Sonntag, 7. Dezember 2014

lied zum sonntag: blue velvet

() was the song that sparked the movie! Bernie Wayne [& Lee Moris] wrote that song in the early 50s.... Bobby Vinton’s version was the first one I ever heard. I don’t know what it was about that song, because it wasn’t the kind of music that I really liked. But there was something mysterious about it. It made me think about things. And the first things I thought about were lawns - lawns and the neighborhood. It’s twilight - with maybe a streetlight on, let’s say, so a lot of it is in shadow. And in the foreground is part of a car door, or just a suggestion of a car, because it’s too dark to see clearly. But in the car is a girl with red lips. And it was these red lips, blue velvet and those green-black lawns of a neighborhood that started it. 
Lynch on Lynch
 

Montag, 24. November 2014

24/11/89

On today in 1989 Nirvana played at Konkret in Hohenems, Austria. There were, at most, twelve people at the show, according to the show’s promoter. Krist remembers a bunch of “inbred villagers” at this show who shouted things like, “Come on, bay-beee, play something hea-veee,” and, “Play some rock and roll, bay-beee!”

Montag, 17. November 2014

Monsterheart:track:by:track

by erli grünzweil, sonograph festival 2014

Ein Monsterherz schlägt, ach! in ihrer Brust. Als freundlicher Goth vom Friedhof nebenan kokettiert die ehemalige Frontfrau des New Weird Vienna-Kollektives go die big city! mit der dunklen Seite des Lebens, lässt diese jedoch in hellstem Licht erstrahlen: Melodien aus Zuckerguss, märchenhafte Texte und Schauermotive verschmelzen bei Anna Attar zu tanzbarem Graveyard-Pop. Eingeläutet 2011, klingt das bezaubernd-beschwingte Soloprojekt fort auf dem heuer im April erschienen Debütalbum W, über welches wachet als zentrales Element der Mond: Er stellt die Nacht in den Schatten.

Woon (Intro) Das Intro der Platte und ich glaube das einzige Stück, bei dem ich wirklich aktiv geklaut habe. Es lehnt ziemlich an "Hinter den Bergen" von Grauzone an....wenn mans denn noch raushören kann. Zumindest hat es so angefangen. Woon, Weep und Waves gehören thematisch zusammen und erzählen aus der Perspektive des Mondes. Woon ist das Erwachen des Mondes, der Beginn der Nacht und somit die Sonne, aller Schatten und Nachtkreaturen.

Bunnies ist all meinen Schwärmereien (seit der frühesten Kindheit) gewidmet und der Zeit und den Tagträumen und der Jugend und der Liebesverblödung! Es mussten Hasen sein, da meine liebsten Exfreunde sich merkwürdigerweise alle mit Hasen identifizieren konnten und Hasen fuer mich daher ein bisschen Sinnbild für die Liebe sind und das Männliche.

Wired ist eins der älteren Stücke auf dem Album. Von dem Lied habe ich noch eine Garageband Version, in der ich erstmals versucht habe einen Beat einzuspielen und mit 4 Spuren noch komplett überfordert war. Da ist nichts auf dem Punkt, nichts macht Sinn. Also ich wusste schon genau, wo das Lied hin soll, konnte es aber technisch noch nicht umsetzen. Das ist für mich immer wieder lustig anzuhören.... oder anzusehn! Diese 4 kümmerlichen Spuren und keine folgt dem Takt der anderen. Inhaltlich und soundästhetisch gings mir da um eine Kreuzung zwischen Blade Runner und AI.... ein Devotheitsgeständnis eines Sexbots...

Oh Death ist irgendwie zufällig einfach so passiert. Ich habe das Lied, das ursprünglich ein amerikanisches Volkslied ist, immer wieder auf meinem Keyboard gespielt und dazu gesungen und es einmal aufgenommen, einen Beat drunter gelegt und dann war das halt da. Easy.

At Night Puh. Von dem Lied gibts einen Haufen Versionen... und ich mag sie eigentlich alle ganz gerne. Ich schreibe ja immer zuerst die Texte und dadurch gibt es relativ viel Spielraum für die Musik. Jedenfalls betrachte ich die Lieder, die die meisten Versionen durchgehen müssen, als meine Sorgenkinder. Die bekommen dann extra viel Aufmerksamkeit, aber sie nerven auch manchmal, weil man das Gefühl hat, dass aus denen nichts mehr wird und man so viel reinstecken muss. Zum Schluss hat man die Lieder dann doch am liebsten, weil sie einen schon so lange begleiten.

Weep (Interlude) Ganz im Gegensatz dazu steht Weep, das ich einfach innerhalb eines Nachmittags letzten Jahres zusammengeschustert habe und daran dann auch nichts mehr geändert habe. Es lag die Spannung, die vor einem sehr stürmischen Gewitter vorherrscht, in der Luft...aber im richtig heißen Sommer! Es erzählt wieder der Mond von seiner Reise durch das All. Wh00h00! Clap Clap.

West war bis zum letzten Moment ein Sorgenkind. Den Gesang habe ich erst während dem Mischen aufgenommen. Ich glaube musikalisch ist es mein Lieblingsstück...es ist sehr eigenwillig und angeblich atonal, weil das tragende keyboard verstimmt war...ist mir aber nicht aufgefallen, weil ich sowas nicht höre! Für mich passt das alles super zusammen... Das Geschehen findet im Wilden Westen statt und beschreibt eine Rüstungsszene vor einem Kampf gegen ...vielleicht Zombies. Ich hatte nie ein klares Bild von den Monstern, die es da zu bekämpfen gilt vor Augen...aber das macht ja nichts!

