Saturday, 5 August 2017

Ceddo + Derschau ‎- Grüne Rose Live -1981- (LP, Saguitarius), Germany


In the early eighties punk, post-punk and new wave paved the way for new generations and created quite a musical break with the previous generations and their more (psych) rock fueled sixties and seventies. Some artists from the psychedelic era had quite some difficulties reinventing themselves in the new punk times. Daevid Allen, front man of the legendary Gong for example, made a dark album called The Death of Rock and Other Entrances in 1982. A different approach than he had before. Somewhere in the nineties when a neo-psych revival changed everything, the legends of the sixties returned fully to their spaced out selves of their prime.

But some musicians and bands were never influenced by external factors and kept making music during the eighties like it was 1972. Some real psychedelic pearls were actually made in the eighties, especially in what we could call late-krautrock. In germany there was quite a continuation of the krautrock scene and legendary pioneers as well as unknown musicians kept playing in their new or old bands. This resulted in many privately released albums, some of which are nearly impossible to find today.

Ceddo was a jazz fusion trio from Dortmund fronted by guitarist Jochen Strumpf. In 1981 they released this Live album with psychedelic jams and poetry which was recorded in Dortmund on 08.05.1981 and 9 + 10 5. 1981 im Gasthof zur Mühle, Ascheberg. They worked together with the countercultural poet Christoph Derschau. He was influenced o.a. by Bukowski and other US underground literature. The lyrics of Grüne Rose (Green rose) on this album are dealing o.a. with a corrupted state, environment, psychedelic rock music, existence and more. It's quite a good freak out album actually. If you understand German you might hear some echo's of political krautrock bands like Floh de Cologne, Von Brühwarm Theater or Ton Steine Scherben.

Grüne Rose. Das Ziel des Todestriebs ist nicht die Zerstörung an sich, sondern die Aufhebung des Bedürfnisses nach Zerstörung - Herbert Marcuse

Get it HERE

Saturday, 1 July 2017

Jana Koubková - Bosa -1985- (LP, Supraphon), Czech Republic


Somehow there always existed a relation with Brazilian Bossa Nova in Eastern Europe. Specially in times when coffee places behind the Iron Curtain flourished and nightly neon lights were flirting with western titles creating a concealed idea of a vibrant night life throughout all of the Eastern European capitals. Latin American tunes were played by jazz bands of the fifties and sixties and the particular feeling lived on all the way to the revival of the retro lounge movement around the change of the millenium, reminiscing the geometrical design imagery and nightly recreation created during the socialist times. It was a strange daily life counterpart to a political system that on the other hand ofcourse was looked upon as a system of repression and terror in many ways. Nevertheless exploring  the artists, designers and architects from the time one notices that this culture also contained something unique and refined. Besides that it coincidentally and not so coincidentally had a lot in common with modernism in Latin America.

Jana Koubková is a Czech Jazz singer that was active from the seventies in many Jazz groups like C&K Vokal and Jazz Fragment Prague. In 1985 she created her first solo album Bosa that can be viewed as a unique Czech deconstructed experimental avant-garde Bossa Nova album. Apart from the rhythms that are used, it's mainly a voice and scat album with weird overdubs, free jazz explosions and experimental repetitions. Actually it fits quite well next to the Brazilian contemporary music from the mid eighties that used traditional rhythm and melody with new experiments and unconventional instruments like Andréa Daltro or Cinema.

Bosa examplifies Jana Koubková's creativity and progressive spirit and totally exceeds a mere jazz album. This is true singing talent molded into avant-garde voice experiment art comparable to the amazing work of Russian singer Valentina Ponomareva (or for that matter).

Another one for this summer (letní)!

Get it HERE

Monday, 12 June 2017

Luna - Comment Sa Va ? -1985- (EP, Toypick, Zero Records), Japan


Luna was a female duo from Kyoto, Japan that made this jewel of an EP in 1985. Backed by other musicians they created these songs of naive wave sweetness in French, complete with the grammatically incorrect way of spelling Comment ça va? It got released on a sublabel of Zero Records that also released early Shonen Knife and After Dinner.

