cover of The House Of The Rising Sun ever. An edition of 20 hand-made copies! Don't ask me how I find this stuff, it probably finds me.

Get it HERE

Friday, 8 February 2019

Dojoji ‎- Meets The Fungle -1984- (Tape, D.J.J. 101), Netherlands

After accidentally providing something that was already available the last post I return to the essence of this blog: sharing something we have been waiting for to surface, not to be found before.

Dojoji were an excellent New Wave and Funk group from Rotterdam, The Netherlands that consisted of Pien Selleger and Ted Langenbach (Bass), Ron Louers (Bongos), Ferdinand Rolle (Drums), Leo Anemaet (Guitar), Trubus (Percussion), Hans Rath (Saxophone), Rudy Zinc (Synthesizer) and Fee Arnold (Vocals).

On this Cassette EP, Dojoji meets the funky jungle (Fungle) and plays lengthy pieces of energetic funk music with a new wave attitude. Dojoji released a very nice 12 Inch EP on Plexus records in 1984 and also a cassette with live recordings a year before that one. Both of their releases were uploaded a long time ago here and here. They remind me of other Dutch funk wave groups with electronic touches on the Fetisj tape label like Richenel or Necronomicon, but it even has hints of the band Sukursaal I posted not long ago.

Dojoji furthermore resembles some bands on the Cherry Red label like Rip, Rig and Panic or Medium Medium, but it's mainly fueled by the 80's New York styles in-between like James Chance's funky no-wave sounds and many of the boogie and 'break' records from old-school hip-hop. Actually Dojoji were quite unique in Holland and I like this cassette a lot due to the use of the synthesizer additions and the percussion elements. Nice stretched out tracks full of life one just has to dance to! It once again shows how Rotterdam was always the most New York oriented city of The Netherlands.

A good remedy for your winter depression!

Get it HERE

Monday, 4 February 2019

Various Artists - The Value Of Quality - A Concise History Of West-European Folk-Art -1982- (Tape, Aerosol P&P), Belgium

The Value Of Quality is a nice early 80's DIY compilation with mostly Belgian acts that was released on the Aerosol P&P label that was run by Guy de Bièvre who was also the person behind the home-taping act One Hundred Poems From The Japanese.

Like with most Belgian tape compilations this one too has many contributions by Insane Music For Insane People protagonist Alain Neffe. On the cassette we find different minimal synth tracks by his projects Bene Gesserit, Pseudo Code, Cortex and Human Flesh. His projects have seen many reissues on a variety of labels these last years. In the past his musical output on cassettes were probably Belgium's most wide-spread home-taping sounds. I am not sure whether the tracks on here also appeared on own releases, because there is simply too much material for me to verify.

Then present on this compilation is Flemish singer and artist Claude Perwez aka Kloot Per W. Also there is an industrial noise track contributed by Angst which was a project by Flemish writer, poet and musician Erik Vloeberghs. He also had projects such as The Firing-Squad, Kwajongens In Bloei and The Parts. He was closely related to the Antwerp based industrial and interdisciplinary art group Club Moral.

Furthermore present here are British home-taper Jack Marlow (possibly based in Germany back then) and the legendary French minimal-synth and artist collective La Fondation from Paris that consisted of many amazing music acts like Nini Raviolette, Hugo Weris and Lefdup & Lefdup.

Speaking about A Concise History Of West-European Folk-Art the only non-European contribution on here (I think) is the Canadian punk band Zyklon B, although it might be a Belgian punk band with the same name. The rest of the contributions are undoubtedly Belgian and unknown and perhaps own projects of Guy de Bièvre.

In any case this is another nicely varied cassette relic of the Belgian industrial, minimal synth and home-taping scene! The Value of Quality of the cassette recording is fluctuating from white noise backgrounds to cleaner production, but hey it's quality stuff in the end that has a value.

Get it HERE

Update: I see that this was uploaded a long time ago to the No Longer Forgotten Music Blog. Escaped my attention. Anyway worth it to give this some more attention and it was fun digitizing this. More stuff to come soon!

