Friday, 15 December 2017
Dustbreeders is an abstract noise trio from Metz that consists of Yves Botz, Michel Henritzi and Thierry Delles. The outfit exists since the early nineties and is known for their noise-induced deconstructive cavemen wall-of-sound cacaphony. In that sense they belong to the less industrial side of the French noise scene known for bruitistes like Vivenza or Le Syndicat.
Dustbreeders frequently collaborate with Japanese Hijokaidan vocalist Junko. The members have also played together with a large spectrum of noise and impro musicians ranging from Jac Berrocal to The Nihilist Spasm Band and are furthermore involved in too many ofshoot projects and releases to count. Dustbreeders live performances are intense and memorable, look at this to get an idea. Le Procès Cannibale was recorded in 1998 and was Dustbreeders' first release on a 12 inch format. From the liner notes:
The Cannibal Trial
Our music, more than any other, and most of all with so much more cruelty than any other, feeds itself with music, thus, its own kind. Eating other people's music, isn't that terribly inhuman? What can be heard in it, if not the scraps from a cruel banquet? And the atrocious agony of our fellow creatures?
Our Instrumentation, materially as well as methodically, is a complete alimentary canal, from one hole to another. There is obviously some litigation in our comprehension of culture, regarding every school ever, and, just as obviously, this is a court as well as a trial. A curiously fair trial, notwithstanding the torturing noise that's going on.
Which music triumphs in this cannibal trial, the one that is both judge and hangman, or the victim that's been digested but so well defended by the music-loving memory of the listener and the genius of its begetter?
Dustbreeders still exist today and their latest record can be bought over at 213 Records.
Get it HERE
Monday, 20 November 2017
The Amsterdam Stringtrio was a one-off project formed by Cellist Ernst Reijseger, Violinist Maurice Horsthuis and double bass player Ernst Glerum. Three Dutch string instrument musicians that recorded this album in Amsterdam for the occasion. All of them have been members of the ICP Orchestra and have played with many other recpected improvisation and jazz musicians, from Lol Coxhill to Derek Bailey.
To me this album is a bit too much substantiated with classical music influences, instead of the anarchic improvisation I usually like. But nevertheless it's still very atmospheric and gets into more adventurous parts throughout its progression. In any case it's another piece of the Dutch avant-garde music puzzle that I try to give attention to on the blog every now and then. It reminds me a bit of Louis Andriessen's soundtrack Golven, Harry Sparnaay's Bass Clarinet Identity II or the Brazilian MEC 70 compilation: all posted here on the blog a long time ago!
Another highlight to me is the incredible artwork of this album which was designed by the artist Maryke de Vries and specially printed by artist Zeger Reyers. Dodekakania was limited to 500 hand-numbered vinyl copies.
Get it HERE
There's a chance the blog will run out of material in the near future, although there are still posts to come. It is getting increasingly harder to find material and I have been doing this for quite some years now. I'm not saying that this blog will shut down, but I need to see how the future will develop regarding Arhcaic Inventions based on new material and the future developments in my personal life. It might also somehow elevate or expand into something new, yet similar. Let's see!
Saturday, 4 November 2017
I finally was able to track down the last of four cassettes by Hungarian band áPolóK (The Nurses) somewhere. The other three tapes I posted before on the blog. áPolóK is one of Hungary's finest groups to rule the Hungarian underground that manifested itself during the mid-eighties until the alternative boom of the nineties after the fall of the iron curtain.
Their absurdist music displays intricate musical structures, Hungarian folklore, zappa-esque manoeuvres and alternative rock. They are comparible to the Hungarian group Tudósok. Also later bands from Eastern Europe share some of this musical absurdity like the Slovenian band Pinja Dzazna (can anyone please find those albums for me? They seem to have disappeared.)
The title of this album is Szarvasgyár meaning Deer Factory as well as Shit Iron Factory. The title makes a lot of sense since the band came from the city of Miskolc which is Hungary's main city for heavy industry. This album is probably one of their craziest, but also the one that stands closest to Hungarian folk music.
áPolóK belong to Hungary's finest experimental underground music groups. Make sure to check out their crazy video's online to get an idea of who they were. Today they still exist through other obscure bands in Hungary.
Get it HERE
Saturday, 21 October 2017
It has been a while since I posted some real noisy stuff. At the start of this blog I uploaded quite some home-taping and industrial cassettes, but I ran out of them. It all depends on what crosses my path at what time. Kind of the same way I listen to music in general.
Even though the inner part of the cover says something about a tow truck in Ontario, The Unnatural Logarithm was a highly obscure home-taping industrial project from Bloomfield, New Jersey, US. This cassette was released through Logarithmic Tapes (most likely their own label) that also released some other American industrial cassettes around the same period.