The EP contains four songs that remind me of other Japanese music from the eighties that used the French chanson style as their conceptual image and sound like a.o. Variètè, Ichiko Hashimoto or Corina Corrina. Actually this cultural appropriation often displays great sensitivity. Furthermore it uses a format which feels like a very honest approach to music. Let's say a toy keyboard, a synth, some simple percussion, a duo or a person by itself, broken language, childish naivety, simple melodies and timid vocals. An example of pure simplicity transformed into honest emotion and love.

Today these type of sounds are for example still to be found in acts like EYE or maybe Le Fruit Vert. Other acts from the past with a similar sensibility that come to mind are The Same, Aksak Maboul or Antena. Ofcourse they have nothing to do with each other contextually. And yeah I guess I'm a sucker for this type of music. 

So far only the main track Comment Sa Va ? was around, which is still the highlight, but finally it's here in its entirety.

Hopefully this adds to a naive, warm, healthy, and romantic summer for you all !

Get it HERE

Saturday, 27 May 2017

Niew Hip Stilen - Grüss Aus Wien & Kill Em All (Live at Pandora's Music Box Festival Rotterdam 1983, VARA Moondogs Radioshow), Netherlands


Niew Hip Stilen is one of my favorite Dutch bands. They came from Rotterdam and played an amazing style of electronic synth wave jazz with some hints towards the urban music culture of early eighties New York City (remember New Order going there which led to the Blue Monday period).  Nevertheless their sound is also very Dutch and akin to the other great electro jazz group from Rotterdam called Kiem.

Niew Hip Stilen consisted of Maarten van Gent – bass, drums, guitar, percussie & vocals; Jan Willem van Mook – bass, sax, keyboards, percussion & computer; Rutger van Otterloo – sax, drums & percussion. They had one self-released single in 1981, which came out on the label of the Quarantaineweg, the legendary artist squats of Rotterdam. On the back of the single a plan of the squats can be noticed. Other bands connected to the squats were a.o. The Black Sheep and Dull Schicksal. Niew Hip Stilen made one album on Eksakt records called Heartsounds and Murmers that still stands as one of the most inventive and interesting Dutch albums from the eighties. 

As for these two songs: this week I found some self-recorded cassettes: blank with handwriting on them. All full concerts of eighties bands that played in Holland. Some of them contain the recordings of the legendary Pandora's Music Box Festival that took place three times in Rotterdam from 83' to 85'. It was a unique festival of new wave, avant-garde and industrial music. You can find a blog dedicated to the festival here. Bands like Fad Gadget, Clock DVA, The Durutti Column, X-Mal Deutschland and SPK all played the first edition. Most of those recordings are available online. Niew Hip Stilen also played and even released a hyperrare cassette with those recordings that was uploaded here.

So as you can see the recordings are actually already available there, but here we have two of the songs in a slightly better sound quality since it was broadcasted by the VARA Moondogs radioshow. Moondogs was a Dutch radioshow from the eighties dedicated to interesting contemporary music with in depth specials around certain bands. Also you can hear the host talking about the band.

Get two rare Niew Hip Stilen live songs HERE
 

Wednesday, 17 May 2017

Leo Cuypers - Same -1972- (LP, BASF/BIM), Netherlands


Leo Cuypers (Maastricht, 1947) is one of Holland's most inventive and important pianists in the improvisation and Jazz world. He started out as a drummer but soon moved to the piano. As a pianist he developed a unique jazzy playing style by which he improvised many songs just by feeling, mostly in a rhythmic way based on moods and imagined titles. He was frequently playing with Dutch impro Saxophonist Willem Breuker (founder of the Instant Composers Pool and Willem Breuker Kollektief).