Friday, 25 January 2019

Carwashtagnacht - Distance -1996- (Cassette, Self-Released), Hungary

Carwashtagnacht was a Hungarian industrial metal band from the small city of Békéscaba in the south-east of Hungary formed by Kiss Balázs (guitar), Knyihár Pál (bass guitar) and Sörös Gergö (vocals and programming). They played a Godflesh inspired style in which long-lasting repetitive metal riffs were combined with drum machine patterns with in this case gloomy distorted vocals in Hungarian and English. A band like Godflesh has had a lot of influence in Eastern Europe after the change of the political system in the 90's. Because of the lack of musical extremes in dominant music culture in socialist countries like Hungary before the 90's, many people were inspired by metal and punk bands.

Those type of foreign alternative bands were also some of the first to tour the smaller cities in Eastern Europe. At first many of these unclassifiable alternative experimental metal bands came from Italy for example, but eventually even bands from Latin America came to play. Eastern Europe became a new fertile domain after it had previously been closed for tours of such bands. This development also had its influence on locals that in turn started bands with a similar sound. I think it's also a reason why metal and alternative rock styles are still big in Eastern Europe. But aside from that: the 90's was just an insane decade for the development of any genre really. More than end results and completion, potential ruled the musical output.

In the late 90's Carwashtagnacht published a CD on the legendary Trottel Records in Hungary that together with the label Bahia was responsible for the output of alternative and experimental bands in Hungary. The label revolved around the alter-rock band Trottel that started out in the early 80's as a punk band and later evolved into an ethno-experimental-space-band.

This particular cassette of Carwashtagnacht seems to be some sort of demo tape that was self-released a long time before their official album. The musical style is somewhat different to what usually finds itself to the blog, but it's important to keep extending genres and to shed light on the Hungarian underground of the 90's that is totally overlooked and that I happen to have an access to. The term rare doesn't even qualify anymore for a cassette like this. Specially since the band comes from the countryside and not from the capital Budapest.

More obscure Hungarian tapes will be gradually uploaded to the blog.

Get it HERE

Friday, 11 January 2019

Sukursaal - Union -198X- (Tape, Pion Tapes), Netherlands

Even though 'low-key' this was already digitized I figured to rip this anyway to shed some more light on this band since the music is really good, sometimes even better stuff than some of the wave reissues that came out throughout the years.  

Sukursaal were a Dutch wave band (Nederwave) consisting of Marc de Reus, Maarten de Reus, Marijke Bruggink and other collaborators. They made this one cassette that came out on the Pion Tapes label from Delft (a small picturesque city in between The Hague and Rotterdam where for example famous Dutch painter Johnannes Vermeer was born). Pion Tapes also released the new wave band La Peste that was posted on No Longer Forgotten Music ages ago.

Sukursaal played interesting poppy new wave music that displayed a classic Dutch wave sound, synthetic minimal synth tracks, but also used funky basslines and a jazzy impro sound. The Dutchness is emphasized in tracks like 'Dikes (Protect Me)' where the lyrics are: "Dikes protect me from being washed under", yep most of Holland is still under sea level and we really need those dikes.

The music reminds me a lot of the Rotterdam band Dojoji, of electro-jazz outfit Niew Hip Stilen, but also of Malice In Wonderland (just a lot less batcave style of new wave). The tracks are quite distinct from each other and also quite clean because of the studio recording production. The highlights are the tracks with female vocals and the electronic ones.

Many many more Dutch tapes from the home-taping era still to come to the blog this year!

Get it HERE

Wednesday, 2 January 2019

Bizim Oyun Havalari ‎- Burcu Burcu Türkiye'm -198X- (Tape, Erdal Plak), Turkey

So I had this tape laying around for decades at home, but never properly gave it a listen until recently. I thought the music was typical Turkish folklore music, produced as some sort of souvenir, but it actually turned out to be one of the nicest psychedelic Turkish tapes I have yet heard.

Turkish folklore music is usually acoustic and obviously covering traditionals, often also quite hard to distinguish from each other. This tape too is a lengthy mix-up of all kind of similar traditional Turkish songs and melodies, but the key lies in the fact that the whole thing is electrified with the electro-saz (electric bağlama) as well as with keyboards that were manufactured in the 80's. The music is easily to be put in line with the sounds of older Turkish and Anatolian psychedelic music like Selda, Erkin Koray or Edip Akbayram in which the use of electric instruments took over from the acoustic predecessors. A bit like what Miles Davis did in Jazz at a certain moment.

The music on Burcu Burcu Türkiye'm could very well be the summer soundtrack of you moving forward in an ever-lasting trans-orient-express while its engine driver and yourself are spacing out on a fair amount of hashish and opium discussing Rumi's poetry. You're flying through the Turkish countryside after a magical woman has just red your future in the coffee ground while you're solving the mysteries of the Nazar. It could be this.

