Berlin, Germany. last (site) update: 2018-12-05 15:30
Jammin' Unit + Sea Wanton played the 'KLANG25'
festival in Vienna (2018), organized by
Walter Robotka from
we performed alongside John Avery (Hula), Simon Crab (Bourbonese Qualk), Zahgurim,
Ron Wright (Hula),
Thighpaulsandra (Coil), Tabor Radosti,
Zea (The Ex), Renaldo & The
Loaf, Rapoon, and Eric Random. and we enjoyed each show (yeah, we
appreciate what they are doing !!). hats
off to Lisa + Walter.
image copyright W. Nowak, 'stills.eraserhead.at'.
and you can watch some parts of the show at 'YouTube'.
album (planned for 2019)
will contain all the songs.
current: the album (cd, digi-pack) is named 'enz
(released by 'Klanggalerie',
gg260), and all sounds are by A. Laaf and Sea Wanton,
artwork design by 'DJ Vrhovny').
recommended: the 'concrete
shelves' blog (Author: Matteo Uggeri, also in 'Sparkle
Of Grey') is looking forward to meeting YOU ! (if you're
interested to experience more than music...).
listen to the muzak at
(album originally released as a CD by 'Dossier', review by
Milne, from 'Heathen Harvest', 2007)
"Now I have a confession to make here. Quiet at the back whilst I’m rambling.
I have a deep respect for all things German. Love their cars. Love their food.
Even some aspects of their dubious politics through the ages hits a chord with me.
Which kind of includes their uniforms and medals and all the military memorabilia
in those conflicts which we are not supposed to mention for fear of being labelled
a certain type of person. If you know what I mean. See Lemmy out of
Ron Ashton of The Stooges as examples. The country is fantastic to drive through and
their Frauen divine examples of Germanic beauty. This is by the by though. I’ve held
a secret fascination with German music ever since I first heard Amon Düül II and their
mighty ‘Yeti’ release way back in 1970. I followed that up with a serious love affair with
Der Plan and DAF ('Deutsch-Amerikanische Freundschaft') and all their ilk in the proceeding years. By fuck that was good times
for German music. Then I got into all the EBM and heavy Industrial stuff, far too many groups
to mention here, and I still find myself drawn to anything remotely connected to the
German music scene even today. A special mention must go to Einstürzende Neubauten who
are still going strong. Resilient fuckers old Blixa Bargeld and co. Which ties in nicely with this
review for the latest 'Non ToxiqueLost' release ‘/bin/med/usa' which I’ve had spinning away
for the last few days…not the act hardly known but by only a select few, including me who
adored them, Last Few Days who were something else in every respect…and golly gee whiz
if this isn’t a fucking ace release that, at the very least, demands you should hear it
at least once in your lifetime. You know that feeling you get when you hear a piece of
music for the first time and you get this strange sensation going up and down your spine?
Well ‘/bin/med/usa’ did that for me. The funny thing is that in reality the recording
isn’t original in any shape or form…but it has that ‘certain something’ that just can’t
be described to it that makes you go kind of ‘wow’ when you hear it. Or that could just
be me because I’m wired up and weird that way occasionally. 'Non ToxiqueLost' have been
around the block for ages now. Part of the early 80’s German Industrial counter culture
they have ploughed many a field in different musical genres over the years. Flitting
seamlessly between whatever takes their fancy at the time. You just never know what to
expect from these guys. They take their music from many influences and mould it into
their own sound which they are currently experimenting with at the time. This approach
to their music is shown to great effect in ‘/bin/med/usa’ where dance meets rock…and takes
in experimental and other musical styles at a whim. There are traces of
Einstürzende Neubauten…even Die Krupps…to be found lurking within these 16 tracks that
twist and turn with an assured Nonchalance that can only be admired. Take the first
track 'adresse:boese' for instance that starts with some static and German vocals before
descending into a turbo charged electro techno light nightmare of beats and screamed
vocals. Or how about the DAF (ish) ‘die schneekoenigin’ resplendent with a thumping drum beat. If that doesn’t seem your thing then maybe ‘buchenwald’ and ‘opium 2’ with their sludge
rocking style would be to your liking. Looking for a sexy laid back groove…then seek out ‘Wendy’ for your kicks. So many highlights in a quite superb and highly engrossing
recording all given that added sparkle by the German, and some English, vocals which are
screamed, barked, mutilated or crooned. They rage. They rant at fuck knows what. They seduce.
They fuck you over, in a nice way, like porn studs on ten tablets of high dose viagra.
They are 'Non Toxique Lost'… and don’t you ever fucking forget it. 'Vorsprung durch Technik' (translates to: 'advance by technology', note by Sea Wanton).
