Bis Aufs Messer Weekly News 03 Sep 2024
hi, welcome to another newsletter for ANTHONY MOORE - Mare's Tail LP, BUTTHOLE SURFERS Restock, TIMOTHY ARCHAMBAULT - Onimikìg LP on Idiologc Organ, KEANU NELSON - Wilurarrakutu LP, BLACK ARTIST GROUP - For Peace And Liberty, In Paris Dec 1972 LP, THURSTON MOORE - Flow Critical Lucidity LP + Flexi 7“, IBUKUN SUNDAY - Harmony / Balance LP, MAPURA MUSIC - s/t LP, MASHU HAYASAKA - Piano Études LP, STILL HOUSE PLANTS - If I don’t make it, I love u LP restock, some SLINT restocks, MJ LENDERMAN restock, LIJADU SISTERS - Horizon Unlimited LP and more
Also some book restocks like HENRYK GERICKE - Tanz Den Kommunismus BOOK, MAGNETIZDAT DDR - MAGNETBANDUNTERGRUND OST 1979–1990 BUCH and more —-
On October 24th we also will celebrate our 18th Anniversary … so keep the date … more infos etc soon.
We also added (adding) a few more second hand LPs and 7“s to our discogs
https://www.discogs.com/seller/XMESSERX
Thank you as usual
Til then thank you for all your orders & support.
Robert & Norman
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LP
ADVERTISEMENT - American Advertisment LP (The debut full length from Seattle's Advertisement plunges deep into the recesses of dark comedy, crystalizing images of a cartoonish surveillance state into spun-out pop fragments, painting apartment bound, incense-soaked queens in sprawling drags of looping distortion, commemorating flaming horses with hard-ons in Laurel Canyon inflected melodies. Stripped of any pretense of rock n' roll escapism, this LP oscillates between wry cynicism and giddy, almost cruel optimism, channeling an unconventional set of influences ranging from the emotive, drunk rabble of Karen Dalton and the sprawling, staggered sway of Television to the more molly-burnt sides of Royal Trux and the Happy Mondays. This is uncalculated, life-affirming music, a laughing chorus pointed at art's tendency towards nihilism. Self-released by the band and distributed in partnership with Patchwork Fantasy out of Chicago, first pressing of 500. Each 12" comes with a foldout, risographed 24"x36" poster, designed by guitarist Ryan Mangione) 23.00
ANSGAR WILKEN - The Last We Can Do Is Wave To Each Other LP (econore - Percussion und Kleinstpercussion. Wohltemperiertes Geschepper, Klopfen, Gedengel. Beats, Crescendos, feine Feedbacks, Obertöne, Drones. Den Filzschlegel auf dem Trommelfell aushoppeln lassen wie einen heruntergefallenen Tischtennisball. Eine Blechschüssel als Resonanzschatztruhe verwenden – oder das Cello als Schlagzeug. Der aktuelle Moment und die vorhandenen Materialpotenziale überrumpeln hier viele Gepflogenheiten. Musik eher herunterpflücken als hervorbringen; das Richtige erkennen, wenn es einem zufliegt. Geräuschen und Klangspektren nachgehen, sich in aufkommende Rhythmen hineinbegeben, von einem Grund-Drone ausgehend, welcher als Basis des Geklöppels nicht unbedingt hör-, aber stets spür- oder dazudenkbar ist. Ansgar Wilken benutzt ein so simples wie weitreichendes Klangerzeugungsarsenal, darunter auch Gegenstände und Utensilien, deren inhärente Sounds zuweilen geradezu computergeneriert klingen. Ob (oder wo und wie hier welche Art von) Elektronik zum Einsatz kommt, ist oft schwer zu ermitteln, allein schon, weil der Musiker selbst etwas unter Strom steht und beim Spielen unversehens maschinellen Rhythmen verfallen kann. Wilkens Geklöppel öffnet musikalische Welten, in denen statt Virtuosität Stimmigkeit herrscht und das rastlose Ausloten von Bewegungsablauf und Sound fortwährend eine glimmende Intensität freisetzt. Stil ist nicht etwas, das dieser Musiker anstrebt, sondern lediglich etwas, das er nicht ganz abschütteln kann.) 22.00
