Despite the recent ongoing tragic events that are taking place in an already dystopian world, the difficulty of finding the right answers and figuring out what to do I finally decided to keep posting music here anyway. Whether as a distraction, as medicine, as fuel to power up or to let off steam and anger. Some strange sounds might help to cope with a strange world. In any case, I wish everyone lots of strength and courage out there. -
The Swamptape Compilation 2 (Swamp-To-Tape) was assembled during 1988/89 and released by Hahamandad in 1990 with a magazine called 'Vision'. Hahamandad is a foundation and a label from the Southern Dutch city of Axel (in the province of Zeeland) that was founded by Messy and Amanda Man (Leo van de Velde) in 1984. The Hahamandad foundation also organized numerous festivals around alternative culture, art and played an important role in bringing together different international underground and home-taping musicians. They released dozens of cassettes of both their own music projects and international compilations.
The Swamptape Compilation 2 is a nice and varied release with some known and lesser known artists of the international cassette culture. There are some home-made minimal synth songs by Messy, Kees Beukelaar and Nostalgie Eternelle, some dark industrial pieces by Big City Orchestra, Clemp Yod as well as some dazzling hypnotic tracks by Ambulatorio Segreto, From Nursery To Misery and Mystery Hearsay. Also: much(!) more.
Error was an electronic music group from the small sea town (for American standards) of Corpus Christi in Texas. The group consisted of Geronimo (voice, keyboards, effects and programming), P. Poly (drums, percussion, programming) and Mr. Q-Pons (guitar). I suppose they were a home-taping group, but I don't think they were heavily involved in the more established cassette culture. Also since this cassette was released in 1990 the international cassette culture was ofcourse already different than it had been during the previous decade.
The music by Error is a nice cocktail of rhythmic electronic minimalism and EBM type tracks with lots of cut-ups and samples. Some fragments have religious Christian aspects, some are taken from unknown broadcasts and we even hear William S. Burroughs on one of the tracks. It's quite an interesting mix of tracks with a strange collage-like nature recorded in a peculiar but interesting manner. The production seems to be a bit weird at times, maybe somewhat dated, maybe recorded through some computer (Amiga?) from that time, but it does give a strange depth to the sound.
All in all some nice electronic music that reminds me of bands like The Genetic Terrorists (T.G.T.) or Severed Heads. I have no idea whether Error released more music or whether they were known for any live appearance.
According to the review on the cover of this cassette The Unwillings were a duo comprised of the German born Steve and Pete who were working at Audi-Motors in the German town of Ingolstadt. Whether any of that is true remains unknown, however it really doesn't matter.
The Unwillings were a Velvet Underground influenced band that released only one cassette on the Servil label that was created by bedroom-pop and home-taping pioneers Fit + Limo from Altdorf, Bavaria. Their rhythm box driven neo-psychedelic fuzzy garage tunes are in line with other bands from the time like 39 Clocks (Also from Germany, later incarnated into The Phantom Payn), The Rest (from Naples, Italy), Hi-Fi (from Amsterdam, Holland) or any other brown sugar dripping, sunglasses after dark, vintage fuzz pedal to the metal, slowly burning cigarettes, shiny boots of leather bands. These guys must have had records by Spacemen 3 and The Monks at home too.
The Unwillings also play a cover of Amon Düül II's Archangel's Thunderbirdwhich underlines their neo-psychedelic spirit. Actually, before Krautrock propelled the world into cosmic realms with musical innovation that we could have never imagined, many groups from Germany from the mid- and late 60's already heralded that near future to come. A series like the Prae-Kraut-Pandaemonium provides a great overview of that realm for those who are interested. With the neo-psychedelic revival of the 80's everything kind of went full circle.
Anyhow, as for now, here are The Unwillings for everyone who remains unwilling!
Merry Christmas and an Archaic New Year to all Friends and Followers of the blog!
