NDW Deluge
- Thread starter Woebot
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jimbackhouse
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both of those are essentials!!!
german label vinyl on demand (www.vinyl-on-demand.com) have also been archiving and reissuing huge amounts of lost NDW / minimal deutsche synth esoterica too. limited vinyl editions of 500 apiece (very collector-fetish orientated).
been playing lots of that stuff on resonance (plug, plug) if anyone wants copies of the programmes, let me know.
i desperately want that verschwende deine jugend book to be translated to english, but i know full well it will never happen (sigh)
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Woebot
Well-known member
thanks for the link jim
also forgot to post this link:
http://www.backagain.de/
where theres a cool NDW section:
this from the liner notes of Berlin80:
"From a purely Geographical point of view Berlin was situated right in the middle of the GDR. My West German map showed a city surrounded by an amorphous white expanse - a strange and unsettling sight so we never paid any further attention to it. Irritated by endless drives on the transit autobahn and interminable border controls I was always greatly relieved when I finally reached the protection of The Berlin Wall which -to all intents and purposes- was in fact meant to protect the socialists from the so-called imperialists, ie us.
The wall turned Berlin into an island enabling the evolution of a peculiar idiosyncratic existential habitat."
Rolf S. Wolkenstein.
also forgot to post this link:
http://www.backagain.de/
where theres a cool NDW section:
this from the liner notes of Berlin80:
"From a purely Geographical point of view Berlin was situated right in the middle of the GDR. My West German map showed a city surrounded by an amorphous white expanse - a strange and unsettling sight so we never paid any further attention to it. Irritated by endless drives on the transit autobahn and interminable border controls I was always greatly relieved when I finally reached the protection of The Berlin Wall which -to all intents and purposes- was in fact meant to protect the socialists from the so-called imperialists, ie us.
The wall turned Berlin into an island enabling the evolution of a peculiar idiosyncratic existential habitat."
Rolf S. Wolkenstein.
Way bk in West Berlin
Berlin Super 80 looks great .
Just looking at the cover image posted,
I dunno if it lists who that is but the lady looks like ol' friend Susanna Kuhnke from Malaria!
But alot of ladies looked like that in Berlin 80 ...
Gudrun G remains but mostly it's the clones out there in da world
Berlin Super 80 looks great .
Just looking at the cover image posted,
I dunno if it lists who that is but the lady looks like ol' friend Susanna Kuhnke from Malaria!
But alot of ladies looked like that in Berlin 80 ...
Gudrun G remains but mostly it's the clones out there in da world
its about time this got some attention really- in my book NDW is waaayyy more fertile than the 1972 krautrock kanon. just got 'Verschwende Deine Jugend' a week or so ago- incredible stuff. am quite fond of the gomma comps as well, specially 'my boy' by instant music....
if i were being churlish i'd say that the lack of a chapter on NDW is the biggest flaw of RIU&SA- especially given the play Reynolds makes of Europe vs America....the UK 's musical superiority complex vis-a-vis Germany needs a serious kicking
I haven't got Berlin Super 80 as its too bloody expensive....I will though as soon as I get a job or something. I did get a (mostly good, sometimes appallingly bad, i.e Falco rapping) NDW compilation called 'Die Neuen Spitzen' in Prenzlauer Berg a few months ago for 3 euro which was some consolation
if i were being churlish i'd say that the lack of a chapter on NDW is the biggest flaw of RIU&SA- especially given the play Reynolds makes of Europe vs America....the UK 's musical superiority complex vis-a-vis Germany needs a serious kicking
I haven't got Berlin Super 80 as its too bloody expensive....I will though as soon as I get a job or something. I did get a (mostly good, sometimes appallingly bad, i.e Falco rapping) NDW compilation called 'Die Neuen Spitzen' in Prenzlauer Berg a few months ago for 3 euro which was some consolation
Woebot
Well-known member
owen said:
Yeah I noticed the NDW bit on your site Owen!
I can sort you out with Berlin80 if you like. (There are only 1000 copies of it) I'll record it onto CD. Maybe we can trade?
Re:RIUASA I wonder if this decision came from the publisher? It was a shame, however in truth, if you were going to do an NDW chapter you'd HAVE to do a book on the entire European scene. I keep thinking someone like Dissensus's Morlighem should pitch some snappy European publisher a "companion" book to RIUASA which takes in Europe.
It'd prolly be a bit slimmer (gasps) but you could take in:
Belgium:
France:
Italy:
Germany:
(I'd break each of these out if I had the time)
Was there much (genuinely valauble) music made elsewhere in Europe during this time? I say genuinely valuable because what I've heard of the Brazilian stuff (The Sexual Life of Svages) doesnt stand up very well, isnt a scratch on the Favela Booty music. I suspect Spain may have produced some music, but I wouldnt necessarily vouch for its quality...