Redhood Recht klar, da gehts ums Rotkäppchen....Live ist das immer wieder lustig, weil ich das Publikum zum Heulen (wie der Wolf!) auffordere und das zum Glück meistens gnädig ist und mitmacht. Als ich mit den zwei sehr schief eingesungenen Stimmen beim Mischen ankam, gabs auch eher schräge Blicke und versuche mich davon zu überzeugen, vielleicht doch "schöner" zu singen. Aber das gehört so. Das passt schon so. awoooo!

Without Eyes Noch so ein Sorgenkind....davon habe ich sogar mal alle Versionen in eine gepackt und online gestellt, weils so bescheuert ist, wieviel Zeit man da in etwas steckt, was nie wirklich das Licht der Welt oder eher Öffentlichkeit erblicken wird. Ich bin ja doch faul, jede unnötige Arbeit schmerzt mich ein bisschen in der Seele...kurz nachdem ich dieses Lied geschrieben hatte (2008!) bin ich auf "eine Symphonie des Grauens" von The Monochrome Set gestoßen und war so gerührt davon, dass es jemanden gibt, der inhaltlich dasselbe Zuhause hat, wie ich, dass ich mir Bid, den Sänger und Songschreiber, kurzerhand zum Brieffreund (myspace <3) und eigentlich zum Mentor gemacht habe. Ohne ihn hätte ich nie gedacht, dass das, was ich da schreibe, auch nur irgendwie als Musik ernstzunehmen gewesen wäre. Mega Kudos an Bid und The Monochrome Set, beste Band...auch live immernoch soooo super <3

Basement Mein Lied mit starkem Österreichbezug. Das allererste Lied, das ich für Monsterheart geschrieben habe, als ich in Berlin gekellnert habe und immer wieder in den Keller musste, um leere Flaschen auszutauschen.. Es handelt von einem im Keller eingesperrten Mädchen mit Stockholm-Syndrom... Mehr muss man dazu eh nicht sagen,... außer vielleicht: wer das versteckte SOS findet, kriegt einen Topfenknödel und ein Bussi von mir!

Waves (Outro) Wieder eines von den "neuen Schnellen" (Jungen Wilden)...der Abschluss des Albums, in dem der Mond von seiner ewigen Liebe, dem Meer, erzählt, um schlussendlich darin zu versinken und den Zyklus der Nacht zu beenden.

// monsterheartcloud // mnstrhrtlrcs.tumblr.com // seayou records //

Montag, 27. Oktober 2014

dilworthy: death of love

Das wichtigste bei Musik, Film und vor allem ihrer Verbindung ist Atmosphäre. Wenn ich also versuche, ein Musikvideo zu drehen, muss ich die Atmosphäre der Musik verstehen und eine Idee entwickeln, die dazu passt. Wir hatten von vornherein geplant, nur einen schnellen Live Session-artigen Auftritt in der 8mm Bar zu filmen. Ich fand die Idee dabei spannend, anfangs nur mit Close-Ups zu arbeiten und den Raum, in dem sich das Video abspielt, nicht sofort zu offenbaren. Erst zum Refrain wollte ich die Bar in Gänze zeigen und erkennbar machen, dass es gar kein Publikum gibt. Zwar wird die Musik hier hektischer und lauter, doch ich wollte dem ganz bewusst ruhige Kamerafahrten entgegensetzen statt den dynamischen Bildern davor, um einen Bruch zu erzeugen. Zurück zum Stichwort Atmosphäre: Die ersten zehn Sekunden klingen für mich ebenso wie die ersten Akkorde nach wildem Westen und verrauchten Saloons. Dementsprechend wählte ich das Anfangsbild des Tresens mit Aschenbecher. Farblich fand ich da die entsättigte, düstere Farbgebung sehr passend. Um bildlich etwas mehr aus der Szenerie herauszuholen, habe ich mit einem Prisma gearbeitet, dass ich als Effekt vor die Linse der Kamera gehalten habe. So entstanden die zum Teil verschwommenen Bilder, die Spiegelungen und eine allgemein leicht psychedelische Stimmung. Der Rest des Videos (die Zubereitung des Drinks, die Zigarette sowie die harten repetitiven Cuts am Ende) hat sich spontan ergeben, um über die Länge des Liedes Spannung zu halten. Constantin Timm @vimeo

Mittwoch, 15. Oktober 2014

15. Oktober 1857

Sinfonie in C-dur mit der Fuge von Mozart in Partitur. Ouvertüre zu Fingals Höhle von Mendelssohn in Partitur. Ouvertüre zu Egmont von Beethoven in Partitur. Sinfonie in Es-dur mit dem Paukenschlag von Haydn in Partitur.
Wunschzettel Friedrich Nietzsches zu seinem 13. Geburtstag

Sonntag, 5. Oktober 2014

lied zum sonntag: cantus in memoriam of benjamin britten

In the past years we have had many losses in the world of music to mourn. Why did the date of Benjamin Britten's death - December 4, 1976 - touch such a chord in me? During this time I was obviously at the point where I could recognize the magnitude of such a loss. Inexplicable feelings of guilt, more than that even, arose in me. I had just discovered Britten for myself. Just before his death I began to appreciate the unusual purity of his music - I had had the impression of the same kind of purity in the ballads of Guillaume de Machaut. And besides, for a long time I had wanted to meet Britten personally - and now it would not come to that. Arvo Pärt

Donnerstag, 2. Oktober 2014

Thus spoke Brainbombs :::

We are nothing.
We don't exist.
We are born Brainbombs. 
In Sweden they hate us.
Or they haven't heard of us.
Sweden? What's that?
Doesn't exist.
We're not trying to get anything out of this.
We've never tried to.
It's a hobby.
Nowhere else either. 
No.
We're making our own music, for us.
The only music we want.
The only way to get your own music is to do it yourself. 
They buy our singles, I know that.
They are such fucking idiots, who do that.
Americans, especially Californians have always been easy to fool,
so they are the easiest to fool.
If they saw us, they would... get an orgasm. 
Or get scared. 
Both.
Because we are real.
Germany.
Benelux countries.
Spain.
Portugal.
Italy.
I don't know what this is about anymore.
Me neither.
I want to go home.
#

Sonntag, 7. September 2014

Donnerstag, 4. September 2014

Also sprach Theodor Fontane :::





Es kommt immer nur drauf an,
daß, wie und wo man auch marschiert,
man allerorten die Musik des Lebens hört.
Die meisten hören nur die Dissonanzen.

