Mother Zosima - The Greatest Story Ever Sold -1990's- (Tape, Self-Released), US

Mother Zosima (the radical nun) was a feminist avant-folk project created by Kirsten Anderberg based on performances at Seattle (night-)clubs between 1983 and 2001. She took her name from the character Father Zosima who is one of the characters in The Brothers Karamazov (1879) of Russian author Fyodor Dostoevsky. In the story Father Zosima is some sort of guru as well as an ideal image of an orthodox Christian saint living in a monastry. He preaches for compassion and peace, basically as a reflection of Christ. During the course of the story Father Zosima dies and his holiness is called into question by the rest of the monastry because his body starts to decompose very rapidly leaving behind a terrible smell. This decomposing process is being looked upon as a sign of God prooving that Zosima was nothing but a mortal soul.

I suppose by inverting this character into Mother Zosima not only is Anderberg opposing Dostoevsky's approach of putting the man at a literary centerpoint - The "Brothers" Karamazov - as feminist critique, she is also shaping her own mirrored performative image as a radical nun that is preaching her own ideals. By choosing the title The Greatest Story Ever Sold she shows her cleverness of creating this image but also the self-irony she puts into her personification since Zosima is being looked upon as a mortal soul. And that's why this is some incredible music criticizing the American society. It is not at all stagnated into this contemporary gender and identity poltics debate we deal with nowadays, but it shows how cleverness, self-consciousness, lots of humor and appropriating commercial culture can actually serve the cause of the actual message.

The music by Mother Zosima is straight radical feminism, criticism of politics, criticism of commercial culture, criticism of weird American morals and Christianity etc. but it doesn't directly attack its enemy. It's an approach of empowering the woman, not obeying to conformism and preaches for self-empowerment while dissecting the different corrupted aspects of American society with humor and with a lot of skill. It reminds me of the feminist beat poets of the sixties like Diane Di Prima as well as some other female protest-song vocalists from the revolutionary hippie times in the States. It musically also comes close to Care of The Cow and their singer Christine Baczewska's solo work and even of certain songs by Annette Peacock. 

The songs by Mother Zosima are still so extremely relevant today. It's like nothing has ever changed. Specially when we look at this madness with Trump and the current state of the United States. To me it's really important to see how Mother Zosima's music is not some cult music stuff from the glory days of hippie hights, but music from a much later era carrying these important messages whilst not yet fallen victim to today's infinite cynical and polarised political views. We can learn from this creativity today and understand how political hyper-reality doesn't help us further by fighting it's xenophobic symptoms, but to put forward a message in a very clever package without being distracted nor doing concessions to constant exterior confirmation. This is what empowerment looks like. This is what is so deadly important about Feminism. I hope that Archaic Inventions can sometimes show the link from the past to today and provide possibilites and/or show the potentials of emancipatory power.

The Seattle scene of the 90's - aside from the birth of Grunge (an albino, a mosquito..) and stuff - was probably very very interesting and consisted of a creative diversity that was able to birth all of this legendary musical output. But yep, what a time we live in now! But we won't let our guard down. No worries. Enjoy Mother Zosima! (btw I wasn't too sure about the year of the release).

Get it HERE

Simon Vinkenoog - Liefhebben, Zien en Proeven (Poezie en Muziek) -1966- (LP, Sigma Relax), Netherlands

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

This record (which is rare as hen's teeth) is one of the most important documents of the Dutch countercultural psychedelic movement of the sixties. 

Simon Vinkenoog (18 July 1928 – 12 July 2009) was a Dutch author, poet, elocutionist and pioneer of the psychedelic revolution of the last century. He published his first poems around 1950 and kept working his way into the Dutch literary world from the fifties on. In 1959 he willingly tried LSD under medical supervision and later became a protagonist in the world of mind-altering substances, Dutch literature, happenings, free music and advocated for a world in which people lived in astonishment of the universe we belong to and the richness of culture and nature on planet earth. Because his early involvement in the counter culture combined with his literary career, Simon Vinkenoog can be seen as a European example of the Beat Generation. In 1966 he hosted an iconic poetry manifestation in the Royal theatre Carré showcasing a new generation of fresh poets in the Netherlands. If you understand German, check Simon Vinkenoog out in this panel on LSD and Gegenkultur in Europe in the sixties.

William S. Burroughs with Simon Vinkenoog

In 1968 Vinkenoog took part in the making of the mythical album Woorden (words) together with two other Dutch poets where free form music was combined with poetry. The album was only distributed through literary book stores and the first ´coffeeshops´ of Amsterdam, back when those places where not yet polluted with mass tourism and irresponsible behaviour. In that time Amsterdam was an important international centre of free-thinkers, alternative gatherers and hippies comparable to San Francisco in the US. It's ironic that Amsterdam is often perceived as a freedom city because of the endeavours of sixties and seventies and that now almost nothing relates to those values anymore. The Woorden record is seen by many as one of the most striking examples of the Dutch hippie-movement and spaced out sixties. Also it's one of the most rare albums on the legendary NWW-List. 

