Tag Archives: 1978

Broos, Daan Broos

Jazzy kleinkunst live at Amerikaans Theater, Brussels, 1978 (?). Two songs from 1975’s album with Dapokaster … Little is known of Daan Broos but they get a brief mention here.

4 interviews with Uwe Schmidt

Hurray! Flanger is back! To celebrate, here’s four interviews with Uwe Schmidt, as published in [uzine] 1999-2002 (pdf, 28 kB)! Some excerpts:

Interestingly, I am very often confronted with the word ‘irony’ or ‘kitsch’ when it comes to certain works of mine (Señor Coconut is another example). I can assure you that I am not an ironic or sarcastic person at all and that I even highly dislike sarcasm or irony since it usually dequalifies cultural elements, perspectives and after all ‘truth’. Geeez ‘n’ Gosh therefore is not ironic, and the inspiration and intention is absolutely sincere and real. To me ‘irony’ and ‘kitsch’ are brought into discussion usually when the listener is unable to see the entire picture of a certain work, as proved quite clearly to me with the Sr. Coconut project. For those who can’t understand ‘belief’, ‘religion’ in a contemporary context always has to appear as irony. Perhaps my work should be seen as a tool to expand perspectives, rather than to laugh about contents one may not know.

The distance to the subject of interest is still the only way to see things clearly … I am trying hard to move myself into orbit to earth, of course in a non-literal way. My friend Burnt Friedman tends to call it ‘the alien perspective’ and I think this describes it very well. Remove yourself out of any existing set of values, as much as possible (of course). This will give you absolute freedom. Whenever I am coming back to Europe I see everybody working on the same project, which in my eyes is a camouflaged capitalist project. Musical and design minimalism for example are direct extensions of the capitalist streamline idea of human existence, though nobody seems to see it – much rather they believe that their project is a real alternative or ‘progress’. That’s why I am denying music and design rules … and rather try to create confusing moments that seem to fit, but then don’t …

Spiritual ideas in general have always been much more important to me, no matter where they came from. One thing I have learnt, though, here in Chile, is what practically a ‘religious’ life means. I find that extremely interesting, not only for the music I make, yet for life in general. Central Europe, all the so-called ‘first world’ countries, perhaps Germany especially, have established an aseptic, anti-spiritual society, which is something I feel very strongly these days. Also, I very much believe that whatever social / global solutions we may look for, we won’t find them without to some degree coming back to spiritual or religious topics. (…) Santiago offers a lot of interesting cultural moments which are totally unknown outside of Latin America and which are truly inspirational since they refer to a unique set of parameters. I have just been to Argentina for example and there you also have huge musical movements, totally ‘mainstream’ which are not existing outside of Argentina at all. They are proofs to me that ‘globalisation’ is a totalitarian concept without future.

Some weeks ago, for example, I was invited to Cordoba, Argentina’s second biggest city. On my last day, I visited the concert of a ‘local hero’ from Cordoba called “la Mona”. I did not at all know what to expect, and believe me, it was a totally astonishing experience. The music is some sort of electronic, yet extremely cheesy 150 bmp ‘tarantella’ (Italian folk) mutation, which sounds a bit like the Central American ‘merengue’. You see thirteen musicians on stage, some behind huge towers of synthesizers, others playing e-drums, congas, etc. The crowd: six thousand kids between 16 and 25 years old, mainly lower class people. Best of all: everybody dancing ‘cheek to cheek’, in a very oldfashioned dancing style! A total massive cultural movement that denies all first world ‘globalization’ ideas. I am sure those ‘micro worlds’ exist all around the globe, yet to a much lesser degree in so-called ‘first world’ societies. Latin America is very rich of those moments which are very unpolished and non-standard.