Litographie von Horst Janssen

Dienstag, 26. August 2014

Waiting for Mac DeMarco III

Mac DeMarco was a notorious funman whose short temper and a tendency to drool earned him the nickname Mac Dog. He was quick on the trigger and bragged that he'd killed 88 men. However, this can not be substantiated since precise records were not kept after DeMarco shot a prophet who published an unfavorable story about him in 2014.



»What was I saying, we could go on from there.« »What were you saying when?« »At the very beginning.« »The beginning of what?« »This evening...« »I'm not an historian.« »Wait... we embraced... we were happy... what do we do now that we're happy... go on waiting... waiting... let me think... it's coming... let me see... ah! The tree!« »The tree?« »Do you not remember?« »I'm tired.« »Look at it.« They look at the tree. 

Zara Thustra's eye had perceived that a certain youth avoided her. And as she walked alone one evening over the hills, behold, there found she the youth sitting leaning against a tree, and gazing with wearied look into the valley. Zara Thustra thereupon laid hold of the tree beside which the youth sat, and spoke thus: „I've never seen you before in my life, but you look to me like a slacker.“

When Zara Thustra had said this, the youth called out with violent gestures: „Why don't you make like a tree and get out of here!“ „It's leave, you idiot! Make like a tree and leave. You sound like a damn fool when you say it wrong! Shape up, man, you're a slacker. You wanna be a slacker for the rest of your life? You don't want to crash into some tree that once existed in the past.“

And Zara Thustra contemplated the tree beside which they stood, and spoke thus: „You see this book? This book tells the future.“ „Do I become like a rich pop star?“ „Yeah, it's got a beat and you can dance to it. That is not the worst taste in these days. I divine thee well: Thou hast become the enchanter of all the world; but for thyself thou hast no lie or artifice left, thou art disenchanted to thyself!“

Here the youth was silent. Here, however, Zara Thustra could no longer restrain herself: „You got a real attitude problem, MacFly. It's all in the past.“ „You mean in the future?“ „Where could future and past be closer together than with thee? For this is the secret of the song: Two roads come together here. If my calculations are correct, when this baby hits 33 rounds per minute, you're gonna hear some serious shit.

And those into whose ears thou hast at any time dripped thy song: A truth which only glideth into fine ears, he calleth false hood and trumpery. Verily, he believeth only in Godots that make a great noise in the world!“ Here paused Zara Thustra awhile. Then Zara Thustra continued to speak thus and her voice had changed.„I suppose it's poetic justice“, said she and stroked her beard. „Two MacFlys with the same fun.“

All this went on for a long time, or a short time: for properly speaking, there is no time on earth for such things. "We have not yet time for Zara Thustra" so they object; but what matter about a time that "hath no time" for Zara Thustra? Away with such a Godot, better to have no Godot, better to set up destiny on one's own account!

»Where was I... How's your foot?« »Swelling visibly.« »Ah yes, the two thieves. Do you remember the story?« »No.« »Shall I tell it to you?« »No.« »It'll pass the time.« »No.« »Make a note of this: Waiting for Mac DeMarco I & II.« »Who believes him?« »Everybody. It's the only version they know.« »It's a scandal!« 

Thus began Zara Thustra's down-going. 

Composed of
Back to the Future
Waiting for Godot, Samuel Beckett
Thus spoke Zarathustra, Friedrich Nietzsche

Donnerstag, 14. August 2014

Thus spoke Nietzsche :::

The fundamental idea of my work namely, the Eternal Recurrence of all things this highest of all possible formulas of a Yea-saying philosophy, first occurred to me in August, 1881. I made a note of the thought on a sheet of paper, with the postscript: 6,000 feet beyond men and time! That day I happened to be wandering through the woods alongside of the lake of Silvaplana, and I halted beside a huge, pyramidal and towering rock not far from Surlei. It was then that the thought struck me. Looking back now, I find that exactly two months previous to this inspiration, I had had an omen of its coming in the form of a sudden and decisive alteration in my tastes more particularly in music. It would even be possible to consider all Zarathustra as a musical composition. At all events, a very necessary condition in its production was a renaissance in myself of the art of hearing. In a small mountain resort (Recoaro) near Vicenza, where I spent the spring of 1881, I and my friend and Maestro, Peter Cast also one who had been born again discovered that the phoenix music that hovered over us, wore lighter and brighter plumes than it had done theretofore.———