ANTHONY MOORE - Mare's Tail LP (paradigm - In 1969 both Anthony and David were at the start of their respective careers and both were inspired by the ideas of the avant garde and the new technologies becoming available to them. David experimented with the various techniques being explored in the medium of film making and Anthony tested the limits of what could be done with tape recorders. It was an open and co-operative exploration. The results of their first collaboration was the film Mare’s Tail - an unusually long 2:30 hour film of non linear multi layered audio visual collage filmed in a wide variety of locations interspersed with texts coming from readings and talks, Kabalistic texts, recorded phone calls, loops, children’s voices and other found material. The musical dimension is mainly supplied by various struck objects/noise/feedback/field recordings and samples. There are instruments too and we even get treated to a small section of what was to become a Slapp Happy tune. The blurry dreamscape/nightmare that slowly unfolds is laden with late 60s delirium. The original master tapes are long gone and all that remains is the audio track on existing copies of the film and various bits of the make up tapes, most of which were used (but some not), in the final cut. The low grade 16mm audio track (a degraded source to begin with), is further worn with age, subsequent duplication and repeated screenings. It all adds to the haze - a quality that David would have most likely approved. Edition of 500 numbered copies) 28.00
BLACK ARTIST GROUP - For Peace And Liberty, In Paris Dec 1972 LP (wewantsounds - Including 20 page booklet. INCREDIBLE LONG-LOST PERFORMANCE BY THE MYTHICAL BLACK ARTIST GROUP RECORDED LIVE IN PARIS, 1972. THESE RECORDINGS ARE BAG'S FIRST OFFICIAL RELEASE IN 50 YEARS AND ONLY THEIR SECOND ALBUM - ISSUED IN COLLABORATION WITH THE GROUP AND INA. This is the release of BAG's first album since 1973, "For Peace and Liberty", recorded in Paris in Dec. 1972 when the musicians had recently arrived from St Louis. BAG only released one album during their existence, the cult classic "In Paris, Aries 1973". This long-lost performance, recorded at Maison de l'ORTF in optimal conditions just a few months previously, was thought lost until recently unearthed from the vaults of INA (Institut National de l’Audiovisuel). Here the group unleashes an incandescent 35-minute set mixing free improvisation and spiritual jazz with funk grooves. Released in partnership with the band and INA with audio remastered from the original tapes.) 35.00
BLACK ARTISTS GROUP - In Paris, Aries 1973 LP (Aguirre - Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG. It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists’ Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester’s younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group’s own label.) 27.00
BRIGHT EYES - Five Dice, All Threes DLP (dead ocean - Five Dice, All Threes is a record of uncommon intensity and tenderness, communal exorcism and personal excavation. These are, of course, qualities that fans have come to expect from Bright Eyes, nearly three decades into their career. The tight-knit band of Conor Oberst, Mike Mogis, and Nate Walcott tends to operate in distinct sweeping movements: each unique in its sound and story but unified by a sense of ambition and ever-growing emotional stakes. Even with this rich history behind them, these new songs exude a visceral thrill like nothing they have attempted before. Oberst has always sung in a voice that conveys a sense of life-or-death gravity. At times throughout Five Dice, All Threes, you may feel worried for him; other times, he may seem like the only one with the clarity to get us out of this mess.) 36.00
BUTTHOLE SURFERS - Locust Abortion Technician LP (matador - The second part of Matador’s reissues of the essential early records by Texas’s Butthole Surfers continues with three of their most insane slabs -- 1985’s ‘Cream Corn from the Socket of Davis,’ 1987’s ‘Locust Abortion Technician’ and 1988’s ‘Hairway to Steven.’The period during which these records were first issued parallels the Buttholes’ transition from being weirdo Texas outcasts to becoming internationally recognized smut-kings of the American underground. In 1985 they were still the sole province of hallucingen-soaked punk rock freaks. By 1988 they had toured Europe, had records licensed internationally, and bought a house in Driftwood Texas to serve as their home base. But we’re getting ahead of ourselves.) 27.00
