Istari Lasterfahrer, Sozialistischer Plattenbau, Karl Marx Stadt – ein Gedächtnisprotokoll
Felix vielen Dank für deine Ausdauer, vielen Dank für dieses Int
Felix vielen Dank für deine Ausdauer, vielen Dank für dieses Int
Neurosis Orchestra and Lfo Demon are back from a mad, mad weekend in Holland. What can I say – it has been a really good time in Tilburg on the ZXZW festival. The concept behind the festival is pretty awesome: all alternative venues in town join forces to organize a massive event that lasts one week. I guess it is pretty nice for the local community as everbody collaborates on this project one time a year: representing independent culture.
Getting out of the car on friday night we were glad to get some cold beer in the backstage area to forget about the horrors of the motorway. The whole breakcore line up worked as The shape of Breakcore to Cum. Good work, Mr. Bart Hart. Of course we missed most of the acts like Doormouse, Otto von Schirach and Rioteer in the Main Hall playing over a special 8 speaker sound system. And also the sets of Assassin and FFF. Damn, all this could have been fun. So we just saw a bit of the set of Electric Kettle and Floorclearer, who played his excellent mashed up core beats. We went meanwhile on the other side of the street to the V39 venue to see a bit of Pisstank. Andi rocked the crowd with his unique Ravecore straight outta London. Back to the Kleine Zaal Ladyscraper was about to turn up the hardness factor and stood headbanging on stage. Then it was already time for me to perform as Lfo Demon. What can I say? I shouldn´t drink before going on stage. I freaked out so much and acted so stupid I couldn´t move my head for 2 days due to a massive muscle ache. Ouch! I managed to crawl off stage while Judith Priest started playing. Getting trashed, off to bed.
The next day we checked the Peter Beste exhibition. The pictures mainly originated from his book on Norwegian Black Metal which I discovered already a few weeks ago. On the other side of the gallery the Antenne/ Sam Sam store was located. I never saw the mash up of an second hand clothes store and a vinyl store before. Here it is in the Noordstraat of Tilburg: second hand clothes and all the records you ever dreamed of. I even found a copy of the “Higgins Ultra Low Track Glue Funk Hits, 1972-2006″. On the way to the next venue we saw the artist Knitta at work: Street art with Yarn. We went on to an exhibition of graphic artists who sold their posters, mainly on bands. The vegan cuisine there was the most delicious food I had in a while with grilled beetroot and pumpkin.
Further on to the European Noise Contest in the NS16 venue. We first saw Kaiserschnee who made a performance that could have been influenced straight from the writings of Theodor W. Adorno: The caged subject in the administered world. The scientist – Kaiserschnee dressed like a surgeon – as the protagonist of the blind reason raging like a madman. Subjectivity as a mimesis to the productive forces that are out of control and humans struggling with alienated labor represented by an electric oven and some bread rolls. Beyond the expectations that the proletariat was about to bake the bread Kaiserschnee put over the oven on this head. Instead of the leftwinged claim of taking over the whole bakery (as a hegelian-marxian “Aneignung” of the means of production) the fatalistic story ended with world downfall which was symbolised by the gesture of throwing the oven into the audience. It crashed on the floor and caused a short circuit, all sounds went off. Bravissimo!
Kakawaka´s performance started as a caricature of a rock musician on a midi keyboard. After some stunts he undressed and under his clothes his yellow stage outfit appeared. The rest of the show reminded at some looney tunes character on acid. He played with a gigantic fork with some attached microphone. Later on the microphone was detatched to a metal joist in the room. Running on it with a sinister grin on the face and falling to the floor after a frontal collision made some more harsh noises. It was pretty interesting to see how Kakawaka played with the expectations of “being funny”, experimenting with the tipping point where the atmosphere of grotesque nonsense was about to collapse.
Oh – and there was a jury! Between a few performances a jury equiped with various characters that could be casted straight for a movie judged the performances. You remember Bob of Twin Peaks? He was one of he jurors, alongside with a woman in a leopard dress. Sitting there with a glass of red wine the jurors gave the whole event the real Eurovision Grand Prix atmosphere. Actually this was one of the most impressing events I saw in the while. I like it when the relationships between artists, audience, performance, entertainment and artwork gets fluid.