Samstag, 26. Juli 2014

Waiting for Mac DeMarco II

„I guess you guys aren't ready for that yet—
But your kids are gonna love it!“


»Charming evening we're having.« »Unforgettable.« »And it's not over.« »Apparently not.« »It's only beginning.« »It's awful.« »Worse than the pantomime.« »The circus.« »The music-hall.« This talk is for thine ears: It's a fact that at some stage while touring the world and elsewhere, MacFly performed impromptu at the Enchantment Under The Sea Dance. Ending up playing that particular night, he would take over like a thunderstorm, serving something that really cooks. „What have I just heard?“, answered Zara Thustra,
„already did I stand prepared for the best dance: then didst thou slay my rapture with thy tones!“ That instant, Chamber Of Reflection struck the festivity like lightning —— Leaving it in disarray, provoking the phone-call that would lead Black Moth Super Rainbow to that new sound they had been looking for, hence turning into what has become Gold Splatter. 
Good songs want to re-echo well;
he who hath ears to hear, let him hear.
Thou old clock-bell, thou sweet lyre, how long, how far hath come unto me thy tone from the distance? „All right, this is an oldie... uh, well, it's an oldie where I come from.“
Must one clatter like kettledrums or penitential prayers?
Culture, they call their theft.
And from all hills there re-echoed, „All is empty, all is alike, all hath been!“ It is sad that novelty was old. How could anyone blame MacFly? For this man was simply eternally recurring. Must not whatever can run its course of all things, have already run along that lane? Must not whatever can happen of all things have already happened, resulted, and gone by? Must we not all have already existed? Thus sang Mac DeMarco: Spend some time away / Gettin' ready for the day / I'm born again
Time flows again already. „AGAIN, "CHAMBER OF REFLECTION' IS YOUR BEST SONG TO DATE“— Tyler, the Creator, the Fanboy #1 of The Monnan Cockasin who was spotted just recently discussing the touchy subject with DeMarco.
And the dreams and pratings of all periods were even realer than your awakeness! Zara Thustra however, stunned and strange, rose from her seat, looked around her, stood there astonished, inquired of her heart, bethought herself, and remained alone. „What did I hear?“, said she at last, slowly, „what happened unto me just now?“ But soon there came to her her recollection, and she took in at a glance all that had taken place between yesterday and today. »How time flies when one has fun!« »What do we do now?« »While waiting.« »While waiting.« »You're sure it was here?« »What?« »That we were to wait.« »He said by the tree.« »What is it?« »I don't know. A willow.« »Where are the leaves?« »It must be dead.« »No more weeping. Let's go.« »We can't.« »Why not?« »We're waiting for Godot.« »And if he doesn't come?« »We'll come back tomorrow.« »And then the day after tomorrow.« »Possibly.« »And so on.« »The point is« »Until he comes.«
Truth is: Godot could not jazz less about those two wankers sitting on that rock, waiting for waiting. Sounds heavy? Weight has nothing to do with it. Immediately thereupon, Zara Thustra, who had opened ears and eyes to this talk, rose from her hiding-place, advanced towards the wankers, and thus began: „I would believe only in a Godot that knows how to dance!“ « Thus spoke Zara Thustra. »
feat.
Back to the Future
Waiting for Godot, Samuel Beckett
Thus spoke Zarathustra, Friedrich Nietzsche

Donnerstag, 26. Juni 2014

Waiting for Mac DeMarco

„Wait a minute, Mac. Ah... Are you telling me that you built a time machine... out of a song?“ ——— „The way I see it, if you're gonna build a time machine into a song, why not do it with some style?“



»Moron!« »Vermin!« »Abortion!« »Morpion!« »Sewer-rat!« »Curate!« »Cretin!« »Crrritic!« Unbind the fetters of thine ears: listen! It's a fact that at some point in time and space, Japanese musician Shigeo Sekito time-traveled to 2014. He would find himself enjoying a classic hooker's breakfast, contemplating the fact that Vladimir (or Estragon, for that matter) never finished telling that story of the Englishman in the brothel, getting a little drunker than usual. All on a sudden, however, Sekito's ear was frightened.
From the future come winds with stealthy pinions, and to fine ears good tidings are proclaimed. That instant, Chamber Of Reflection struck Sekito like lightning —— Captured by the track's melody, the trained electone player & composer could not help but taking it back with him to 1975, returning to Nara with a tune in his pocket, hence turning into what has become the word II.
Surely one should hear the tick-tick;
he that hath an ear, let him hear.
Then I will say something into your ears, as that old clock-bell saith it into mine ear: There commenceth the single and irreplace- able melody.
Must one first batter their ears, that they may learn to hear with their eyes?
They steal the works of the inventors and the treasures of the wise.
A doctrine appeared, a faith ran beside, „All is empty, all is alike, all hath been!“ It is said that novelty was old. How could anyone blame Sekito? For this man was simply ahead of his time.
„Too far did I fly into the future, a melody seized upon me. And when I looked around me, lo! There time was my sole contemporary.“ Thus sang Mac DeMarco: No use looking out / It's within / That brings that lonely feeling
Let us not waste our time in idle discourse. „Salad Days“ gained 24 year-old Vernor Winfield McBriare Smith IV much critical acclaim with Pitchfork being captivated by „Chamber Of Reflection“ to an extent that puts extra reflection in their review: „Chamber of Reflections“ (sic) is something like Beach House's “Heart of Chambers”, but evoking a bare, cell-like apartment rather than a misty opium-den boudoir. It’s DeMarco’s most atmospherically exploratory track yet, and it’s also painfully lonely and quietly eloquent about the experience.“
All periods prate against one another in your spirits; Zara Thustra, however, became absorbed in a dark recollection, for it seemed to her as if she had once before stood in this hill valley. And much heaviness settled on her mind, so that she walked slowly and always more slowly, and at last stood still. Then, however, when she opened her eyes, she saw something sitting by the wayside shaped like a man: Estragon, sitting on a low mound, is trying to take off his boots. He pulls at it with both hands, panting. He gives up, exhausted, rests, tries again. As before. A country road. A tree. Evening. Enter Vladimir. »That passed the time.« »It would have passed in any case.« »Yes, but not so rapidly.« »What do we do now?« »I don't know.« »Let's go.« »We can't.« »Why not?« »We're waiting for Godot.«
Truth is: Godot could not jizz less about those two wankers sitting on that rock, waiting eternally for him who never comes. And unto him who hath still ears for the unheard: When Zara Thustra was alone, however, she said to her heart: „Could it be possible! This old saint in the forest hath not yet heard of it, that Godot is dead!“ Thus spoke Zara Thustra. »
feat.
Back to the Future
Waiting for Godot, Samuel Beckett
Thus spoke Zarathustra, Friedrich Nietzsche