BUTTHOLE SURFERS - Hairway To Steven LP (matador - The second part of Matador’s reissues of the essential early records by Texas’s Butthole Surfers continues with three of their most insane slabs -- 1985’s ‘Cream Corn from the Socket of Davis,’ 1987’s ‘Locust Abortion Technician’ and 1988’s ‘Hairway to Steven.’ The period during which these records were first issued parallels the Buttholes’ transition from being weirdo Texas outcasts to becoming internationally recognized smut-kings of the American underground. In 1985 they were still the sole province of hallucingen-soaked punk rock freaks. By 1988 they had toured Europe, had records licensed internationally, and bought a house in Driftwood Texas to serve as their home base. But we’re getting ahead of ourselves.) 27.00
BUTTHOLE SURFERS - Cream Corn from the Socket of Davis LP (matador - The second part of Matador’s reissues of the essential early records by Texas’s Butthole Surfers continues with three of their most insane slabs -- 1985’s ‘Cream Corn from the Socket of Davis,’ 1987’s ‘Locust Abortion Technician’ and 1988’s ‘Hairway to Steven.’The period during which these records were first issued parallels the Buttholes’ transition from being weirdo Texas outcasts to becoming internationally recognized smut-kings of the American underground. In 1985 they were still the sole province of hallucingen-soaked punk rock freaks. By 1988 they had toured Europe, had records licensed internationally, and bought a house in Driftwood Texas to serve as their home base. But we’re getting ahead of ourselves) 24.00
IBUKUN SUNDAY - Harmony / Balance LP (phantom limb - Nigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with Harmony / Balance, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals. Based in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of Harmony / Balance derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita [Eng: “As It Is”], a script on the duality of human nature. In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony / Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.) 33.00
IDEA FIRE COMPANY - Bathroom Electronics LP (horn of plenty - back in stock - 2023 marks the 35th year of Idea Fire Company’s ongoing commitment to the radical avant-garde. To mark the occasion, Horn of Plenty is proud to present the band’s latest campaign statement Bathroom Electronics. IFCO’s core members are Scott Foust and Karla Borecky who operate from rural Massachusetts. Early despatches came via Scott’s Swill Radio imprint alongside titles by The Shadow Ring, RLW, and Asmus Tietchens. The last decade or so has seen them work with other notable labels including Kye, Recital, Feeding Tube and Ultra Eczema. Early IFCO releases included mission statements like the Anti-Naturals manifesto where they outlined their pursuit of a new total-aesthetic to challenge the ongoing pervasion of the Spectacle. Their growing catalogue, although honouring these early intentions, also nodded to the sacrifices undertaken in their pursuit. References to being Lost At Sea, or coming Live From The Impossible Salon acknowledged a wry sense of resignation and a dogged romanticism.) 28.00
KANKAWA NAGARRA - Wirlmarni LP (mississippi - Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Recorded live near her home in Western Australia, these twelve acoustic guitar and vocal tracks offer a glimpse of Kankawa's far ranging humanity, humor, and lived experience. She shifts between musical styles and languages, backed by night bugs and the call of birds. Recorded by Kankawa's longtime friend Darren Hanlon, the sessions are relaxed and warm. It's a true gift - the experience of hearing Kankawa on her own land, in her own words. ) 27.00