Sea Wanton (vocals, effects), C. Reichelt (electronics, drum machines, effects) and
A. Türpitz (electronics, drum machines, effects, guitar) are the guys to thank for this
impeccable recording. Buy it. Play it. Embrace it. Love it. Then send me an e.mail
of thanks for leading you directly to this fabulous release. It’s the least you can do."
although we prefer to publish our
albums as 'digital downloads', some are archived on a physical medium,
for example on 'compact-cassette', 'CD', 'CD-R', 'card-sized usb
flash memory','VHS-cassette',and 'vinyl'. fanatical collectors should try their
luck at .
to communicate, please feel free to drop us a line at:
http://berlin.wolf.ox.ac.uk/lists/quotations/quotations_by_ib.html "Hic Rhodus, hic salta" The origin of this odd saying, whose
currency is largely due to Hegel and Marx, takes a little
explaining. Its original form is 'Hic Rhodus, hic saltus'
('Rhodes is here, here is the place for your jump'), a
traditional Latin translation [see, e.g., Erasmus, Adagia
3. 3. 28] of a punchline from Aesop. In the fable 'The
Braggart' an athlete boasts that he once performed a
stupendous jump in Rhodes, and can produce witnesses: the
punchline is the comment of a bystander, who means that
there is no need of witnesses, since the athlete can
demonstrate the jump here and now. The epigram is given by
Hegel, rather out of the blue, first in Greek, then in
Latin (in the form 'Hic Rhodus, hic saltus'), in the
Preface to his Philosophy of Right. [Georg Wilhelm
Friedrich Hegel, Grundlinien der Philosophie des Rechts
[Sämtliche Werke, ed. Hermann Glockner, vol. 7]
(Stuttgart, 1928), p. 35.] He does not explain what the
proverb meant in its original context (without which it
can hardly be understood); indeed a comment he makes about
jumping over Rhodes suggests that he may not have fully
understood it himself. At any rate, he then offers an
adapted German version with a different meaning, 'Hier ist
die Rose, hier tanze' ('Here is the rose, dance here', an
allusion to the rose in the cross of rosicrucianism,
implying that fulfilment should not be postponed to some
Utopian future), punning first on the Greek (Rhodos =
Rhodes, rhodon = rose), then on the Latin (saltus = jump
[noun], salta = dance [imperative]). Marx adopts the
saying in the Eighteenth Brumaire of Louis Bonaparte [Karl
Marx, Friedrich Engels, Werke (Berlin, 1956-83), vol. 8,
p. 118.], where he first gives the Latin, in the form 'Hic
Rhodus, hic salta!', a garbled mixture of Hegel's two
versions, and then immediately adds 'Hier ist die Rose,
hier tanze!', as if it were a translation, which it cannot
be, since Greek Rhodos (despite what all the standard
commentators say to the contrary), let alone Latin Rhodus,
does not mean 'rose'. The confusion, both deliberate and
inadvertent, does no credit to either Hegel or Marx as
classical scholars, and the epigram loses much of its
original power - as well as its original meaning - in
their hands. They were evidently intent on turning it to
other purposes, but it seems doubtful whether their
attempts to improve on Aesop have been of much use to
their readers. Special thanks to Terrell Carver for
assistance with this account.
A mother speaks out about noise music "Noise
Music" is an awful form of music that is more unpleasant and
psychologically destructive than the worst forms of Heavy Metal, Rap,
and Punk Rock. It has no musical structure and spreads a gospel of
desensitization, anger, degredation and harm. It is growing in
popularity and is a threat to families and children that can't be
ignored. The main problem with "Noise Music" is that it represents a
complete acceptance of a "human order," and a complete rejection of
the civilized world, which is built upon the natural order--Gods
Order. We were given harmony and melody to sing joyous songs, not to
wallow in depraved human misery and pain. Art and music was given to
us to bring joy, happiness and lift the spirit, it is the sound of our
soul. Children always want to rebel against what ever their parents
don't like, this is a natural phase of growing up- people need to walk
with their own feet. But this is something else--a systematic
distorition away from everything that is good and towards our
destruction as a people. Noise Music is unnatural. It is natural for
animals to communicate with sound but to flee harsh sounds and
sensations; it is also natural for animals to follow patterns from
previous generations in their communication. An animal that does not
protect itself against painful stimulus, and does not behave like the
the others in its flock is a sick animal--possibly suffering
neurological damage or post-traumatic stress dissociation."Noise
Music" is a contradiction in terms--since Noise is not Music, and
Music is not Noise, by definition!
A night in the
garbage-press - an Australian escapes from being killed at last second
After a night having been pissed off in a pub, an Australian from
the harbour city of Perth found himself in a garbage-press and
made only a narrow escape from being killed. He could remember
how he got into the garbage-truck, said Wayne Griffin to the tv
channel "Channel Seven" at wednesday evening. He only woke up,
when bits of glass pushed themselves into his body and he saw
the hydraulic cylinder of the garbage-press approaching. But
the supervison cameras of the police had screened, how three
men had pushed the 40 years old retailer into a garbage-container, which had later been cleared by the garbage-truck. (AFP) /
09 / 29 / 2005 7:55 A.M.