Leo Cuypers is probably most famous for his Zeeland Suite from 1977 also with Willem Breuker and others. Throughout the decades of the last century he did many scores and other soundtracks with Willem Breuker. Cuypers was the only person Breuker would trust with his opinion when showing new scores. Their work together keeps a unique place in the Dutch jazz and impro history. On the verge of the nineties Cuypers stopped collaborating with Willem Breuker. By then he had built a decades-long reputation as an impro pianist in a 'jazz world' of women, booze and other nightly endeavours. You can see a short documentary in Dutch with Leo Cuypers here. I love when he basically concludes that he didn't learn shit(!) during his time at the conservatory. This first album he made came out on BASF in The Netherlands, just like the Theo Loevendie Consort (of which Leo Cuypers was a member) as well as the Indonesia inspired experimental Jazz prog band Banten. Also he played on the most psychedelic album by Dutch cult singer Ramses Shaffy from Amsterdam, called Sunset Sunkiss.

From the original 1972 liner notes:

"Maastricht was a beautiful city to live in. People from the Conservatory, the Academy of Arts, painters, sculptors - they all made it a nice scene. But then the hippies from the western part of Holland moved in and things changed so much that many of the artists left." This is pianist Leo Cuypers Talking. Born in Heemstede (near Haarlem) on December 1, 1947 (his parents originally came from Amsterdam) he moved to Maastricht with his family when he was about nine. And he always wanted to study at the Maatricht Conservatory. But after three years he quit; in fact he was chased away after four months of absence. "I was frightened, you know. What was going on there at the time (1962-1965) had nothing to do with making music. One was trained to play one's part in a symphony orchestra - not to play too much out of tune - not to play too well - just to do the job. And nobody was really interested in that kind of music. After lessons the kids ran to their favourite drinking place to listen to pop music, that's what they loved. And besides that, I played jazz, I wanted to become an arranger. I played drums, piano was at first only an obligatory second instrument. I started on drums when I was six. We had a piano at home, but I liked the drums better. It was only when I had learned to play enough piano that I discarded the drums. One day my set was stolen. Or rather, I hoped someone would steal it. Which they did. So I just had to go on with piano. Anyway, at the Maastricht Conservatory the scene finally changed too. Two years after I was chased away I made a guest appearance there."

As for many musicians in this country, the competition that's been held every year since 1958 at the lakeside resort of Loosdrecht meant a big change for Leo Cuypers as well. He entered the 1969 competition, playing solo. It was the percussion element, an echo from his playing the drums. As Maastricht is way down south in holland and the music scene - or anyway the jazz scene - is in the west, by being at Loosdrecht and winning this competition he was heard. Drummer Pierre Courbois liked his playing and when working at the festival of contemporary jazz in Baden-Baden, Germany, he advised Joachim Ernst Berendt to let Leo Cuypers replace Joachim Kühn, who had had a car accident. It was there that Leo Cuypers met composer and reedman Willem Breuker, founder member of the Instant Composers Pool, and it was through Breuker that Leo got his first gig in Amsterdam. Where a little later Theo Loevendie heard him and asked him to play with his consort. So, today, with Misha Mengelberg and Kees Hazevoet, Leo Cuypers is one of the three most foremost pianists in the contemporary music scene. He lives in Amsterdam. - 1972

Get it HERE

Thursday, 4 May 2017

áPolóK - Egyedül A Világon -1993- (Tape, Artalom), Hungary


Time for another cassette by Hungarian cultband áPolóK (trans. The Nurses) after two of their other releases I posted on the blog before. áPolóK comes from the Hungarian city of Miskolc and started out in 1982. They are ranked among Hungary's finest weirdo avant-garde groups. They can be placed among other Hungarian underground bands from the eighties and nineties like A.E. Bizottság (Albert Einstein Committee), Kampec Dolores, Tudósok, Vágtázo Hallottkémek and many others.

Their humoristic hyper-intelligent lyrics combine the insanity of the Hungarian culture with great poetic depth and absurdity. áPolóK is a quite unique band in Hungary mashing up a Rock In Opposition sound that contains unorthodox transitions in zappaesque ways with a great punk attitude and alternative rock manoeuvres. It's a band that is very underrated and deserves a lot more attention.