KEANU NELSON - Wilurarrakutu LP (mississippi - Deeply moving Casio jams from central Australia… Keanu Nelson is a young Aboriginal Australian artist from the remote but artistically rich community of Papunya, northwest of Alice Springs. He paints in the Western Desert movement style, and, on this album, sings poems from his notebook over minimalist DIY Casio beats programmed by Yuta Matsumura. We heard his debut album, released last year on the local Altered States label, and were blown away. We’re happy to work with Keanu to re-issue the record on a wider scale, hopefully bringing this vital music and unique voice to (slightly) more people.) 27.00
LIJADU SISTERS - Horizon Unlimited LP (numero - Horizon Unlimited features the sisters' iconic songs "Come On Home", "Erora" and "Orere - Elejigbo" and was -- as with the rest of their catalog -- incredibly raw, funky and with almost seductive electricity. Recorded at Deccas' London studios and originally released on their Afrodisia imprint in 1979, it was produced by Fela's Odion Iruoje and featured BLO's Laolu Akins on drums and Lemmy Jackson on keys. Sadly, it came to be the last the world heard from the twins for many, many years. “Their final album, “Horizon Unlimited”, was the culmination of their fusion of local and international grooves with urgent social commentary and romantic tidings”, Jon Parales wrote In his obituary for Kehinde Lijadu for The New York Times in 2019.) 28.00
MAPURA MUSIC - s/t LP (horn of plenty - Māpura Music is a collaborative and spontaneous music making program for people living with disabilities set in Tāmaki Makaurau / Auckland. Its facilitator, Stefan Neville (of Pumice etc.), has been active in the New Zealand underground for over thirty years, personifying an Aotearoa DIY sensibility that effortlessly links melodic song formats with open ended experimentation. On surface level, this collection of improvised group jams verges towards the latter, but soon structures of a playfully melodic sensibility reveal themselves and references beyond the Corpus Hermeticum / Kye axis can be considered. This is neither avant noise nor is it sound collage, but it also barely adheres to any (western) folk, rock or pop song formats. Kinship might be sensed with other disability music projects such as Reynols and Les Harrys, the anarcho stew of London's Triple Negative and even Basil Kirchin's elaborate 'Worlds within Worlds'. But whilst Kirchin famously used the voices of neurodiverse people as source material – with all its possible implications – here we have the people themselves taking agency and center stage.) 28.00
MASHU HAYASAKA - Piano Études LP (Absolutely beautiful LP of intimate drifting lo-fi piano nostalgia from Hokkaido’s Mashu Hayasaka. Looking out from our corner of the musical landscape a certain kind of solo piano composition feels elemental. Satie’s miniatures invented a whole dreamtime realm of deft and delicate abstraction. And 120 years later we are still revolving slowly in the space they mapped out. This makes writing about records like this difficult. Listening feels like breathing. The responses it provokes are so deeply programmed that attempts to consciously discuss them produce a kind of profound blank. However when you hear it you know it. What makes Karla Borecky totally transporting and Max Richter totally blah? The specifics are unknowable. But part of it is balance, it is dangerous to wake a sleepwalker but you need some unexpected detail and at least a little grit to keep the dream alive. This record has that quality. The clunk of a tape recorder begins a series of wandering happy/sad piano studies that recall Robert Haigh in his Sema guise, John Cage’s ‘In a landscape’ and Duke Ellington’s blurred chromatic solo piano performances. Mashu Hayasakaleaves nowhere to hide, his playing is poised and cooly controlled, focusing on the beauty of simplicity and purity. The fidelity plays a part too, these recordings are clearly diaristic, caught close up, granular and beautifully blown out in places, adding a level of cohesion to a genuinely special suite of music that melts so effortlessly into the everyday. Seriously, this one is a keeper, an unsettled but refreshing nap in the afternoon of your life.) 28.00