Later that day we were about to perform as Neurosis Orchestra. Playing our dark Dubstep tunes in a concert atmosphere was a new experience for us and we enjoyed it. Our songs worked well, the sound was loud and awesome and we decided after the show to work more on a hybrid between Doom Metal and Dubstep. Afterwards we talked a bit with the sound engineer about the difference between Paul Elstak and the Darkraver. We stayed in the V39 venue and watched the Japanese invasion with DJ Shabushabu and Maho Thaidisco and their pop inferno. Afterwards the sound got wilder with distorted mashcore by the USA Kings. Dj Pinchado finshed the evening with broken beats somewhere between the Agriculture and Word Sound: No 4/4 rhythms but uneven loops. We left at some point to see the rest of the DJ set of Chris Moss Acid in the “Studio”: Acid in all varieties from Luke Vibert orientated stuff to extremly broken amens at the end. Excellent set in a totally crowded venue. Off to bed.
The next morning we figured out that there wasn´t a single café or bakery open so we were lucky to get some…. well…. let´s say “breakfast” at Mc Donalds. And let´s also pretend the french fries were vegan as they might not even be vegetarian. No problem for the omnivoric part of Neurosis Orchestra.
We were sad to leave town as we were going to miss so many bands on the last day of the festival: Sun Ra Arkestra, Pelican, Torche, Cadence Weapon, Seein Red and so many more that we would have liked to see. But it´s quite a distance back to Berlin so we were glad to arrive back home in the late evening after a long car ride. Synopsis: An amazing festival with the most friendly organisers you can imagine.
source:
Woke up at 7: 05, reset the alarm to 7:35. Woke up, went for a run on the city streets.
Lots of people going to work, all walking or biking. VERY few cars. No one else running. Who needs to when you walk or bike everywhere. No cars to be afraid of so why wouldn’t you?
Cold out, about 54 in the morning. Found a park with a cool rope course, bars and a wire line about 50 ft. long. Ran for 20 minutes there, did a few pulls, pushes and ran back, trying to keep up with bikers. Did 100 push ups/100 squats in 3:15.
Otto and I spent the day from 10am-6:30pm working with THIS (click for link).
Did a bunch of high box jumps onto the stage and risers, wall handstand push ups and stuff for a bit.
Went and ate at the artist meal hall and then went and saw THE SUN RA ARKESTRA.
Holy shit, I cried during their first song. Some of these guys have been with the band for 50 years. I never, ever thought I would see these people play music and tonight I went and saw them for the first time. The thing is, they’re playing one block away from our hotel FOR THE NEXT FIVE NIGHTS IN A ROW, two sets each night covering a decade of music each night. Tonight was big band standards like Ellington and such.
Relaxing in the small Euro style toilet-and-shower-down-the-hall hotel until 8am rise and run.
Pre bed:
25 push up, 25 full range sit up, 25 squat x4=300
9:45, focusing on form more than speed.
Yesterday Otto von Schirach and Doormouse arrived in Tilburg.
The MASE System was also build up in the Hall Of Fame. 8 Boxes in the hall that will give the opportunity to send sounds in all directions, using special equipment from the MASE Interface. Today Doormouse, Otto von Schirach and Rioteer will get all the instructions from Stefan Robbers from Muzieklab, who is one of the inventors of the system, and probably best know to you as from the Acid Junkies.
more news coming soon!
Ze hebben geen idee aan wie ze uiteindelijk dit logeeradres hebben te danken. Wie de persoon is die ze een week lang onderdak biedt, weten ze evenmin. Alleen zijn naam is bekend en dat hij bij de Pizzahut in Reykjavik werkt, vijftig kilometer verderop. GEM zanger Maurits Westerik en Bong-Ra zitten momenteel op IJsland om daar samen met producer Maarten Besseling voor een In A Cabin With album.
Gisterenmiddag zijn ze aangekomen in Sandgerði, een klein vissersdorpje in het oosten. In het huis van een, volgens Bong-Ra, “ vage gast” zullen ze een week lang muziek maken. Van een hutje is ditmaal dus geen sprake. “Maar luxe is het ook niet”, zegt Bong-Ra. “Maurits en ik delen één bed, Maarten ligt met zijn slaapzak naast ons in een Al-Qaida kamertje met afgebladderd behang. In de kelder hebben we onze studio ingericht.”
Een breakcore legende en een rocker die samen aan een plaat werken, is een opmerkelijke combinatie te noemen. “Om die reden hebben we ook besloten om samen iets te gaan doen. Deze twee extremen maken dit project juist interessant. Wat er ook gebeurd, het resultaat zal verassend zijn.”
Ook IJsland is bewust gekozen. Bong-Ra: “We wisten al dat we niet met keiharde beats wilden werken. We willen iets anders doen. Iets sferisch. Dan is IJsland het mooiste land om naartoe te gaan. Het klinkt misschien cliché, maar ik snap nu dat dit land echt een duidelijke eigen sound heeft. Gisteren hebben we beneden al wat lopen pielen. Je merkt meteen dat het landschap, de ruimte en de rust zijn invloed heeft op onze muziek.”