Dienstag, 27. Mai 2014

Mittwoch, 21. Mai 2014

frozy back to the future

In 2014, frozy are separated by geography (A third in New York City, a third in Brighton and a third in Amsterdam) but planning some European shows in the summer. There's somehow a new LP coming out later in the year, with a name and a photo and everything. Nicol is also playing lots of shows as Palomica and making more and more and more, while Irina is churning out artwork at a terrifying rate, and Rhiannon dances and writes about terrible things that small groups of humans have done to larger groups of humans. (frozy)

Mittwoch, 7. Mai 2014

MoreEats:track:by:track

by amanda jasnowski

How do you make Lady Gaga cry? Poke her face. Das Schmankerl aus einem Potpourri schlechter Witze, welche MoreEats auf seinen Konzerten kredenzt, wenn es nicht gerade gilt, die Pausen zwischen Anekdoten mit Liedern auszuschmücken. Er kommt (per Mitfahrgelegen- heit), sieht (mehr oder minder) und siegt (vor allem in den Herzen): Der Jonathan Richman von Liechtenstein.

Schlagzeug bei HOBIE (die berühmt-berüchtigte liechtensteiner Kraut- rock-Band, die schließlich als Disco-Band endete) > die Finger mal an den Gitarrensaiten, mal an den Tasten bei Little Tornados – ihr Erstling steckt in den Startlöchern – feat. Xeno Volcano (vox/gt) und Lætitia Sadier (vox/bass) > One Hit Wonder Zockrpapa, Fantasy Wank & Amore > all dies und noch viel mehr, das ist Moritz Schädler.

Das goldene Alter, in dem so manch Musikschaffende bereits das Zeit- liche segneten (Spinal Tap-esque an fremder Kotze erstickt / auf bizarre Art & Weise bei der Gartenarbeit umgekommen / auf der Bühne verpufft), kommt als Schnittschnelle gerade recht für MoreEats, um sein Debütalbum rauszuhauen. McDonalds-Emblem statt Matura: Der Schmusiker vom Triesenberg weiß davon ein Lied zu singen.

Auf Mixtape (die Hits der Jahre 2008-2010), die beiden EPs Koala (2010) und Köfferli Schädler (2011) sowie die zahlreichen musika- lischen Experimente & Kollaborationen folgt – logisch  Big Cinema: Großes Kino! Oder um es mit den Worten von André Herman Düne bzw. Stanley Brinks zu sagen: „MoreEats sounds the way his hair looks.“ (RIP Mollet '12, PITF&BITB). 

12 Tracks > auf Kassette > inklusive individuellem 35mm Negativ aus dem hauseigenen loveandanalog-Archiv sowie einer handgeschriebenen Botschaft > aufgenommen im Zürcher Spätherbst 2013 > veröffentlicht im Januar diesen Jahres via Tri Lingual Records, dem 2009 von Nicol Parkinson & Irina Jasnowski (frozy), Morgan Orion und Meister Schädler gegründeten Do It Together-Label und Kollektiv.

Das Artwork, kreiert von Nico Teezy, skizziert die Ecke Roland- straße, gelegen auf Zürichs Amüsiermeile zwischen dem Gonzo und der Bar3000. Die Lettern der Reklametafel ausgetauscht, schwebt MoreEats über dem Etablissement. Mit etwas Kopfkino lässt sich durch die Scheiben im Fenster darüber ein Lockenkopf erkennen, er blickt die Straße entlang, in Gedanken am Nachfolgewerk feilend: Quality Time.

step by step, wie die Italiener sagen bzw. track by track
::: Vorhang auf für den Fürst Of Pop :::

» Intro. Die einzigen Styles, die ich tastentechnisch irgendwie be- herrsche.

Colorblind. Ein Lied über meine ersten Monate in Zürich, als ich oft Webcam-Signale nach Neufundland gesendet habe. An Sonntagen war es teilweise wirklich tricky mit dem Kauf von Zigaretten. Am nächsten war wirklich dieser komische Kiosk, an dem auch eine Kneipe ange- schlossen war: Kassa nie eingeschaltet, Haare bis zum Arsch, nur 100er in der Tasche. Im darauffolgenden Sommer war ich dann mit Neufundland auf Tour und da hat mir mein Kollege Ali Europa eine Drum Machine zugejubelt. Das gab der Nummer dann den nötigen Pfiff. Und ja, ich bin farbenblind.

Groovy Movie. Sich in das falsche Mädchen verlieben und von der Beta Band klauen - mein liebstes Hobby. Die zweite Strophe war anfangs noch um einiges schlimmer "..next level, cuz I made a deal with the devil..". Das Rückwärts-Ding am Schluss ist übrigens nicht geplant gewesen. Ich hatte keine unbespielten Tapes mehr und so kam es dazu, dass ich halt bereits bespielte Kassetten benutzt habe und dieses hatte eine Demo-Version von der Nummer auf der B-Seite.

Like 4 On The Floor. Der Cheese. Der MS-10 Lead. Der Break. Ich feiere die Nummer nach wie vor selber ab. Die spannendsten 30 Sekunden, die ich je fabriziert habe. Ich habe ja keine große Ahnung, wie man da irgendwie was funky macht, aber hier hat's gut geklappt. Und, klaro - was gibt es besseres als eine Bass Drum, die durchklopft?

