> Jammin' Unit (electronics + guitar) + Sea Wanton
(sampling, shortwave-radio, vocals) played the 'Liquid Sky Berlin' show #48', at 'Alex-tv Berlin', in 2015.
image courtesy of 'adsx'. many thanks to Dr. Walker (from 'Liquid Sky Berlin' / 'Air Liquide') for invitation.
news: NTL is asked to play the
festival in Vienna (in June, 2018), organized by .
the roster so far: Tabor Radosti, Eric Random, Ron Wright, Renaldo &
The Loaf, Rapoon, Zahgurim, Simon Crab, Zea, Thighpaulsandra, and Non Toxique Lost.
Stage time: Saturday, June - 16, 23.15 -
24.00 'Non Toxique Lost'
for all inquiries, please write to 'Sea Wanton' at the following address: resistance(at)nontoxiquelost(dot)de
planned (for 2018): the album will be named 'n'
and it will contain a queer version of 'Dulce et Decorum est' (a
poem by 'Wilfred Owen', written in 1917).
current (we're not slowing !!): the brand-new album is named 'ENZ ROUGE'
(cd, digi-pack, released by the label 'Klanggalerie'.) all sounds by A. Laaf and Sea Wanton,
artwork design by 'DJ Vrhovny').
do you want more informations about the releases of 'Non ToxiqueLost' ? then, click on
button to get an overview ...
"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 Motorhead or
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 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 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 DAF, Seilwolf,
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."
(review by Alan Milne, 'Heathen Harvest', 2007)
One thing I did not do, was consider the joint impact of
these various income sources, for the simple reason that
the number of possible combinations is infinite. To give
you some perspective on how this might work, I’ll now take
the $8.12 margin on a CD sale as a benchmark. To earn the
same amount as you did on that one CD sale you’d need:
1.08 full-album sales through CD Baby,
single-track downloads from Amazon or iTunes,
single-track downloads from eMusic,
892.3 streams from
a whopping 54,133.3 plays on Last.fm.
These numbers should serve to illustrate that whatever
benefits “music 2.0″ may have, it’s certainly done nothing
for the recording artist, save make her noticeably worse
off than she was in the old CD-based market. If recording
artists ever go the way of the blubber merchants, it
won’t be because there’ll be no demand for their product.
It will be because making recordings makes no economic
sense..." (to quote 'the
Cynical Musician') weiter