(album originally released as a lp by 'Vinyl-On Demand',
review by 'Pomidor', from 'www.clubbing.slask.pl') Coraz czesciej
najrozmaitsze wytwórnie zgodnie z panujaca moda powrotów do korzeni
wydaja na nowo klasyki, nierzadko opatrzone dodatkowo "modnymi"
remixami. Vinyl-On-Demand jest jednak nieco innym typem wytwórni,
specjalizuje sie, bowiem przede wszystkim w wypuszczaniu na rynek
starych nagran, które nie mialy szczescia byc wydane w swojej
"mlodosci". Na ich plytach odnajdziemy, zatem mroczne lub innowacyjne
utwory twórców niemieckiej, industrialnej badz experymentalnej
sceny, z lat 70-ych i 80-ych. Czasami równiez w katalogu mozna
odnalezc dzwieki takich odmian muzyki jak noise czy wave. Jako 13
wydawnictwo ukazal sie album grupy 'Non Toxique Lost'. Zawiera on
13 zremasteringowanych na nowo tracków, nagranych w latach 1983-85.
Jest to pozycja o tyle unikatowa, ze jedynie czesc z tych utwórów
ukazalo sie kilkanascie lat temu na kasetach, jednakze znaczna
wiekszosc pochodzi z koncertów grupy i nigdy nie zostala wydana.
Jesli chodzi o warstwe muzyczna, mamy do czynienia z "czyms" (jak
sami twórcy okreslaja) w rodzaju "primal industrial-punk", który brzmi
nie mniej wiecej jak noise, co sprawia, ze do tej plyty trzeba
podejsc w odpowiadni sposób. Byc moze wlasnie nieprawidlowe podejscie
niektórych osób jest powodem, dla którego ten gatunek ma raczej
wiecej przeciwników niz zwolenników. Jednak podazajac za mysla
jednego z bardziej znanych twórców noisu (Masami Akita aka Merzbow),
jesli spostrzezemy pop jako pewnego rodzaju "uporzadkowany halas",
wnet, jakikolwiek dzwiek równiez bedzie mógl byc uwazany za muzyke.
Takie rozumowanie zdecydowanie bardziej przybliza nam ten material.
Pierwsze dwa utwory pochodza z koncertu w Amsterdamie z 1985 roku.
"Der Tod Des Soldaten" jest polaczeniem urywanych glosów, zakurzonych
szumów rezonansu radiowego oraz wszelkiego rodzaju przesterowanych
szmerów. Co ciekawe ów track zawiera nawet rytm, który jest rzadkim
gosciem na tym albumie. Za jego odliczanie odpowiedzialne sa
ordynarne, industrialne uderzenia. Podobnie rzecz sie ma z nastepnym
nagraniem, z tym, ze jednak klimat w nim zawarty nie jest juz tak
gesty i smolisty jak u jego poprzednika. Z poczatku glównym motywem
wydaje sie byc turkot pociagu, któremu towarzyszy odglos metalowego
gongu oraz róznych krzyków. Nastepnie track odkrywa przed nami ladne
tla, staje sie wrecz melodyjny. Innymi ciekawymi utworami sa
niby-ebm'owy "Wer Keinen Schmerz Mehr Spürt" posiadajacy ladne
fortepianowe zakonczenie, a takze bardzo agresywny "Kriegstanz".
Calosc w mniejszym lub wiekszym stopniu wydaje sie byc
odzwierciedleniem industrialnych odglosów, przez co album ten brzmi
bardzo metalicznie i niejednokrotnie ciezko. Nasi bohaterowie
zadbali równiez o typowe nagrania zaopatrzone w wysokie
czestotliwosci, dzieki którym moga w bardzo szybki sposób
przyprawic swych sluchaczy o ból glowy, sa nimi, np. halasliwy
"Montmartre" czy wyjaco-piszczacy "Jedes Wort Ist Wahrheit". Mimo
wszystko zaliczam te pozycje do grona ciekawych, niedbalosc o rytm lub
jego czestokrotne zupelne pominiecie - topi wszelkie nadzieje na
tanecznosc, praktycznie kompletny brak jakichkolwiek wpadajacych w
ucho motywów pozwala spojrzec na te muzyke z nieco innej
perspektywy. Na pewno jest to swego rodzaju skrajnosc, lecz warto jej
'Guess that NTL was the first (and only) band I played with
didn't require identification of sorts - neither with a name, nor a
principle, nor a style. What probably united those associated with
that name was a shared unease within a cultural rule, that after
the political ossification of the 70s began to spread throughout art
and music - the need to even design protest or subversion. A reaction
to this was NTL's 'non'- style - no rock, no punk, no experiments, no
recycling and no improvisation...- or bits of each, condensed in a
thick amalgam, if needed. Though most of NTL's pieces didn't entirely
cross the borders of the 'song-principle', the virus of disintegration
was pretty much alive. Within, and sometimes even without...' Achim
Wollscheid (Aug 16 2003, image courtesy of 'alternation.pl', 2010)