NILS DAMAGE - Hotzenplotz LP (This record gives you an overview of the creative phase of Nils Damage from 1994 - 2016. He was the mastermind of the bands listed above. A handful of friends and companions selected some songs from his more than 20 year old output. We are proud to present you some songs that have never been released (on vinyl). More or less the songs follow a timeline. Changing drummers represent the different phases and sounds thereby - you will find the details and linernotes of each song in the 16page booklet. Songs from his early solo - project Joe Le Balor mark the transitions and will give your bleeding ears some seconds of convalescence. Turn up the volume and prepare yourself for one last Nils Damage record!) 28.00
SHEER TERROR - Hässlich Und Stolz LP (Hässlich & Stolz presents the street kings from New York with a classic set in a never before heard clear sound, which goes right into your face and still doesn't lose any of its early nineties feeling! It becomes immediately clear, the Rose Tattoo of hardcore is called Sheer Terror and everyone who loves the real old outsider and street dog sound should take it without hesitation!) 23.00
STILL HOUSE PLANTS - If I don’t make it, I love u LP (bison - ‘If I don't make it, I love u’ is Still House Plants’ third LP and the fullest embodiment of their sound to date. Where ‘Fast Edit’ formed with quick attachment and jump cuts, ‘If I don't make it’ is shaped by persistence - a commitment to the songs that makes the music solid, warmer and accepted. Marking the trio’s decade of friendship, this is the first record written whilst all live in the same city since 2017's ‘Assemblages’. The band rehearsed it relentlessly, playing for nobody except themselves, consistently building support for one another and growing the way they play. Jess’ voice is deeper. Fin’s guitar is full size, richer. David drums harder. Focused on one point together, everyone gets bigger and nothing falls apart. The guitar and the drums blend, raise the voice, make room for what is being said, what is felt.) 28.00
THURSTON MOORE - Flow Critical Lucidity LP + Flexi 7“ (daydream - Thurston returns with his ninth and best solo album Flow Critical Lucidity released via Daydream Library Series. Some of the songs were written and arranged in Europe and the United Kingdom and include lyrical references to their environments and inspired by nature, lucid dreaming, modern dance and Isadora Duncan. The album was arranged at La Becque in Switzerland and recorded at Total Refreshment Studios in London in 2022, and mixed at Hermitage Studios in London with Margo Broom in 2023. Flow Critical Lucidity comes from a lyric in the single ‘Sans Limites’ and the album sleeve cover art features Jamie Nares’ ‘Samurai Walkman’ — a helmet befitted with tuning forks. Jamie Nares (born in Great Britain) is a life long friend of Thurston Moore from his New York No Wave days and the two have often collaborated in art and music. ) 31.00
TIMOTHY ARCHAMBAULT - Onimikìg LP (Onimikìg [Algonquin]: (n. an.)- thunder Timothy Archambault’s unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener’s attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the “throat rattling” vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices. An important document of new music meets contemporary musicological research via Stephen O’Malley of SUNN O)))’s Ideologic Organ. ) 28.00