But aside from that, the music is also creating a similar atmosphere as contemporary artists like the Syrian musician Omar Souleyman or the Sahrawi psych-force Group Doueh from the Western Sahara. Obviously these are different geographical regions, but they are somewhat musically connected in their use of the endless repetitive psychedelic oriental sounds inducing their trance.

The tape is unindexed which seemed a better choice. Specially the B-Side is a psychedelic treat! Enjoy the trip!

Get it HERE

Monday, 24 December 2018

Archaic Inventions meets Oscar's X-Mas Carols 2018

Merry Christmas and an Archaic New Year to all followers and friends of the blog!

Once again we are rounding up another year in an increasingly chaotic world! After almost 6 years of running this blog on my own, in my own time as some kind of personal music mission paying hommage to the blogosphere, years of record digging and sharing my musical insights, I can proudly announce the first ever Archaic Inventions mix. This is the first volume in a series of conceptual mixes that combines both written narrative and music as a way to uncover meaning. The mixes belong to an external realm of the blog. Although the music mixes will have a relation to the Archaic Inventions platform.

The first volume is created by my friend, Sucked Orange Gallery creator, co-founder of the Braille Satellite festival, long-time experimental music selector, one half of subterrenean surrealist and idea flowing music selecting duo Octatanz (with Matas Labasauskas): Oscar Olías, better known as Oscar Der Winzige

Oscar is an underground figure based in Berlin already for a long time, who originally comes from Madrid, Spain. He was kind enough to dig into the entire Archaic Inventions catalogue to create one of the most outer-worldly mixes, surprising any follower of this blog, including myself! Not only can this be viewed as an insight, profile and introduction to what is to be found on Archaic Inventions, it is, as always with Oscar's selections, a trip transporting the listener to another musical planet within an own universe of exploration. To me this mix represents the combining of forces. The finding of music. The sharing of music. Knowing how to select. Knowing music. Cultivated on the path of being a student of music. Bypassing the platforms. Telling an important story. Starting from the ground, hasta el espacio!

Let's tell a story! Here we go!

- Oscar Der Winzige grew up in the suburb of Hortaleza in the North-East of the Spanish capital Madrid. At a young age his father suddenly left this earth leaving behind an important record collection of a.o. progressive rock, cosmic electronics and krautrock. Already as a young child the likes of Tangerine Dream and Klaus Schulze would bring Oscar to other worlds. Within the raw society life of the Madrilenian suburbs and adolescent dreams, Oscar started to obtain a different mindset than his peers. Most of the suburban friends were listening to completely different musical styles while he was developing something reaching beyond daily life routines.

When adolescence hit Oscar, he started to go out to a club with a forged ID. Encountering the concept of the "DJ" he immediately knew he wanted to do something similar yet very different. Instead of the egocentrism surrounding the "DJ" he saw the potential in the idea of the music selector, he became aware of the art form and the transference of messages that were concealed in this practice. At first Oscar started to buy techno, play for his friends at home and soon started to become known in local circles and social centers where there were possibilities to play music (inluding the use of stolen traffic lights used as disco lights). The precarious introduction to some of Madrid's clubs started to give hints of alternative fashion, showed the effect of music on people and were the beginning of a deeper exploration of musical styles for Oscar.

The eclectic music explosion came to its full potential when Oscar met another much older music selector and experimental musician from Madrid during a period when he was working in a flamenco bar: David Krapoola. David was playing some vinyl in the attic of a random house and had piles of records. He was a one-man radio. An eclectic explosive force of musical madness. Soon they became friends and started to share music, buy records and formed a music selector duo travelling through every depth of the Madrid nightlife. David adopted Oscar and they also started to do experimental music together as well as subversive art projects. The older Spanish guys baptized Oscar with the nickname "El Pequeño", "The small one", which later resulted in the name Oscar Der Winzige.  Gradually the perception of music became more than eclectic during this time. Like an eclectic eclecticism. In the same period Oscar became resident at the "Oui Club" and also started to play records at most of the experimental and sub-cultural concerts that were taking place in Madrid. Oscar became an autodidact anthropologist of music, channeling an everlasting drive to gather and find music while fostering a deep personal relation with it. A once-in-a-lifetime-drive that would never return in such pureness and with such hunger. But then... the crisis arrived to Spain.