Come With Me. Ich bin seit Längerem auf diesem komischen A-Akkord hängengeblieben und bei dieser Nummer merkt man es wohl am meisten. Der Einfluss von Calvin Johnson lässt sich kaum leugnen und der Chorus auf dem Bass hat damit zu tun, dass es ein Bass Chorus Pedal im Studio gab. Mathias Kom von The Burning Hell hat ein sehr schönes Video gemacht. Wir verbrachten einen tiptopen Tag auf der Pfauen- insel. Postcard halt.

Maybe Tonight. Ich hab mir letzten Herbst beim Wavemeister Flohmarkt in Wien eine RX11 Drum Machine von Yamaha gekauft. Dieser war der erste Beat. Die Nummer war eigentlich nicht für's Album geplant, aber als ich mit dem 8-Spur rumgespielt habe und ich dann die Bass-Spur aufgenommen habe, war alles klar. Beim Abmischen hat Sandro gezaubert - der Break kommt recht fein raus. Ich hab mir vor Jahren an einem Jens Lekman-Konzert diese Notizbücher gekauft auf denen stand: "Maybe tonight I can rewrite this sad song about you". Alles klaro.

Stones. Letztes Jahr wurden die Stones 50 und ein bisschen Whiteboy-Afrika macht Laune. So viel zum Text. Der Ausbrecher war eigentlich nicht so wild geplant, passt dann aber ganz gut, wenn es wieder schön ruhig wird. Ich geh diesen Juni mit meinem Vater die Stones anschauen. Wir waren schon vor zehn Jahren auf einer Show der Stones. Das war Big Cinema durch und durch!

Saint Pete. Eine weitere Nummer aus meiner Anfangszeit in der Limmatstadt. Ich hatte so einen Job als Search Engine Optimizer; kurz: Bescheißen auf Google. Das Büro war im Niederdorf und da gibt es diese großen Kirchen. Während einer Rauchpause hat mich dann ein Mitarbeiter aufgeklärt und mir jeweils die Namen der Kirchen beigebracht. Am dicksten die St. Peter Kirche. Das Lied ist natürlich auch eine kleine Ode an den Erfinder der Snooze-Funktion.
 
Momo Le Chat. Der Versuch, eine alte Nummer auf das Album zu nehmen. Vielleicht das Lied, das am wenigsten passt. Irgendwie war ich nie glücklich, wie was Lied auf der EP klang. Ich hatte eigentlich die Idee, ein Video zu machen: Als Katze verkleidet durch Zürich zu wackeln und dann ans MoreEats Konzert zu gehen. So als Finale halt.

Citro Nights. Ein kleines Zwischenspiel vor der eigentlichen Action. Noch hysterisch kurz vor dem Abmischen aufgenommen. Ganz OK. Da wollte ich, glaub, so kool Malkmus auf der Mirror Traffic-Platte tun. Hat natürlich nicht geklappt.

Teenage Nights. In Liechtenstein gab's als Teenie nicht viel. Ich kam erst jeweils Samstags vom Internat (www.mehrerau.at) nach Hause und ging dann gleich ins JUZ proben. Abends war dann immer scheiße. Deshalb fingen wir an, nach Feldkirch zu gehen. Erstens war das Bivo günstiger und da gab es halt die Sonderbar. Top Laden mit oft feiner Musik. Da gab es dann auch süße Hippieschnecken und g'fürchtige Punkertanten. Kettenrauchend irgendwo hinten, großkotzig Rumcola (2,30) oder Campari Orange (3,90) bestellt und den dummen Punkern zugeschaut, wie sie auf Tischen rumgetanzt haben. Schlussendlich haben sie eh alle Matura gemacht und ihre alten Spitznamen von Dödel wieder zu Franz und so gewechselt. Teenage Nights so hard to beat.

Do You Really Wanna Go? Auch Feldkirch. Ein paar Jahre später. Ich als Bademeister am Poolbar Festival. Da trägt man so ein großes hellblaues T-Shirt auf dem Bademeister steht und schaut dumm aus der Wäsche. Am Abend zuvor hat so eine Ösi-Band Vorband gemacht und da war eine in der Band, die ich ganz süß fand. Ich musste dann irgend- wann auf den Bus (im Song ist Tram - tönt schöner und reimt sich auf AM). Am nächsten Tag dann verkatert wieder Bademeisterdienst. Da kam sie kurz vorbei und mein Kollege hatte sie am Abend zuvor eh schon geküsst. Die sind dann baden gegangen und ich hab die Nummer ge- schrieben. Die Idee zu diesem Disco-Schluss kam mir wohl irgendwann im Keller. Ich hab ja das Album alleine auf einer 8-Spur-Maschine aufgenommen, bei schlechter Luft und Catering von Coop Pronto. Da wird man irgendwann komisch. Die Metalbands um mich rum haben sich wahrscheinlich sehr gefreut, als sie hörten, wie Will Smith nebenan an einer neuen Platte arbeitet. Und natürlich shout out an Zürich. «

Und Woyzeck.

Dienstag, 22. April 2014

Sonntag, 20. April 2014

lied zum sonntag: the fun powder plot

There’s a UK protest group called Fathers 4 Justice that fights for father’s rights. They attacked Tony Blair during a session of Parliament with colored powder that they called "fun powder." It was a big political stunt and it made for a very interesting story, so I thought I’d turn it into our first political protest song. /// Hayden Thorpe 
The song title refers to an event that took place on May 19, 2004. Two members of Fathers 4 Justice, Guy Harrison and Ron Davis, threw two condoms filled with purple-dyed flour into the chamber of the House of Commons, one of which hit Prime Minister Tony Blair. Lyrically the song discusses the point of view of fathers' rights pressure groups. ///

Dienstag, 1. April 2014

I Am Damo Suzuki

Who is Damo Suzuki?
Mark E is Damo Suzuki, he is singing this song since 1985.

