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                             Berlin, Germany. last (site) update: 2017-07-02 17:30


left: Jammin' Unit (electronics + guitar) + right: Sea Wanton (sampling, shortwave-radio, vocals) played the 'Liquid Sky Berlin' show #48', at 'Alex-tv Berlin', in 2015. images + glitches courtesy of 'ADSX'. many thanks to Dr. Walker (from 'Liquid Sky Berlin') for invitation. click on image to watch the video ... find us on 'bandcamp', 'soundcloud', 'discogs', 'mixcloud', and 'youtube'. for all inquiries, please write to 'Sea Wanton' at the following address: resistance(at)nontoxiquelost(dot)de

planned (for 2017): in fact, it's planned to upload ALL 'Non Toxique Lost' songs to 'bandcamp' to make them available as 'digital downloads'.

current (we're not slowing !!): the brand-new album is named 'medialunas'. you can listen to the 13 songs at 'bandcamp' . and it's planned to release another cd (as a 'digipack') on the label 'Klanggalerie'. it will be named 'ENZ ROUGE' (all sounds by A. Laaf and Sea Wanton, artwork by ' DJ Vrhovny').

do you want more informations about all the releases of 'Non Toxique Lost' ? then, click here to get an overview ... and this is/was the story of 'Non Toxique Lost'