Egyedül A Világon (alone in the world) was áPolóK's first album that was also published abroad as a CD in England which was translated to The One And Only In The World (get that one here!). The cassette was self-released on their own Artalom label (it's a word merging the words Art and Content with each other.) I think this album is one of the stronger releases and shows a more developed sound of the band. The musical quality is keeping the right pace with the showcased absurdity. Some of the members of áPolóK are still playing in bands in Hungary like the absurd punk group Büdösök. Again check out their other releases in the archive of this blog.

Highly Recommended!

Get it - in all its original cassette glory - HERE

Thursday, 13 April 2017

Bewth (Bewegingstheater) - Over De Dauw Van Dit Land -1972- (LP, Space Records), Netherlands


Bewegingstheater (Movement Theatre) was a Dutch theatre group and Amsterdam based theatre school that was active from 1964 to 2005. In their existence they created 126 theatre productions. They worked with architecture, dance, music and poetry. In the late sixties and early seventies Bewth created numerous plays in which their happening-like plays were combined with psychedelic music and poetry.


The musical development started with voice experiments by the actors and were later replaced by compositions and music of the time like Pink Floyd and Arthur Brown. As the architectural element was introduced in the plays, more and more own music started to be created by some of the members, most importantly by: Peter Klencke, Walter Jaffé, Victoria Varekamp and Flip van de Pol. You can get an impression of a Bewth play in the late sixties by clicking here and here. This was a play called Bosche Bollen (1968), it starts with a still of The Garden Of Earthly Delights by Dutch medieval painter Hieronymus Bosch. Bosche Bollen are the famous patisserie chocolate balls connected to the city of 's-Hertogenbosch in the south of The Netherlands, also the birth city of Hieronymus Bosch.


In 1972 the record Over De Dauw Van Dit Land  (On The Dew Of This Land) was realized. The greater part of the music was created by Peter Klencke. From 1968 to 1974 he used country and blues slide guitar and a saxophone to create improvised sound imagery that corresponded with the movement of the actors. Also he composed music to the poetry of Bewth-member Ben Zwaal that was recited during plays. The music from this period was compiled on Over De Dauw Van Dit Land. The record was only sold during performances.


The music and poetry on this record have a distinct feeling of the Dutch countryside, in as much as that exists within the mostly urban landscape of Holland. The fragile cardboard cover shows a person in what I think is a boerenkool field. A vegetable that is eaten in Holland in the winter and which traditionally needs a night of frost over it to be eaten (frost and dew, important in alchemy, paganism.. it's all somewhere in that realm isn't it?). Most of the poetry and the song titles deal with nature in its purest form, very much in a pagan fairytale sense. Also one of the songs has a Frisian title, embedding this marginalized language and culture of the Netherlands in the record.

The record is a pearl of Dutch avant-garde acid folk and jam improvisation reminding me a bit of the Dutch obscurity Surprieze - Zeer Oude Klanken En Heel Nieuwe Geluiden from 1973. It is a beautiful example of free-form theatre mixed with spaced out music from that era, comparable to the French Théâtre du Chêne Noir d'Avignon, the Japanese Tokyo Kid Brothers, Tenjo Sajiki, the Belgian happening films of Ludo Mich or even the 1960's Living Theatre in New York.


The Bewegingstheater later went on doing many other performances including in the streets of Dutch cities (like in Middelburg on the picture above). Eventually, the company evolved out of its hippie character while focussing more and more on the relation between theatre and architecture until seazing its activities in 2005. This is one of the most amazing hidden seventies records from Holland and we can only hope there is much more musical material still in archives. This could have easily been on the NWW-List. All images I used are courtesy of Peter Klencke and Bewth.

De Kikker (The Frog)

een zonnebloem / a sunflower
beloofde / promised
de sloot / the creek
haar kromming te vergeven / to forgive its curve

en de sloot / and the creek
huilde zo / cried so

de groene kikker / the green frog
was de kasteelman / was the castle owner
de hoogste van de sloot / the highest of the creek
altijd slapende / always asleep
op luchtige schalen / on breezy scales
vol wijdblad / on wide leaves
en zonder het minste / and without the least
ooievaargevaar / stork danger

de zonnebloem / the sunflower
kende ze allemaal / knew them all
en lachte soms / and sometimes laughed
als het zomer was / when it was summer

Highly Recommended!