Volgende week woensdag komen ze terug, met als het goed is driekwartier nieuwe muziek. “Dat moet zeker lukken. Maurits en ik hebben een muzikale klik, we werken snel. Er zal nog genoeg tijd over zijn om de omgeving te verkennen. Dat moet ook, want we zijn juist hier naartoe gekomen om ons te laten inspireren.”
source: 3 voor 12 Lees verder
“Fractional is a quiet a quiet young man called Pierre. His music can be qualified as Gothic Erotica I guess, a dark and brooding Electronica with a strong Jungle aftertaste. Pierre literally vomits his brokenbeats and tortures them to submission, waxing them with various bleeps and crackles, smearing almost mystical pads on their bruised bodies”
New album “Come mierda” out 25 June on Brume Records (Fr) www.brumerecords.com/ with Ep vinyl. Remix by Dj hidden, Cdatakill, Detritus and Disharmony. Video clip by Antonin de Bemels. Artwork by Stf.
Distribution album Come Mierda :
Benelux : Hysterias, cod&s, Timeless network and Lood records.
France : Nuit et brouillard, season of mist and Soundworks
USA/Canada : Metropolis, Storming the base, Angle rec., Geska records and Tik
UK : code 7
Australia : Ground under Production
Japan : Electro-Ohm
Deutschland : Antzen, black rain, nova media, Sx distribution and Ad Noiseam
Switzerland : Totenlicht and Urgence disc
Russia : Monochrome vision
Spain : Politronic and Suburban-Lab
Portugal : Equilibriummusic
Denmark : Braincorp
Slovakia : Av distro
REFERENCES
– 4 Prices Verdur Rock 2005
– Boutik rock 2006
– Puredemo contest 2006
– Final of Courscircuit contest Pop-rock 2006
– Boutik Rock 2008
SOME LIVE
– Sai festival Leitrim (Ireland)
– Grupo de Arte Global – Sao Paulo (Brasil)
– Soundstation – Liège (BE)
– Alternation – Paris (Fr)
– Boutik rock (Botanique) – Bruxelles (BE)
– Verdur Rock – Namur (BE)
– Klub Paris (fr)
– Langweiligkeit Festival – Den Haag (NL)
– Beursschouwburg – Bruxelles (BE)
– Kiosk – Lille (Fr)
– Zone in Liège (BE)
– Zorba – Paris (Fr)
– Skipbase – Tienray (Nl)
– Sortie 23 festival (BE)
– Atelier Rock – Huy (BE)
– Empreintes digitales festival Droixhe
– Entrepôt – Arlon (BE)
– Atelier 210 Bruxelles (BE)
– Inside out (Liège)
– Jazz Station Bruxelles
– Steegske / Frontline Gent (be)
– Kiosk Lille (Fr)
– ZXZW Festival Tilburg (Nl)
– Natura rock Festival Philippeville
– La nuit des musées Trélon (Fr)
– Magazin 4 Bruxelles
– Jazz Station Bruxelles
– Relais TYR Bruxelles
– Silent block radio session
– Ventilot festival (Mons)
– ….
Fractional will perform at ZXZW on september 19th at The Shape Of Breakcore 2 Cum, in the Hall Of Fame, Tilburg
more info on
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Breakcore is a loosely defined electronic music style that brings together elements of jungle, hardcore techno and rhythmic noise, into a breakbeat-oriented sound that encourages speed, complexity, and maximum sonic density.
The style began to emerge at the peak of rave in years of 1993–1994. In Berlin and Cologne, the Bass Terror Crew provided a harder version of breakbeat by playing records on 45rpm instead of the intended 33rpm. At the same time, former hardcore techno DJ Tanith started a series of parties with ‘breakcore’ in bold fat letters on the flyer.
As hardcore techno artists were feeling a staleness in the Roland TR-909 and Roland TB-303 drum machine-based sounds, the commercial “childish” elements in Dutch gabber and the overall assaults of speedcore began to be adapted. Others felt an urge to take the ideas of early 1990s jungle and acid one step further. Artists began to incorporate more breakbeats (especially the Amen break), taking the conceptual extremity of hardcore and harsh industrial music and applying it to the drum and bass template. Straining out much of the “rave” influence on hardcore and adding a degree of complexity, breakcore was a more palletable genre for music fans who were turned off by the rave scene, and so there is something of a crossover audience for fans of extreme music of all types, including grindcore, harsh industrial music, noise music and “IDM”. This advance in “complexity” was made possible primarily by the proliferation of cheap computers and it is worth noting that the majority of breakcore was produced on cheap computers using free software, especially trackers.