I find it a bit difficult to talk about musical ideas, I mean those musical ideas which do not refer to ‘content’. When I was conceiving the Geeez ‘n’ Gosh concept, I had a certain sound going on in my head, something which I find almost impossble to put into words… a certain groove and a certain surface perhaps… and I knew how to achieve that idea on a technical level (technique). ‘Bass’ was a parameter to a degree, that is true, though not a main one … rather a parameter I allowed to appear I would say.

french cosmic machinery

It’s da bombue! The Cosmic Machine – A Voyage Across French Cosmic And Electronic Avantgarde (1970-1980) v/a cd or 2lp+cd on Because (released 2013-10-14) boasts twenty tracks on either format, two of which previously unreleased (by Bernard Fèvre and by DVWB = Daniel Vangarde & Wally Badarou). Sleeve by Philippe Druillet, music selected by Uncle O, who’s already compiled the Shaolin Soul series, and there’s a 12″ with a Prins Thomas remix too. Hecque, even Serge is on board! Interviews via http://wadmag.com/words/files/uncle-o-cosmic-machine/ and http://www.90bpm.net/2013/10/cosmic-machineuncle-o-itw/ and http://www.lemouv.fr/diffusion-cosmic-machine and see also http://culturebox.francetvinfo.fr/cosmic-machine-la-compil-des-pionniers-de-lelectro-made-in-france-143505 and http://www.franceinter.fr/blog-loreille-en-pointe-cosmic-machine-la-compile-retro-futuriste-made-in-france & whatever comes next!

from beasley street to beasley boulevard

The making of Beasley Street (1978) by John Cooper Clarke has just been described by Graeme Thomson in Uncut magazine Take 185 (“October 2012” but actually released 2012-09 – silly Britons), p. 56-58. The original studio recorded version of his poem can be found on JCC’s 1980 lp Snap, Crackle [&] Bop. on Epic, which was written, played, arranged & produced by the Cheese Nightmares aka the Invisible Girls (Martin ‘ZeroHannett & Steve Hopkins), ably assisted by Lynn Oakey, Pete Shelley, Trevor Spencer, Paul Burgess, Karl Burns, Toby, Dave Hassell, Stephanie Formula … and Vinni Reilly aka the Durutti Column! In 2008, Mr. Cooper Clarke wrote a sequel for BBC Radio 4’s Bespoken wordshow, viz. Beasley Boulevard“.

evans’ pyramid not arthur russell’s

Andre Evans’ work with Evans Pyramid (on Belmont, Funk and Smokah records, 1978-1979), Royale (SMS 1980), Sashay (mid ‘8Ts, unreleased) and Deleasha O’Neal (written 198X, recorded ànd released 1994, label unknown) has been compiled by Cultures of Soul on 12 track cd and 8 track vinyl (with free download code for the remaining four at 192 kbps, all previously unreleased material, e.g. “Party like it’s 2001” and “Where love lives”). Cool but not brilliant – just plain funky, discoïd and interesting for Arthur Russell fans as well … [Incidentally: great to see record labels offer free downloads with vinyl, but sad to see them spend no attention at all on the info in those mp3’s of theirs, e.g. date, composer, illustration!]
http://www.funklopedikproject.com/  [no info yet, remarkably]

new bill fay album


Yay! Dead Oceans have just announced a new Bill Fay album for 2012-08-21: http://deadoceans.com/blog/2012/05/dead-oceans-welcome-bill-fay-first-studio-album-in-over-40-years-out-august-21/ + http://deadoceans.com/artist.php?name=faybill … which is utterly wonderful!! Yet “Life Is People” won’t be the first in over forty years. The Still Some Light2cd from 2010 featured one disc of carefully crafted new songs so that makes “Life Is People” the first new album in a mere two years ;-) And before the 2009 recordings, there were the utterly magnificent 1978-1981 recordings you can hear on Tomorrow, Tomorrow And Tomorrow(2005) – imho his very best album … More via http://uzine.posterous.com/tag/faybill

beefheart’s dust sucker of a bat chain puller

= 1980 French tv (“Chorus”) … 2012-02-22: Vaulternative / Zappa records have finally released the original 1976 “Bat Chain Puller” album by Captain Beefheart. Officially. It’s outrageously expensive but it sounds much, much better than the unofficial “Dust Sucker” release by the Ozit leeches, said to contain the 1976 recordings as well, well … The title track’s rhythm is said to be based on the sound of Don Van Vliet’s Volvo car’s windscreen wipers. And the blues, of course. Webcore, webcore.

Beefbonus: Vliet phases Letterman!