Anyway, this even rarer record here dates from before Woorden. Liefhebben, zien en proeven (meaining: To love, see and taste) is from 1966 and in record collecting circles often regarded as a literary album. But as the back of the record reveals, this is not just spoken word. The album was recorded on the 30th of December 1966 (literally 50 years ago!) in the in Dutch Royal Tropical Insitute and contains sitars, tabla's, gamelan gongs, indonesian flutes, indian bells etc. It's interesting how the interest in cultures and ethnic instruments of these crazy dope smoking youngsters was still regarded within an anthropological frame. The Tropical Institute was probably delighted that young people wanted to explore their colonial possessions and dig into exotic cultures. 

I know most of you will not understand a word from this album, but hopefully you can appreciate it with the given context. The poems are about life, death, rebirth, love, human potential and much much more. One of the poems is about DMT (in 1966 already.. man). I think I saw him one time in my life during a demonstration at the Dam square of Amsterdam on a stage speaking against the ban of magic mushrooms in Netherlands. Vinkenoog did millions of things in his lifetime: he wrote numerous poems, many novels and also frequently wrote on so called 'pseudo-scientific' topics in various magazines. It's important to note that Vinkenoog is not just some hippie-poet, he is ranked amongst all the important writers of the Dutch literature too. 

He made two albums with Spinvis (the Dutch Beck?) in the 00's which were his last musical recordings. In the video below I included scans from a little sixties underground book that Vinkenoog compiled. It was called Moksha, a timebook for the alteration of consciousness and drugs. Simon Vinkenoog, a very inspiring person and icon of the Dutch counter-culture. From the liner notes:

I wish that the human heart would beat faster. I wish that I could tell everyone everything I know at once: how the battle between light and dark is won by the light. I wish that people carried the sun with them. I wish that cheerful light would shine from all houses. I wish so many things, I still want so much: peace, peace, peace. I can't say it differently than with words: I don't want to persuade, convince or entice - I Just want you to listen, so you can find your own answers. Listen. And also stop the record, so you can listen to yourself! Have a good trip!

Get it HERE

Gloria Martín - Gloria Martín -1971- (LP, Philips), Venezuela

 *Archaic Inventions 1 year anniversary post!*

To me this self-titled record of Venezuelan singer Gloria Martín is the absolute Holy Grail of all Venezuelan records. Actually Martín wasn’t born in Venezuela, but in Madrid and moved to Venezuela with her parents when she was nine years old. So she basically became Venezuelan. She studied philosophy and letters at the Universidad Central de Venezuela (UCV), she graduated in Arts and got a Ph.D. in cultural history.  At the same time she started a career as a singer and in Venezuela she’s mainly remembered for her Nueva Canción music. Nueva Canción was a typicial left-wing orientated musical style from Latin America (and Spain) addressing social problems in the society, usually songs on acoustic guitar highly influenced by the revolution in Cuba. Moreover it was a genre which tried to define the own identity of Latin American countries without being defined by colonialism, neo-colonialism or American influences. In Venezuela the Nueva Canción protest music was very much connected to student movements in Caracas of the sixties and seventies. Other representatives in Venezuela were people like Alí Primera, Soledad Bravo and Xulio Formoso. Gloria Martín also wrote a book about Nueva Canción in Venezuela in 1998 entitled “El perfume de una época (la Nueva Canción en Venezuela)” which I’d love to have to be able to tell more about this movement. Here you can at least find a very interesting article in Spanish about Gloria Martín and her role in the Nueva Canción Venezolana. 

But this record is not one of Gloria Martín’s acoustic singer-songwriter protest albums. It’s more of an artistic showcase and does reflect the social environment, but doesn’t involve too much politics. This was an orchestrated musical masterpiece and so many years later it surprisingly shows that everything rightly got together at the moment when that recording was made. Sometimes cultural history gets captured in a recording that reflects the essence of a certain moment: true artistic pearls that are the perfect product of their time in every sense.

Paz

The compositions of the orchestra led by Venezuelan arranger Jesús Chucho Sanoja cover all the best musical styles from the early seventies and at the same time create the most amazing conditions for the beautiful voice of Gloria Martín. She was 26 years old at the time she recorded this album full of poetical beauty. Also she wrote all the lyrics herself. The album contains orchestral arrangements, jazz, bossa nova, collage, sound-effects, folk, early seventies rock influences and everything in between. It’s a highly sophisticated record that merges all the nostalgic beauty of Venezuela in the very early seventies (when people were still Damas y Caballeros) with student revolt, impressionistic decadence, sensuality, poetry and intellectualism. Considering all these dimensions, you have to be a really refined soul to be able to comply and apply these things as a youthful person going through university and at the same time being an artist. Conceptually, the album has a lot in common with certain progressive orchestrated music made for singers with studio effects and studio revisions like Serge Gainsbourg’s and Jean-Claude Vannier’s Histoire de melody Nelson (even length-wise!), but then in a Latin American context.