There is no one clear point of generation, but some key locations include Berlin, South London, Newcastle, New South Wales, Rennes, France, Ghent, Belgium and the Midwestern US and Canada (including Milwaukee, Wisconsin, Winnipeg, Manitoba, greater New Brunswick, New Jersey, and Minneapolis, Minnesota). The first widely-known efforts did probably come from Force Inc./Riot Beats and Digital Hardcore Recordings. Breakcore as it is currently known has many of its origins on the internet, specifically around mailing lists like c8 and can be traced back to early efforts by the Bloody Fist camp in Australia; Ambush, Praxis, DHR, Breakcore Gives Me Wood and others in Europe; and Addict, Drop Bass, History of the Future and Low Res in the Midwestern US.
as found on http://www.drivl.com/users/profile/CheShA :
Addict Records
an interview with Doormouse
Born in the late 90’s from the American Midwest hardcore scene, with ‘godfather of hardcore’ Doormouse at the controls and featuring artists like Stunt Rock, J-Slim, Anonymous and, of course, Doormouse. From one the most forward-thinking hardcore labels in the US also came releases from the likes of Venetian Snares, Unibomber and Poncho Nightmare along the way. This is stuff for the discerning hardcore rave fan, and Doormouse agreed to an interview with us…
1 – How and why did you come about starting Addict Records?
I started Addict after I started its sister label, Distort. Distort has always been about hardcore tracks and I have always been into hard stuff, but also into abstract styles. I started Addict to release good tracks from various artists and friends whose music I love.
2 -When you started Addict Records, were there any labels that you could say were a reference/inspiration for your efforts?
Drop Bass Network was a big influence as far as helping me get started. Kurt Eckes was a rave promoter in Milwaukee, the biggest one, and also ran his awesome label, which he still does. He helped me get contacts and figure out how to operate. Another influence after I had started was Gordon aka Bambule. He turned me on to sounds that I had never heard and changed a lot of the ways I thought about music.
3 – Since the inception of Addict Records, are there any events in the history of the label that you’d consider as particularly relevant, from difficulties and setbacks to successes?
WTW barn parties have always been known to be part of the label. These were festivals of music in a barn in the rural US. People came from all over the US and Canada to attend, and these events were seen as being at the forefront of a movement in the late 90’s/early 00’s. We went to great lengths to make these intimate down home events that suspended reality for a night. After a few years, some people did some things that messed this up. As far as success, getting another record out is always a great success and very relevant.
4 – So far what would you consider as special highlights (or successful) releases and artists in the history of Addict Records?
Going full colour for sleeves was a great moment, after starting off with white labels. Being able to put out friends music that I believe in has always felt good. I consider all of our releases to be successful, and almost all of them are sold out. My favourites are usually the worst sellers.
5 – Are there any releases in particular that you would recommend as good ‘introductory material’ to the Addict Records label?
Most recently, “This Is Stunt Rock Vol. 3” and “Xylophone Jism” are great LP’s. Some of our releases are more DJ oriented, but these are more listening records. They were both released in conjunction with Cock Rock Disco last year.
6 – Looking back, do you have any regrets with Addict Records? If you could go back and change something, what would it be?
No. Nothing.
7 – An obvious question, but what is Addict Records ‘relationship’ with the Internet? From promotion tool and digital sales to file sharing and piracy, how has it affected you?
The internet has not greatly affected anything for us, other than wasting time. We sold out of releases before it, and we still do. No big change other than being able to order salt free butter and magic wands at three in the morning.
8 – Slightly related to the previous question, how do you see the concept of ‘netlabels’ and, as a labelhead, what is your perspective as to the future and evolution of physical media (CDs, vinyl, etc)?
A net label is fine with me. Vinyl has always been about quality control. If your stuff is not good, you’ll find out fast when you put it on vinyl. The internet is good at lying to you through collections of yes men. Vinyl never lies.
9 – Perspectives for the future, what lies in the horizon for Addict Records? Can you share some long-term goals and where would you like to see the label heading to?
We’ll continue to release high quality vinyl until I die. Then I’ll bury my nose in the ground and sniff.
10 – Seeing that we’ve just given a soapbox of promotion please show some fair play… what other labels/artists would you recommend at the moment and why?
Merle Haggard, Otto Von Schirach, DJ Baseck, Venetian Snares, DJ Induce, DJ Anonymous, Stunt Rock, Skymall, Invisible Robots, Eric B. and Rakim, Costes, Captain Ahab, and vagina. These are all things I recommend. Gun shot sound effects too…they’re hardcore. That and ragga samples in breakcore/jungle. Really exciting.
11 – Thank you for your time, do you have any final comments/requests?
One foot in a quagmire, one in a blender.
Relevant links
Addict Records
— interview by Kate Turgoose & Miguel de Sousa (January 2007)