Damo's spirit says:
It might be somewhere the guy called Damo Suzuki in this world. But, he is everywhere, maybe behind you....turn to see back.

"I Am Mark E. Smith"
I don't know as generally I don't use texture....if I do then I use word like Manchester, Bottles, Whisky, Anti London, United, Shelter, etc...

Sonntag, 16. März 2014

lied zum sonntag: we'll sing in the sunshine

In We'll Sing in the Sunshine I wrote about that "settle down fear" that
I think all performers feel.
It is a happy approach to
personal independence.
Gale Garnett

Sonntag, 9. März 2014

lied zum sonntag: cloudbusting

The song is about the very close relationship between psychologist & philosopher Wilhelm Reich and his young son, Peter, told from the point of view of the mature Peter. It describes the boy's memories of his life with Reich on their family farm, called Orgonon where the two spent time "cloudbusting", a rain-making process which involved pointing at the sky a machine designed and built by Reich, called a cloudbuster. The lyric further describes Wilhelm Reich's abrupt arrest and imprisonment, the pain of loss the young Peter felt, and his helplessness at being unable to protect his father. The song was inspired by Peter Reich's 1973 memoir, "A Book of Dreams", which Bush read and found deeply moving. ///

Donnerstag, 20. Februar 2014

Connan Mockasin im Gespräch

As I join the Mockasin family, they just finished soundchecking. Connan is still up on stage, appearing like a troubadour while the rest of the crew is sitting in a front row of red velvet seats. "We have to watch this, otherwise we'll get kicked out of the band", they comment on his attempt at improvised comedy. The musician & painter also has a strong affinity for acting — if making music was still his favourite method? "Yeah, probably. It seems to be the easiest way anyway at the moment."

Ever since the release of Forever Dolphin Love, the follow-up album has been eagerly awaited. Once Caramel came out, the reception was ambivalent. Connan seems to understand this kind of disappointment: "It's a bit different to the first one, but I think they go together quite well." Indeed, Caramel starts off as sequel to Forever Dolphin Love but soon evolves to follow a different approach: "I think the new one's actually a better overall record." Whereas Forever Dolphin Love is one conglomerate of idea and state, Caramel sticks to its concept. "Just give it another listen, please?" Although Connan adds: "I don't expect everyone to like Caramel at all, no way. Nevermind if they don't like it."

Equal in their ethereal quality, both albums even might have the same artwork fate in common: "I did two covers for the last record, so I wanna do another one for this one. If the label's gonna press it again, then I'll make a new cover artwork when I get some time. So it's not gonna be like Cher's one", Connan notes after I reveal to him the similarity of Caramel's current artwork to the one of Closer To The Truth. Unintentionally (according to Mockasin), yet striking.

"It's quite a small town, isn't it? Are people coming?", Connan asks me. Considering the fact that the band is playing sold-out shows and venues like Trianon in Paris on this tour, it is rather exceptional to have them perform in a small and half-full venue like Palace in St. Gallen.* "I really like this building, it's nice. It reminds me of the town closest to where I live which was wiped out in the 30s from an earthquake and rebuilt all Art déco", Connan observes while looking around this red-light venue, a cinematic relict from the twenties which today is one of Switzerland's most remarkable venues.

"How was it?", Connan is asked by his bandmate Nick after our inter- view. "She just had one question, but I wasn't very good at it." / "What was the question?" / "She wanted to know everything there is to know about this particular live recording we did."

"This is from memories quite a long time ago, it's really hard to remember. I haven't heard it since we did it, I feel uncomfortable listening to stuff once it is done; I leave it for other people to enjoy, I suppose... I can't even recall how it went but I'm sure it sounds a lot different ——— It's a little bit different each night, anyway. If you're in the right feel or good mood, that can change quite a bit. But this recording is definitely far from how we do it now. Except for Nick was playing bass, it's also with different players: Elrory on drums and a man called Joe who is about 60 years old and never played with us before, he played on another guitar. But it was bascially the three of us playing. It was in the living room of Elrory's parents place in Shoreditch, London. It was evening, so we had to be careful with the noise. We did have to apologize to the neighbours afterwards. We had maybe 50 people coming in off the street, just friends bringing their friends, we kept it kind of quiet. The room was packed, more than half of people were sitting down, the couches were pushed to the back and used. It was just to do this live recording. It sounds like a demo, really. Like a microphone in a lounge. That was three, maybe four years ago? When I originally started recording 'Forever Dolphin Love', I would start with the drums first. There's two different drums playing. My friend Joe and my friend Ricky took over drums for the record with Will Ricketts on percussion. So I recorded those first and then I remember continuing working on it and thinking that the drum recording was really bad. Really bad. I couldn't do it again, though. So I didn't know what to do. I still think it's bad but in a way it sort of fits well with the recording, so it's okay. It was my first time recording, I was just learning. I remember it was fun and enjoyable and really easy to make, everything seemed to be just first takes ——————— But I didn't know what I was doing, really."
And that's exactly the moment when Connan is Mockasin. Ask him about aesthetics or potatoes, you will receive the same answer: None. Here is where it's at: "I just heard it in my head", Connan tries to explain the story behind 'Forever Dolphin Love' and continues: "'Forever Dolphin Love; a-a-a-a-a-ahh', that was the dolphin singing, so I just called it that." May the music of New Zealand's best artistic export since Flight Of The Conchords speak for itself.