Excited Electrons is a classic 1981 time document from the DIY industrial era of the US. It's a mix of synthesizer noise, casio drum presets, the right processed experimental guitar use and provocative spoken vocals. Not incredibly exceptional, but nevertheless enjoyable: quite weird and noisy. It also reminds me of the Variëté Royal cassette I uploaded ages ago.
Get it HERE
Friday, 13 October 2017
Stan Red Fox were a band from Berlin formed by Stephan Hachtmann (who came from the GDR), Lars Rudolph of anarcho-jazz combo Kixx and Franklin D. Newmeier (later in Caspar Brötzmann's Massaker). They had multiple releases by the end of the eighties and beginning of the nineties. Their first self-released EP cassette is to be found here.
The music resembles the cross-over sound of new wave by the end of the eighties, but is also clearly inspired by the 80's No Wave art-rock and jazz-pop styles from New York. Apart from more conventional songs they also play weird Butthole Surfers-like outburst, sing German lullabies and create experimental absurd jazz sounds in almost Zeuhl-like manners. German bands like Reifenstahl or AG Geige also come to mind.
I was quite surprised that this wasn't available yet. I guess it's also a reminder of that there is so much good stuff out there that won't cost you a fortune. Don't believe the hype of today's internet music market and listen to what you like.
Get it HERE
Thursday, 21 September 2017
This is the first time that I post a tape that I didn't digitize myself and that wasn't donated to the blog. Lately I've been doing a lot of late-night searches into inactive blogs and other platforms to map obscure material that was posted on the web these last ten years but that got lost again (remember when your external hard drive crashed?). Some of this hard to find material I'm uploading to Youtube (for the time being, I'm not a fan).
This cassette that I found on Care Of The Cow's own webpage has little to do with what I wrote above, just thought that it needs more attention!
Care Of The Cow was formed in Chicago in 1974 by Christine Baczewska, Victor Sanders, Sher Doruff and Kevin Clark. From 1974-1984 Baczewska, Sanders and Doruff produced an album “I Still Don’t Know your Style” (1981) and an album length cassette Dog’s Ears Are Stupid (1983). There are many live recordings and an promo LP from 1975.
The album I Still Don't Know Your Style captured COTC's amazing eclectic musical style. With their psychedelic folk, art-rock, strange manipulations and collages with humouristic lyrics COTC remains one of those well kept secrets from Chicago's 70's and 80's underground. Some people remember them from festivals in the mid-sevnties and some remember them from a later period in the eighties. Nevertheless their music lacks attention from listeners, since it's musically too unclassifiable for many.
COTC's even more hidden cassette Dogs' Ears Are Stupid collects some other sounds than you would expect. Apparently the band began to experiment with synthesizers and drum machines in the eighties and started to poor their experimental folk-rock music into minimal synth depths. They managed to achieve their musical warmth in a cold way. A great way only real groovy people that were active in seventies could crossover with into the eighties (Daevid Allen could be another example) What a gem! I think the track European Trains has some of the best minimal synth potential of the album, while the folk elements are still there.
Care Of The Cow ceased to exist by the mid-eighties and the members allegedly got scattered over the US and Europe. The singer Christine Baczewska released a compilation CD in 1993. Maybe someone knows more.
Get it HERE
Friday, 8 September 2017
Ernst Reijseger (Naarden, 1954) is a Dutch cellist and composer known for his role in Dutch improvisation and jazz music and for his scores for Werner Herzog films. At an early age he played in the Dutch jazz-rock group Banten, named after the western province of the Indonesian island Java, close to Jakarta. The jazz singer of Banten, Henny Vonk, had Indonesian roots and Indonesia had always had an important relation to The Netherlands because of the colonial exploitation since the Dutch East Indies (1800-1949). Nowadays the great Banten album (included in the NWW-list) is very rare and difficult to find.
Ernst Reijseger kept having own interest in ethnic music and did many projects throughout the decades that contained non-western music in combination with improvisation and jazz. Also he worked a lot with the unorthodox Scottish percussionist Alan "Gunga" Purves who plays a role on this album as well. This album called Taiming has a Chinese theme, obviously containing a joke reference to "Timing". On the sleeve the caligraphy doesn't just display Chinese letters, but also a cellist!
The first side of Taiming is comprised of Dutch style solo improvisation by Reijseger, minimalistically approaching his cello in different creative ways. Actually these impro manoeuvres are so distinctly Dutch that the first piece sounds like a deconstructed version of the title track of famous Dutch movie Turks Fruit (1973) with a soundtrack by Rogier van Otterloo (with a whistling Toots Thielemans). The album also reminds me of the violin improvisation of Polly Bradfield. The second side of the album is the side-long free-jazz piece Taiming played together with impro-jazz legends Han Bennink and Michael Moore.
Quite a nice privately issued impro record indeed!
Get it HERE