UNICORN HARD-ON - Dream Machine LP (Valerie Martino’s influence in the current underground music landscape cannot be overstated. As Unicorn Hard-On, she was one of the first of America's 21st-century noise artists to seriously mess around with beats, having carved out her own space in the scene since 2003. Over the last 13 years, Martino has toured the USA and Europe countless times and firmly established herself as an artist to pay close attention to. After a break from years of nonstop touring across and releasing beautiful, handmade tapes, Martino is closing the doors on Unicorn Hard-On with a final release for untergang-institut as she begins her next chapter. “Dream Machine” is the followup to Martino’s last full-length release, “Weird Universe” (Spectrum Spools, 2013). It expands on the twisted, colorful world of previous releases with slowly unraveling acid tracks and psychedelic synth lines. As a final release for the Unicorn Hard-On project, “Dream Machine” is an essential and truly masterful record from an artist who knows exactly what she’s doing. In her own words, “I just want to make sounds that are beautiful and weird.” ) 15.00
V/A - Always Memphis Rock & Roll LP (This 14 track compilation features tracks from Black & Wyatt Records & Head Perfume artists - Fingers Like Saturn, Heathens, Jack Oblivian and the Dream Killers, Opossums, The Toy Trucks, Mario Monterroso, Turnstyles, Tyler Keith, Jack Oblivian and the Sheiks. Cover photos and design by Cole Wheeler. File under: Garage , Surf, Rock 'n Roll) 22.00
BOOKS
HENRYK GERICKE - Tanz Den Kommunismus BOOK (Verbrecher Verlag - Zwischen 2005 und 2007 richteten einige Ausstellungen, ein Buch und eine Kinodokumentation unter dem Titel »too much future« den Spot auf ein bis dahin kaum beleuchtetes Kapitel ostdeutscher Sub- und Gegenkultur. Seither ist einiges an Publikationen zum Thema Punkrock in der DDR dem monotheistischen Kult um den westdeutschen Underground der 1980er Jahre an die Seite gestellt worden. Unter den vielen Büchern erschienen einige wenige, die weder mythenselig noch autosuggestiv die ewige Leier abgeliebter Punkklischees besingen und dann noch reflexhaft eine Opferklage anstimmen. Untergrund war nie Strategie, jedenfalls nicht der Punkunderground. Er war Rausch, Elementargewalt und ein sittenwidriges Fest der Sinne, für das man zahlte, weil man dem Staat nichts schenkte. »Tanz den Kommunismus« porträtiert ausschließlich Punkbands, die in der Illegalität aktiv waren und der Pflicht zur staatlichen Einstufung konsequent einen Spieltrieb entgegensetzten, der sich um keine Erlaubnis scherte. Um die Klangkulissen einer Gegenkultur in Texten wiederzugeben, genügt es nicht, sich auf die Abarbeitung von Bandhistorien zu beschränken. Die einzelnen Porträts unternehmen den leidenschaftlichen Versuch, ein Kaleidoskop zu schaffen, das die Bands durch sich selbst wie auch durch ihr kulturelles und soziokulturelles Umfeld spiegelt. Dem Buch ist ein QR-Code beigegeben, mit dem sich 44 Songs der hier präsentierten Bands anhören lassen.) 20.00
MAGNETIZDAT DDR - MAGNETBANDUNTERGRUND OST 1979–1990 BUCH (Verbrecher Verlag - 464 Seiten, zahlreiche Abbildungen, Paperback - Im letzten Jahrzehnt der DDR fanden Punk und seine experimentellen Verästelungen in Post-Punk, New Wave, Elektronischer Musik und Avantgarde-Rock und -Pop auch in dem stillen Land ihre Hörer*innen. Wer hörte, wollte oft aber auch mehr: »Magnetizdat DDR« erzählt, wie aus Konsument*innen schnell Produzent*innen wurden und DDR-weit eine sich selbst verlegende Kassettentäter*innen-Szene entstand, der Magnetbanduntergrund. Beziehungsweise ein Magnetizdat, in Ableitung von Samizdat und Tamizdat in der sowjetischen Gegenkultur. Hier wie dort, zumal in Ost wie West, war dabei Multimedialität das Gebot der Stunde. Literat*innen ließen sich von Bands befeuern, Musiker*innen entdeckten Barock- und Experimental-Lyrik, Super-8-Filmer*innen und bildende Künstler*innen griffen zum Mikrofon, und es entstand ein Geflecht, das international renommierte Band- und Labelprojekte wie Tarwater, To Rococo Rot und Raster-Noton hervorbrachte.
Es geht u.a. um Frauen in der DDR-Subkultur, die Kreativ-Konstellation Karl-Marx-Stadt, falschen sorbischen Untergrund, das erste Kassettenlabel und die erste West-LP, illegale Studios und legalisierte Spielwiesen oder das Einsickern einer schrägen DDR-Krautrockmischung in internationale Zirkulationen. Beiträge von Michael Barthel, Henryk Gericke, Heinz Havemeister, Leonhard Lorek, Claus Löser, Bert Papenfuß und Angelika Richter.) 29.00