Mittwoch, 5. Februar 2014

TOY im Gespräch

Hallogallo should be Germany's national anthem. Charlie Salvidge























 The Beatles or The Stones?
The Stones. (Panda The Barron) Stones for me, too. (Dominic O'Dair) We've been watching The Beatles Anthology, so we're quite a mess in the Beatles right now... It's a really difficult question to answer, but I think that we kind of always go for the Stones, they just got this slightly evil side to them. I think we've always been Stones as opposed to Beatles.(P) But we are pretty obsessed with both of them.(D) Yeah, we love them but if I was gonna join one clan, I'd join the Stones. We really like „Their Satanic Majesties Request“ and I was just thinking today actually about 'Not Fade Away'. I am also a big fan of 'Citadel', 'She's So Cold' and 'Waiting On A Friend'. The video to that song is amazing, Mick and Keith bumming around New York.(P) They went through lots of amazing different stages and each one of them is as enjoyable as the last, I really love them up until about '73.(D) I go all the way up to today. Team Stones! But we could equally switch to Team Beatles.(P)

Spinal Tap or Flight Of The Conchords?
Oh, Spinal Tap!(P) Yeah, although I really like Flight Of The Conchords.(D) But we're not on their team, we are on Team Spinal Tap. There's scenes that occur in our daily lives which are very Spinal Tap, we actually get lost all the time like in the 'Hello, Cleveland!' scene where they get lost in the big arena. Eventually, we'll have three basses and will sound like 'Big Bottom'. I especially find the Stonehenge part really funny when the mini- Stonehenge comes down. We visited Stonehenge quite a few times; the last time as we were droving past it, we actually put the Stonehenge song on.(P) Yeah, we always pass it when we're on England tour, so we stop and hang out there, although they don't let you very close to it.(D) And it actually is getting smaller, I believe. I also really like this little scene when David St. Hubbins is doing yoga with his wife on all fours and he sticks out his tongue really fast. Hilarious!(P) I like the end with the drummer in the bath and he's got this little bath cap on, he's my favourite Spinal Tap member.(D)

Neu! or Can?
Oh, don't make us choose!(D) Neu?(P) I literally can't choose, they are my favourite two Krautrock bands. They're both phenomenal, we love them and we're heavily influenced by both of them.(D) That's very hard, we can't choose. But we're doing a thing on this tour: A song per day on each town that we are in and as we are in Cologne today where Can is from, we're gonna choose Can.(P) I was thinking about this actually today that we're in Cologne that we played with Damo Suzuki. I still can't quite believe that this actually happened! All the times I have been listening to Can all my life, I never dreamt of actually meeting yet alone playing with Damo Suzuki. That this would happen is still incredible.(D)

Holger Czukay once said „Music means putting time in motion“. As the artwork of your first album is made from sound waves translated into an image, doesn't this make that cover art the visualized epitome of Czukay's words? It does, actually. It is the actual practical method of what Czukay was saying, he probably just thought it up 30 years before Leif Podhajský did who made the artwork.(P) Although it is not made from our sound, unfortunately. There is also the opposite method where you can draw waves and it produces those waves in sound, which is phenomenal.(D) I really like the idea of something coming out of the sound that is being made and the opposite way around, so it is quite an accurate pure interpretation of Holger Czukay. His description is great, I really like it. I really like his moustache as well.(P)

Because He Can. How would you describe the step from your first record to the second one? It's a nice development. We've had more time, experimented more and for us it's just a natural progression being able to expand and play different stuff as we go on and on. I guess with this one we had more time to play and go to the studio, we were much more involved in mixing and there is a lot more layers to this record. There is a lot more stuff, it is kind of more dense. It's just us having more fun, experimenting more and that's our progression. That is how I would always like to progress: Experimenting as we go.(P) We love writing songs so much and evolving them together. Lots of people do an album every three, four years which is fair enough but I prefer the idea of making a record each year. Each time it sort of becomes a picture of that particular year making music.(D) It's like a snapshot of what's going on. Going back to The Beatles and The Stones, that's how The Beatles and The Stones had to do it back in the day: You did an album per year, sometimes you did two. I think if you work that way it kind of produces more interesting results.(P) We always think about the next place where we could go.(D)

Which is quite a Nigel Tufnel way of thinking... Exactly! And you're not sitting at something until the point comes up where it gets old and it becomes uncreative and it doesn't sound like it has got that spark and energy in it, that doesn't interest us. We really like progressing fast.(P) Each time we make a record, we've already made two. Not literally, but you're just in a better place to make the next one. So the more you make, the better. And when you get into a band, let's say Sonic Youth and you find out about their phenomenal back catalogue to listen through, it takes you months and months to get your head around, that's what we really like.(D) With Can as well, or The Stones. They all just fuckin' did what they liked the most: Making records, which is exactly what we like doing.(P)

Captain Beefheart or Frank Zappa?
Beefheart.(D&P) Although I really like Zappa. I listened to Zappa as a kid, way before Beefheart who came a little later, but definitely Beefheart. I guess „Safe As Milk“ was the first record we all listened to together and then „Trout Mask Replica“, both about at the same time. My favourite now is probably „Strictly Personal“. Love Beefheart, he's cool.(P)

„Why don't you go commercial?“, Beefheart once was asked in an interview and he'd reply: „Either I'm too smart or too dumb, I just don't know which." Did you guys have any doubts about supporting Placebo? Not really. It just seemed like it would be pretty great fun and an insane opportunity which we grabbed with both hands.(D) You know, we are who we are and playing with a band like Placebo has no effect on us. I don't think it puts us in a different light, we just like doing things for fun. And this is pretty fun.(P)

The Velvet Underground or The Velvet Underground?
I'd personally go for the Velvets. You? (D) I prefer The Velvet Underground.(P) They are collectively our favourite band of all time!(D) We could probably say that. We did this cover of 'What goes on', which was kind of a fun idea and actually ended up recording it. It just feels really good to play.(P) There's a lot of different amazing live version of this song which are very extended and different from the record version.(D) We were all very sad about Lou, Tom actually had a wake which is some kind of celebration you have after someone's death, gathering people around & listening to Lou for a couple of days.(P)

Another banana to lay down.