Get it HERE

Sunday, 19 March 2017

Wha-Ha-Ha - 女でよかった -1981- (7 Inch EP, Better Days), Japan


This is a pretty rare single only release by the crazed out Japanese experimental RIO synth jazz outfit Wha-Ha-Ha. They consisted a.o. of saxophonist Akira Sakata and singer Mishio Ogawa. Sakata recorded many strange albums and contributed to many artists like Kiyohiko Senba and His Haniwa All Stars and also participated in Gilbert Artman's Urban Sax project, the great French avant-garde multimedia saxophone orchestra.

Wha-Ha-Ha released two amazing albums in the early eighties as well as an EP.  Their material was also released in Europe on Recommended Records as a compilation. It's a weird combination of jazz, Rock In Opposition, Japanese melodies, pop songs, unexpected transitions and synthesizer sounds. They remind me a lot of Japanese RIO band After Dinner, also due to the female vocals. I recommend you to check out all the other Wha-Ha-Ha material.

The first song on this single was reissued as a bonus track on a CD in 2003, but the second song hasn't been re-released as far I know. Both of the songs do not appear on the albums.

Get it HERE

Friday, 3 March 2017

Unovidual & Friends - Vetganzen In Jacquet -1984- (Tape, Stichting Stopcontact), Belgium


Time for another Minimal Synth cassette Jewel(!): Unovidual is the moniker of Belgian (Flemish) electronic music hometaper Henk Wallays. He was (is) part of the Micrart Group (a.o. Linear Movement, Twilight Ritual) and hosted an underground radio show called 'Stalhwerksynfonie' (after Die Krupps) in the early eighties. Wallays soon created the cassette label 3rio with Sandy Nys of Magisch Theater and Dirk Ivens of Absolute Body Control. Also he played in the band Tangible Joy and worked together intensively with US hometaping artist Tara Cross (featured on Minimal Wave's The Lost Tapes etc).

Vetganzen In Jacquet (Penguins in morning-coat jacket) is a very rare cassette that was published on the Dutch Stichting Stopcontact label, which was run by Ruud Kluivers (Doxa Sinistra). The label had legendary releases such as the Contactdisc compilation series and the Tranquil Eyes tape Walks (1985). I did not know there were more cassettes out there on this label, like the one here. I found out the cassette is from 1984 because of this catalogue.

The A-Side of this tape displays quite some dark wonky and occasionally humorous Minimal Synth sounds. It even contains a few songs with Dutch vocals. I do not know whether the pseudonyms (instruments?) written on the cassette cover were actually the collaborating Friends or that those friends are of a conceptual nature (probably he did work together with people). The B-Side starts with a lengthy track called Kankende Doctrines and has much heavier dancefloor potential. The last two songs La Romantise and A Thoughtful End are two amazing Minimal Synth tracks reminding me of acts on the Dutch Trumpett label (André de Koning, Ende Shneafliet), Asmus Tietchens his Sky Records series, but also Enzo Kreft, 5ive Ximes Of Dust, 18:e Oktober and ofcourse Autumn.

Vetganzen In Jacquet is great synth driven wave stuff complete with 808 drums, buzzing synths, home-crafted weirdness, ambient insanity, darkwave moods and more. A pearl from the Belgian 80's Minimal Synth scene everybody seems to be crazy about. What more do you want?

Hopefully someone can help us find Unovidual's other hyperrare cassettes! (Reissue labels?!)

Highly Recommended!

Get it HERE

Wednesday, 1 February 2017

Palinckx & Palinckx - Maartse Buien -1984- (LP, Traction Avant), Netherlands


Jacques Palinckx (1959, Tilburg) is a Dutch Jazz and Impro guitarist and composer. He played a.o. with Guus Janssen septet, Maarten Altena Ensemble, Beukorkest, Big Bamboozle and improvised with Free-Jazz and improvisation musicians like Fred van de Hove, Evan Parker, Lol Coxhill, John Zorn, Christian Marclay, Daan Vandewalle, Peter van Bergen, Keith Rowe, Joseph Bowie, Gerry Hemmingway, Eugene Chadbourne.