SMorlighem
Well-known member
WOEBOT said:
Erm, sure! (but when ?)I guess I could set up my personal panorama someday on a webpage, that'd be a reasonable starter. I gave up my 'Post-punk women' book project and I'd rather work now on records reissues, providing notes (Ghédalia Tazartès' 1990 'Check Point Charlie' is on his way!).
Well... Simon's take on french 1978-1984 stuff is very reductive. Metal Urbain & its offspring might be the tree hiding the forest. The 'So Young But So Cold' compilation is a great statement & worth getting & its shows many aspects of this era in France : post-punk as post-prog or post-Bowie/Eno/Iggydiot or post-Kraftwerk... A very few bands were influenced by english post-punk (the great Edith Nylon learn a lot from Magazine), much more by US Punk/Disco stuff (Lizzy Mercier-Descloux, Marie et les Garçons... because they were part of the NYC scene). Lots of synthpop (Elli & Jacno, Taxi-Girl, Mathematiques Modernes, Artefact, Moderne) and by 1981, TG/industrial/Goth influenced stuff (Art & Technique, DDAA, Vox Populi, Nox) & great hybrid bands (Kas Product, Un Département, Nini Raviolette). Many many many only-cassette releases=many many many obscure home-made stuff, shite & amazing stuff... But the cassette/home-made european scene is really blossoming after 1984, I think. Lots of small labels (hail Bene Gesserit's Alain Neffe, Home Produkt's Philippe Stas & AA tapes' Eriek van Havere from Belgium or Underground Productions' Eric Chabert from France, which released countless great compilations).
I'll do my best to draw, at least, a map of the early eighties! Sooner or later...
DoWOEBOT said:
I have fond memories of a few tracks heard at the time on radio (Radio Futura, Herois Do Mar), but I'm not sure how good it aged... But Movida had its music, for sure, and it should be rediscovered.
SMorlighem
Well-known member
blissblogger
Well-known member
Weren't the publishers, i originally intended to "do" Germany and Australia, but ran out of time. To do Deutchsland proper would have entailed another... ooh, 30 , maybe 40, interviews. And being as there's so little English-language documentation on the scene there would have a strong element of stumbling in the dark, ie. i wouldn't have even known the right questions to ask, not having interviews and research resources to prepare with. Even tracking down the people in question would have been a challenge, judging by the attempts I made. I started on it... did Gudrun Gut, sent Thomas Fehlmann questions. But getting informed that DAF wanted copy approval (!) was a major discouragement and in the end i realised it weren't going to happen, for reasons of time and also the book being too long already.
Someone "should" do a European postpunk book but i fear it would be a Herculean labour of love for whoever undertook it, as w/ the exception of the German and Belgian/Dutch scenes I get the impression that homegrown postpunk was a pretty minority interest in most countries.
the EBM scene though was kinda postpunk, and quite popular too, europe-wide, but it falls really outside my timespan
another interesting element is the impact of UK/US acts in Europe -- Tuxedomoon playing arenas in Italy! The Cure breaking in Belgium (if i remember correctly) way WAY before having hits in the UK! Depeche Mode being so MONSTER HUGE in Germany that to this day they have Depeche-raves, events where they mostly play Mode music.
Someone "should" do a European postpunk book but i fear it would be a Herculean labour of love for whoever undertook it, as w/ the exception of the German and Belgian/Dutch scenes I get the impression that homegrown postpunk was a pretty minority interest in most countries.
the EBM scene though was kinda postpunk, and quite popular too, europe-wide, but it falls really outside my timespan
another interesting element is the impact of UK/US acts in Europe -- Tuxedomoon playing arenas in Italy! The Cure breaking in Belgium (if i remember correctly) way WAY before having hits in the UK! Depeche Mode being so MONSTER HUGE in Germany that to this day they have Depeche-raves, events where they mostly play Mode music.
hamarplazt
100% No Soul Guaranteed
I have this odd slovenian compilation from 1984 (just on the border of the timespan I'll admit) called 84 - a kind off Orwell concept thing, it seems, pretty impressive considering it was made in Yugoslavia. It contain a lot of derivative-sounding postpunk, so there even was an impact in eastern europe. In addition there's also some quite interesting industrial/proto-EBM from Borghesia and Laibach-associated 300000 Verchiedene Kravalle on it, makes you wonder once more how such a small country ended up producing not one but two key players on that scene.blissblogger said:
The first Laibach 12" was from 1983, btw, but was nowhere near EBM yet. And Front 242s first LP actually came out in 82! But there wasn't really a "scene" until the mid/late eighties.