So here it goes, the last post of this year:
Boxghosts is a project I don't know much about. It seems to have been a one person home-taping project that was created in the Dutch town of Venlo in the southern province of Limburg. During the 80's Venlo was home to a small but lively squatting scene around the recording studio and music venue Bauplatz which was also connected to the town's most important punk and home-taping cassette label called Limbabwe. During those years many different national and international underground bands played the Bauplatz venue like Einstürzende Neubauten, De Brassers and The Ex.
The Boxghosts project however, doesn't seem to have had a notable relation with Bauplatz or Limbabwe Records other than that it was just a home-taping project from the same town. The only trace I could find about Boxghosts is a track that was included on the Seventh Dimension Quasette compilation series that were issued by Zimbo Tapes, a Dutch home-taping label that was about home-made electronic music and (casio) keyboard experiments.
Boxghosts' Innovations Legères (Light Innovations) was packaged in a nice grey carton box with a religious touch to its visual presentation (the south of the Netherlands is known for its catholic history). It has some dark and minimalistic music that consists of short atmospheric electronic pieces played on synthesizers and keyboards. It might hint a bit towards the otherworldly electronic music of Enno Velthuys, just less polished. Boxghosts should definitely be another little highlight of the Dutch cassette culture of the 80's.
Gijs Hendriks (Utrecht, 26 februari 1938 - Utrecht, 21 mei 2017) was a Dutch saxophonist and clarinetist who played an important role in the Dutch jazz scene from the 50's until his passing in 2017. During his vast career he played in dozens of different jazz outfits and also contributed to Dutch national radio broadcasts and theatre productions. In 1974 he recorded a groovy album with a supergroup of jazz musicians under the name Gijs Hendriks Band.
The Gijs Hendriks Band consisted of Gijs Hendriks (soprano-, alto-, tenorsax), Leo Goudriaan (trumpet and bass), Lex Cohen (drums), Willem Kühne (electric piano), Daoud Amin (percussionist from New York who also played with Burton Greene), Nippy Noya (percussionist from Indonesian-Japanese descent who also toured with psychedelic band Group 1850) and Nico Langenhuijsen (bass). Many of these musicians played their part in the Dutch jazz scene of the 70's. A scene that wasn't immune for the Dutch hippie revolution (which was kickstarted by the Provo movement during the sixties), the orange free state "anti-monarchy" mentality and the rise of psychedelic substances.
During this period - also in Holland - (like throughout the global "happening" music scenes) - psychedelic jazz and psychedelic rock were combined in free-form music styles, sometimes leaning more to the jazz world and sometimes leaning more to the rock side of the spectrum. Free-form jams could consist of groovy jazz music, fuzzed out guitar tripping, electronic experimentation or any type of combination of these elements. As I write this, the idea here is not to dive into a global encyclopedic overview of the entire world moving and spacing out at the same time, but to open a tiny window to look at these specific musical dynamics in The Netherlands at the time.
Examples of great bands from those days in Holland were a.o. Association P.C. (Dutch-German supergroup led by Pierre Courbois), Ahora Mazda (house band of the Amsterdam hippie venue Fantasio), Hans Dulfer And Ritmo Natural (famous Dutch Jazz saxophonist with a Surinamese rhythm section) and Banten (another Dutch supergroup including notable musicians from Indonesian descent, also on the NWW List). And ofcourse - there is so much more to mention...
The Gijs Hendriks Band is another one of those groups that spontaneously created a recording in the 70's which captured those special times. Nevertheless the album has stayed somewhat under the radar since then. Maybe because of its tendency towards more conventional jazz or maybe the self-released vinyl wasn't overly distributed at all. Whatever the case may be it's quite a nice recording of mostly own compositions where not only Dutch musicians play a role but where musicians like Nippy Noya and Daoud Amin also add musical influences from their cultural background giving this a nice and groovy edge.