The main highlight of the album is the B-Side which starts after songs like “El hombre aquel” dedicated to Ché Guevara, the song “At the other side of the sea” sung in touching broken English and a bossa nova song sung in Portuguese. It kicks off with an ode to the Universidad Central de Venezuela called “Ciudad Universitaria”. The title reflects Gloria Martín’s passionate relation to her university and its social importance for her city Caracas. The lyrics are as important right now as if they were back then. They describe the paradoxical feeling of attachment  to Caracas with its beauty and danger, because of words like “Ay mi ciudad, quién ha puesto detrás cada flor un policía?” which is accompanied by studio effects creating police alarms to intensify the lyrics. Apparently that song used to be censored during the seventies, because students adopted it as a form of social critique. The song itself is full of energy and shows some of the most groovy rare groove jazz ever to come out of Venezuela. The next song “Mi dulce amigo” is a song that should have been on some Jazzanova groove-jazz compilation of old killer tracks and is an absolute masterpiece. Next is an impressionistic decadent song called “Que facil es” which expresses what goes on in the dreamy mind of a young woman and her gentle diffuse thoughts when she’s under a spell of someone. These three songs make up that part of the album which elevates it into something of unique quality and emotion. “Si puedes” is accompanied by Venezuelan Santana-like psych band La Fe Perdida that also released some singles through Philips in the early seventies: like this one and this one. A core element which is to be found throughout the whole album is the melancholy which makes it strong, it doesn’t glorify the interior nor exterior life and it’s truthful, it might also be because of her deep voice; Grace Slick like. The lyrics of each song are to be found on the inner part of the sleeve. Gloria Martín once described her song writing as:

“Para hacer una canción lo que se necesita es decir algo, tener sensibilidad ante una cosa determinada y también experiencias instantáneas o de toda la vida”. “No considero mis canciones como un éxito, sino como un conjunto de las cosas que yo siento y deseo que lleguen al corazón de la gente”.

The cover of the album looks amazing. Somehow, although not much is to be seen, one can immediately detect Venezuela in that cover. There is a graphic design idea with the rotation of the rectangle and the colours, the design on the tablet on the background and of course Gloria herself with the most amazing groovy seventies haircut and peace-sign necklace. Those elements feel really Venezuelan if you have some insight in the arts during mid-twentieth century Venezuela and mainly Caracas. The inner part of the sleeve shows Gloria in the studio and you get an idea of the left-wing intellectual groovy girl that she was.

It might look as if I glorify this album too much, but I am really touched by this piece of art and see another hidden dimension why to share this. Even more so since I visited Venezuela and could see the fossils of artistic beauty in Caracas covered in the damage of the modern condition and the neglecting of the past in the modern society. National conflicts have created a situation where people mainly want to consolidate what they benefit from the most in their particular social context and history sometimes gets manipulated to let certain political views benefit from it. Reflection on marginal artistic expressions from the past with value for cultural heritage are a lot of times viewed as a divergence from progressive developments of a modern society based on the physical evidence of wealth. A kind of regime of wealth-symbolism rules and values connected to material profit and the consolidation of social class are part of the primary dimension of how people on a short term deal with the current social struggle. I get that arts as such are of course wholly secondary when social problems raise through the roof, so basic needs for a society should be consolidated first. Still I think that precisely a struggle so critical in combination with modern indifference can cause losses for culture and history. Through those dimensions people can feel connected to each other, shape their history, have their imagination aroused and maybe even find “new old” premises to bridge the political gap. Even when art, like a left-wing protest song, is coloured by a clear political preference it still can be perceived more lightly and political conditions change throughout history. Moreover the intellectual core of people who have created this music and had been connected to student movements had a less uncompromised way of shaping their political views and were also fighting for their rights against an oppressive government during Venezuela’s seventies. So back then a left-wing orientated political philosophy also had an emancipatory dimension to it. 

Nowadays politics is like growing up in religion: it exacerbates forming own opinions, because there exists no initiation of the self with the religious values.  But a change is perceivable and people are very engaged with their arts and culture. It seems that everybody knows some national cultural expression which contributes to the beauty of the country, but many things keep being scattered and fragmented in the memories of individuals and don’t find the right path to the public. In my opinion the conservation of cultural expression can for example create political plurality, but also shows something which can shape identity and have people connect to each other. At least people can learn from these individual artists how much one can extract from her/himself without being a product of commerce, excess or machismo which would already be positive no matter what political colour.

The upload of this album, made available for the first time after 43 years (not to be found on the web, I can barely believe it), is for everyone in Venezuela and the world. It has never been sold on Ebay, nor Discogs. Gloria Martín still lives and people have to re-release this album. Make it happen. This is a musical and cultural jewel. This is the definition of essential. Gracias a Gloria Martín y gracias a Venezuela! El disco es cultura!

Highly Recommended!

Get it HERE

 

Full album on Youtube

Other Gloria Martín albums here:

1969: Lo nuestro es cantar (Single)

1973: Si se calla el cantor (con Mercedes Sosa)

1974: Mi riqueza es la alegría

1976: Volverán

1976: Para este país. Cantos de lucha de Venezuela

Another article on Gloria Martín: Pensando en Gloria Martín

 

More Venezuelan obscurities are to be found on this music channel:

http://www.youtube.com/user/ScratchedLP