In the beginning of the 80s, the band 'Non Toxique Lost' (short name: 'NTL') was founded in Mainz, Germany. The eponym for this project was taken from the term "mustard gas", a chemical weapon, which had been invented by the german scientists named "Lommel" and "Steinkopf" during World War I under the acronym of "LOST" . Though the band's name refers to the "unperilous" character of this music, in the end 'Non Toxique Lost' also acted as a means for a fight, the very fight against the deadlocked patterns of  the culture of music of that time. Formed by members of some local "Punk"-bands, founded bei Sea Wanton and A. Wollscheid (aka 'S.B.O.T.H.I.'). Later on, S. Schütze (aka 'T.poem') joined to play bass, violin and special (electronic) effects and P. Prieur, called "Pogo", did the vocals. Although 'NTL' often has been labelled as part of the "NDW" (= "Neue deutsche Welle") and sometimes even influences of "Jazz music"  have been (wrongly) mentioned, the band saw its position in the first instance in the context of an "industrial movement". When 'NTL' was founded in 1982, its uncompromising musical approach was significantly inspired by pioneers of the "Industrial Music" like Throbbing Gristle, SPK and Whitehouse. Out of these influences, 'Non Toxique Lost' developed its sound as a trance-esque cocoon of clashing sounds of walls, pulsating synthethizers and angry vocals, which draws the listener into an emotional maelstrom, leading from fear, pain and desperation to rage and unlimited aggression. From time to time very static and pushed on by brute rhythms, 'NTL's music is uncompromisingly tough and this is exactly why it can be considered as an anomaly of that Germany of the early 80s. Similarities are seen more with bands like 'Pacific 231' (from France) or Esplendor Geometrico' (from Spain). In essence, there are two important ideas crossing the band's whole oeuvre: the processing of the "everyday life" experience, interweaved with an explicit political attitude. A large impact came from J. Stender, who had been a member of 'P.D.', then. His talent, to create german lyrics on "everday life" "on the run", conveying the "concrete" and "direct" contents, had been a adequate stylistic device to handle the facts of a "grey german reality" of those days. But in contrary to 'P.D.' and 'P16.D4', 'Non Toxique Lost' objected to being classified into the "art" genre. Indeed, there were some references to the current "art"-movements, but the music was not to be "avantgarde", even if some external observers could get this impression. But 'NTL' combined its conceptions about music with the idea to be creative using existing objects and to, aside from instruments, also use unconventional sound sources - this is another example for the realisation of the "concrete" and "everyday life". At the same time, the music has been the radical expression of an oppositional attitude. With 'NTL', Sea Wanton (the singer) realized his intention to found a band, which dealt with the social and political boredom of its reality in a challenging way. 'NTL' did not only intend to distance itself from the reception of music, in general, but it provoked a concrete hassle with those crusted forms of understanding music and the culture of the youth. The band was permanently confronted by an environment which was deeply into the "Rock-music" culture of the 70s, public places like pubs  and youth-centres were dominated by the "Hippies" and "drug-abuse" cosiness. For a project like 'Non Toxique Lost' that meant a struggle for "free-spaces", not hostility, but also the neccessity to become accepted as something new. To a certain extent, as an idea of the "Punk"-movement, the philosophy of 'NTL' aimed at provocation and the radical realisation of its own ideas. Accordingly, the turning away from the established mechanismn of the "music-business"  did not only affect the musical style, but also the production and merchandising of the sound storage medium. It was logic for 'NTL' to select the compact-cassette as a medium for its music. This was "the" medium, which allowed the musicians as opposed to anything else, to keep in control over their musical and creative work and a direct merchandising, without being forced to take part in the profit-orientated "machinery" of the "music-business". In 1982, the first recordings were published on the "d.i.y."(=do it yourself) founded "cassettes only" label called "Can Can", which were to be followed by ca. 30 further releases. Inspite of this high grade of productivity, encompassing mostly the studio- and "live" material of 'NTL', but also some cassette-compilations featuring some "international industrial" bands, 'NTL' and "Can Can" remained a creative "action-area", which was not perceived as a "full time job" or even as the "meaning of life". For a first vinyl release, a strictly limited edition, you had to wait for some years. The songs on the lp-album, called "Wanton", released in 1986, a selection of material, which had been published earlier on compact-cassette, expresses something like a "subtile" toughness (on a long range), which drills slowly in your auditory canal and the band herself accurately characterises it as "industrial muzak". As opposed to the high output on sound-medium there were only rare chances to experience the band on stage. Only a few events like those in Mainz and Trier (Germany), at the "Recloose Festival" in London, in Amsterdam, at the "Geminox-Festival" in Frankfurt (Germany) or at the "Berlin Atonal 2 Festival" took place. Even though the performance at the "Berlin Atonal 2 Festival" got an especially good reputation and positive feedbacks with those "friends" of "abstract music", 'NTL' remained true to itself and did not devise any ambitions to change its strategies of merchandising. The band was more interested in the construction of a national and international community of producers and listeners of "abstract" and "experimental" music. There was a little network(ing) in the Mainz, Wiesbaden and Frankfurt - area (Germany), e.g., in the atmosphere of the "Selektion" label (with groups like 'P16.D4' and 'S.B.O.T.H.I.'), resulting in friendly contacts and sometimes personal cooperations within the music processes (including some sessions and live-performances). More contacts were established with "Graf Haufen" (Berlin) and soon reached out to "cassettes only" labels, based in France, the U.K. and Italy. Besides his membership with 'NTL', Sea Wanton had started publishing a fanzine called "Handbook of  Fun" in 1983, which intended to be a medium for subversive communication. The fanzine had been a means to distribute words and artworks ("collages"), which pointed out the protest against the established structures of the societies and understanding of "art" or crusted "music-cultures", and thereby it can be interpreted as a printed form of  "the same", which was also articulated by 'NTL's music. Furthermore the "Handbook of Fun" constituted a forum for experimental music, distributing contact-addresses (with different "cassettes-only" labels or juicy record-shops), thus being part of an international network of the "industrial scene of the 80s". NTL came up against  those established patterns of  their environment with a  radical "musical" denial, even though expressed in a distinct (german) language, only very few could understand. You could say, that this pull-esque, rhythmical toughness of some tracks, which meanwhile is an essential part with numerous "industrial bands", appeared some years "too early". The fact, that this music caused more embarassing to irritating reactions by most listeners, plus the consequent policy of publications and the responsibility for the "subversive underground",  are (presumably) the cause for being known by the "in-crowd", until now. Even though or  exactly because the "hearing customs" have changed in these last decades,
the music of 'NTL' has kept hold of its attraction as a "pioneer" achievement of the so-called "rhythmical Industrial". Since some years, Sea Wanton, accompanied by new companions, is again active as 'Non Toxique Lost'. While now using contemporary sound sources like samplers and computers,  it is (as always) bound to the idea of electronic toughness and a political attitude and, thus, creating its own musical cosmos. Parallel to this, a selection of early tape-recordings has been re-released on vinyl and gives a fine overview on the complete works of the band. (liner notes by T. Pargmann and C. Ressler (2006))

deutschenglish click here (or on image)

to listen to 'SAM 41643'(the version from 'Träneninvasion', which appeared on this 'card-sized usb flash memory' in 2014)