The Swingin' Love Corpses were a spontaneous jam outfit from Lakewood, St. Louis, Missouri connected to the Church of the SubGenius. The band consisted of Dr. Philo Drummond (saxophone and vocals), Col. Sphinx Drummond (trumpet and vocals), Baba Ray Hay (guitars and vocals), Elvis Hemingway (keyboards), Mojo "Skippy" Butcher (drums), Lafe Kowabunga (bass and guitar), Pope Cecil X. Nixon (trombone and vocals) and Dr. Winston Torquemada (synthesizers, percussion, trombone).
Philo Drummond, one of the key figures of the band, was founder of the Church of the SubGenius together with Reverend Ivan Stang. The church represents a parody religion that mocks popular as well as lesser known belief systems. It also has an own mythology created around the ficticious 1950's salesman J.R. "Bob" Dobbs, who saw God on a televison set he created. He is used as the symbol and epitome of the recurring American capitalist dream and is also depicted here on this cassette cover as some sort of sci-fi warrior.
In 1988 Ivan Stang and others published the book High Weirdness By Mail that was a compendium of all kinds of strange fringe-organisations, visonaries, UFO worshippers, political extremists, Jesus-freaks, weirdo's, conspirators and other pseudo-religious groups. Included were their mail-adresses or other contact information and descriptions. People were thus able to communicate with these groups and started to correspond.
Through the mythology and tactics as well as the complex systems which imitated their subjects, the Church of the SubGenius functioned as an organized form of Culture Jamming. Media culture and cultural institutions were ultimately being disrupted through a clever Church scheme of playful anti-consumerist protest. It's as if they were giving media, the mainstream culture and consumerism a bit of its own medicine and used their own mechanisms against them, whether in the form of mockery or as direct disruption.
In any case a lot of the activities of people involved with the Church of the SubGenius were also related to music. A radio show called Hour of Slack, hosted by Ivan Stang, has been going on for decades and can still be heard to this day. The Church had interest for music that was manifested through home-taping culture and mail-art. Those were often people either using media in an autonomous way or people who were actually manifesting recordings from their self-created fringe-world away from the mainstream.
The Swinging Love Corpses were one of the bands of the Church of the SubGenius that played over thousands of hours of jam-sessions. They also played many live gigs and released cassettes that were distributed thoughout the global home-taping circuit. In a way they come from a similar realm of American mockery and/or weird groups using absurdism or culture jamming like The Residents, Negativland, Frank Zappa, Butthole Surfers, Blacklight Braille and many others. Ofcourse Pop-Art seems to have been one of the first manifestations of this kind of post-war capitalist mockery and reversal of media powers in general.
I guess there's a lot to check out more elaborately for yourself within all of this, specially regarding today's perpetual digital media simulacrum trip and the post-reality virus age...But for now here are The Swingin' Love Corpses providing their great mutoid funk, zappa-esque manoeuvres, space jazz and trippy jam explorations for the end of the world détournement party which was already recorded some 30 years ago.
Next up on the blog is this quite mysterious project from the 90's called The PamelA Mind B.and which was created by Mark Reeve. I'm guessing that he hailed from Wales because one of the tracks was recorded live at the "Bell In" in Gwynedd. The music is quite noisy and consists of long improvised electronic soundscapes and radio cut-ups combined with other distorted sounds generated through various pedals and machines. The music is being introduced at the start of the tape as a sonic search for a so called "third shadow side" of the cassette through the exploration of its sounds, hence the title 3rd Side Experiments.
Even though a lot has been done in this particular field of music it does have a dreamlike and surrealist touch to it. It reminds me somewhat of the Canadian act Dust That Collects that was posted on the blog some time ago. The PamelA Mind B.and was featured on a tape compilation during the 90's but I'm not sure whether more material was released.
In any case another fine DIY cassette with some nice plunderphonics-bruitist-table-full-of-equipment-noise-music from the last decade of the last century.