Clubs lost their ability to explore and became more and more commercial. Fertile grounds for happenings and experimentation in music were slowly drying up. People didn't risk anything anymore. The predominant feeling was that soon a new destination had to be reached, a place where this music trip could become a life mission, a place where many different talented and creative people gathered to find new premisses for this lifestyle. That place became Berlin.

In Berlin there were already friends in the same field, namely the talented DJ and eternal friend Laura ODL (As Longitude), whom Oscar had known for some time already. Also new people appeared to the scenery like José Luis Gomez (a film-maker from Barcelona) with whom Oscar founded the Sucked Orange Gallery in Neukölln (named after the collaged 1989 Nurse With Wound album "A Sucked Orange"), where through a girl we mutually knew I (the author of this piece) also entered this story. At the gallery that we ran many beautiful experimental concerts were organized and a few exhibitions as well for a longer period, often in collaboration with Rinus van Alebeek of Staaltape and also in collaboration with the legendary record store Staalplaat. A lot of communal nights took place, dancing 'till the morning, every kind of drugs, every form of love, people from all over the globe gathered, rules were destroyed and defended, Berlin police raids were part of our weekly divertissement, people were built up and broken down and many tears were shed both by joy and by sorrow. My own meeting with Oscar was another truly important moment for our mutual development, for the discovery of music and by times had overpowering implications, yet what we lived was a unique chance of self-exploration not many people get a chance to in a lifetime.

In any case it was a time that would become the first landmark of action, materializing a certain musical philosophy in life, based on a journey that was given solely by the inexhaustible wealth and endless realms of each one's history in and connection to Music. This was either coming from seeing many concerts of legendary acts and many parties that all of us had experienced in the underground of our respective countries as well as our history of making music ourselves. Another musical force was coming from the birth of underground music blogs and the time that was spend in music research. Maybe they were not the most important component, but helped in offering material and knowledge.

After this vibrant period the Sucked Orange Gallery ceased its activities and became a non-public hangout for friends. Slowly a new dawn arose in Berlin and Oscar and many friends were simultaneously playing different venues and festivals in Berlin (and beyond) and new musical alliances were effectuated crossing different aspects of the Berlin music upper- and underground. Due to the meeting of various international minds, slowly also a new way was paved towards the far East of Europe. A path to the Baltics. A few Lithuanian tourists had heard strange music in Berlin by chance and felt a common understanding. They invited Oscar together with Laura ODL to Vilnius, Lithuania. One of these people from Lithuania that Oscar met was Matas Labasauskas. A like-minded soul interested in working creatively in service of a community, based on free-spirited inclusivity and inner-growth. Oscar and Matas started the project Octatanz: a musical duo in which "together they offer a selection of ideas floating around in the deepest recesses of musical subculture". An important new musical entity touring around Europe injecting magical sounds into small communities of explorative and receptive listeners to find new states of being.

Eventually the Berlin-Vilnius connection resulted in the creation of the STRCamp Festival, that later morphed into Braille Satellite Festival: an annual DIY music and arts festival that takes place in the park of Mushroom Manor, Lithuania. In the pseudo-hidden Lithuanian countryside the festival facilitates a communal gathering based on the deepest DIY realms of music in contemporary times characterized amongst others by: "relax shock, dance laugh in the night, the best selection is boring, only a dream line-up doesn't work, nothing too serious, social transmutation, inclusivity and love". With the time Oscar and Matas brought together key groups of music-people from a.o. Lithuania, Spain, England, Italy, France, Netherlands, Portugal and Germany, which is an unimaginable achievement in itself. As for those would like to be part of this: in the summer of 2019 a new edition of Braille Satellite will take place. -

This article is another little piece of a music puzzle that one day I will put together more thoroughly with all its different dimensions and probably more will become visible. That story is extensive and might be more suitable for a book or something, haha! For now we listen to the beautiful and amazing "Archaic Inventions mix" made by Oscar Der Winzige.

Download the mix HERE!

This blog will continue in full force in 2019. Once again I am happy that I can promise that the music I am able to provide will be even more insane than before. We keep on working on all the different aspects of this strange music world in order to maintain and cherish a little bit of its essence and to give it a future. Also I am currently working on releasing the first Archaic Inventions record which will also mean the birth of a new music label. More details very soon!

Much love to you all and don't hesitate to love. Think and feel for yourself. Don't believe the hype. Help to build. See you soon.