Tag Archives: 1999

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.

at the drop of dead man ray

Back in 1998-1999, Dead Man Ray used to project and play live to De ordonnansaka Café zonder bieraka At the drop of a headfeaturing Bobbejaan Schoepen and also the Cousins. The movie was directed by Charles Frank en Trevor Peacock in 1962. It’s now out on dvd via Belfilm. Not a great movie but certainly a dvd for Dead Man Ray or Daan completists ;-)
http://nl.wikipedia.org/wiki/De_ordonnans
http://www.bobbejaan.be/persarchief/daan-bij-bobbejaan
http://www.cobra.be/cm/cobra/cobra-mediaplayer/muziek/1.1156642  (!)
http://www.belfilm.be/index.php?page=view_movie&id=105&page_no=8
http://www.bobbejaan.be/persarchief/dead-man-ray-maakt-nieuwe-muziek-bij-bizarre-film-bobbejaan-schoepen
http://www.bobbejaan.be/persarchief/met-een-teletijdmachine-naar-het-pittoreske-vlaamse-filmverleden  but no

listen whitey

Noted music producer and scholar Pat Thomas spent five years in Oakland researching Listen, Whitey! The Sights And Sounds Of Black Power 1965-1975“. It also chronicles the forgotten history of Motown’s Black Power subsidiary label, Black Forum (1970-1973). The tracklisting (listen to tracks  1, 5 & 12 below) on Listen, Whitey!(named after Huey P. Newton’s 1972 lp on Folkways) does miss God bless America for what(1972) by the once again forgotten Swamp Dogg, though – imho more relevant than Roy Harper‘s I hate the white manwith its rather vague lyrics, however poignant their delivery  … Even so, and especially with the accompanying book on Fantagraphics, this v/a compilation is a great addition to “(Rich Mix Presents) Back To Blackon Lo (2005), the Black & Proudcomps on Trikont (2002 & 2005), the two Stand Up And Be Counted – Soul, Funk And Jazz From A Revolutionary Erav/a volumes on Harmless (1999 & 2000) and What’s The Word? on the revamped Harmless (2011). Extra (viva RotA): Mable Hillery! And Denise Sullivan‘s book Keep on pushing – black power music from blues to hip hop(ISBN 9781556528170, Chicago Review Press / IPG 2011-07)!
http://listen-whitey.tumblr.com/
http://roomonetwofour.com/books.htm
http://lightintheattic.net/releases/685-listen-whitey-the-sounds-of-black-power-1967-1974
http://www.fantagraphics.com/browse-shop/listen-whitey-the-sights-and-sounds-of-black-power-1965-1975-2.html
http://www.wnyc.org/shows/soundcheck/2012/feb/22/motown-records-lost-history/
http://newblackman.blogspot.com/2010/06/rhythm-and-protest-motowns-forgotten.html
http://www.alternet.org/story/154559/listen,_whitey!_talking_with_author_pat_thomas_about_the_black_panthers
http://lightintheattic.net/news/?p=4882
http://blog.wfmu.org/freeform/2012/03/seize-the-time-pat-thomas-black-power-and-listen-whitey.html
http://jamesrtracy.wordpress.com/2012/03/16/listen-whitey-james-tracy-interviews-pat-thomas/
http://revoltoftheapes.com/2012/08/14/pat-thomas-author-of-listen-whitey-the-sights-and-sounds-of-black-power-1965-1975/
http://www.kpfa.org/archive/id/79645

Listenwhitey

liswhi-preview.pdf

russell joyce & syd mills & barrett james’ golden hair

Media_httpwwwtokafico_qdheg

Russell Mills recorded this James Joyce poem (from 1907’s Chamber Music”, untitled poem V) with top lass Clodagh Simonds of Mellow Candle and of Fovea Hex, for his album “Undark Two: Pearl + Umbra” (1999). Syd Barrett had already recorded it somewhere in 1968-1969, for his brilliantly titled debut “The Madcap Laughs” (Harvest 1970), an lp which saw members of Soft Machine, Humble Pie and Jokers Wild contribute. More on Russell Mills here + in a future post …

dave hamilton’s detroit soul

Hard to find info on Dave Hamilton on the web that isn’t already on Ace’s site – or picked from the booklets to their releases … The collection so far:
http://www.acerecords.co.uk/content.php?page_id=59&release=8719
http://www.acerecords.co.uk/content.php?page_id=59&release=7331
http://www.acerecords.co.uk/content.php?page_id=59&release=4653
http://www.acerecords.co.uk/content.php?page_id=59&release=4747
http://www.acerecords.co.uk/content.php?page_id=59&release=1033
http://www.acerecords.co.uk/content.php?page_id=59&release=1012

attaxque


Hey bulldog?
http://en.wikipedia.org/wiki/Dexter_Wansel
http://www.allthingsdeep.com/dge/wansel.htm
http://www.soulwalking.co.uk/Dexter%20Wansel.html
http://www.phillysoulclassics.com/artists/dexter-wansel
http://www.demonmusicgroup.co.uk/Product.aspx?ProductID=2639

a not so deluxe traffic

Media_httptheseconddi_sqzab

… terrific to hear more of Traffic’s magic, but how utterly annoying that all of the bonus tracks on the 1999 cd reissue in the Island Remasters series (5464992) haven’t been reprised on 2011’s “John Barleycorn Must Die – Deluxe Edition” (5332411), of which the second disc disappoints …
http://www.stevewinwood.com/news/21091
http://en.wikipedia.org/wiki/John_Barleycorn_Must_Die
http://theseconddisc.com/2010/12/23/john-barleycorn-must-be-expanded/
http://www.yourwaytomusic.com/traffics-john-barleycorn-must-die-deluxe-edition/