During the early eighties the impro outfit Palinckx & Palinckx was established with brother Bert Palinckx (Bass), Frank van Oosterhout (Drums) and Hans Sparla (Trombone). This first album came out on the Dutch Traction Avant label, which was a sublabel of Eksakt Records. It was established to showcase the more serious Modern Composed and Jazz side of the label.

Maartse Buien is a Jazz album indeed, even more so Jazz in a very Dutch manner. Maartse Buien is the Dutch name for the typical Dutch rainfall during the month of March (and April). Because of the bad rainy climate of The Netherlands the rainfall during this period is often accompanied by hail and snow, creating different states of water pouring from the sky unexpectedly. The title track on the album reflects the mood during this period quite well, reminding me a lot of Louis Andriessens's Golven (Waves) soundtrack which is about the Dutch North Sea. It also hints a bit towards music on the Belgian Igloo label. Palinckx was included on this compilation I posted before.

The entire album consists of jazz that transcends into more experimental improvisational stuff, almost creating cinematographic pieces. Some of the pieces are quite beautiful. The improvisation scene of The Netherlands always merges trained classical and jazz music, with distinct Dutch melodies and anarchic improvisation (examples could be: Instant Composers Pool, The Ex, Han Bennink, Misha Mengelberg, Nine Tobs, Willem Breuker etc etc).

Although March is not here yet... it will come in a blink of an eye. We are bracing ourselves here in Holland!

Get it HERE

Thursday, 19 January 2017

Peter Roos - Klimax -1983- (LP, Private Pressing), Sweden


This is a very obscure self-made minimal synth wave record from one Peter Roos from Sweden. He published this record of which the cover is hand-made out of cardboard in very small quantities. Some information written by Peter Roos I found on Discogs:

Hi, the thing is that I ordered 500 vinyls. only around 150 copies came out to market. Every single sleeve is handmade..most by me, but also my girlfriend and another friend at the time. Think we managed around 200. So I still have some left. In the late 90´s I threw away many(just the record)´cause no interest at all in many years and needed some space. Lately there has been some interest and have also given away to charity. Kind regards. Peter Roos. 

This record has a very distinct "home-made" solo-project feeling to it. Some of the songs are quite experimental whilst others are a bit poppy. It does have something contemporary to it as well. Most songs have vocals in Swedish. It reminds me a bit of the Venezuelan private wave record by Vinicio Adames that I posted some time ago. I think that the drumcomputer used on Klimax has to be a Soundmaster SR-88, one of the greatest and most primitive drum machines from the early eighties (also used by The Actor for example).

Peter Roos made one other self-released album in 1984. His primitive electronic music can be placed within the Swedish DIY scene of the eighties next to Njurmännen, 18:e Oktober, Porno Pop Moon Family, Konduktör Records bands etc. It's just not as dark as many of those acts. Nevertheless a great album!

Get it HERE

Friday, 13 January 2017

A decade of deviance: an ode to MUTANT SOUNDS

Hello all welcome to my blog that i was forced to do after "thrown away" from LOST IN TIME blog....This things happen ....You will find here all my posts from LOST in TIME ,along with many new ones.The blog is dedicated to the obscure ,unknown and underrated musiK.Here we gooo....

That's how it started exactly 10 years ago. I remember the Lost in Tyme blog vividly. Apparently Jim  Mutantsounds was kicked out of this mainly soft psychedelic oriented blog which was being run by a variety of people.  Maybe Jims music taste was too unorthodox. He decided to start an own blog, called MUTANT SOUNDS, which caused a revolution.  

Somewhere in 2007 when I was 16 years old I was starting to become really familiar with underground and deviant music of all sorts. Aside from growing up quite in the middle of alternative music, Dutch squats, old Hungarian anti-establishment freaks, a record collecting dad (who also worked in Staalplaat), industrial culture heavyweights, a close relation to the early techno of Bunker records, I ofcourse needed my own initiation with all of this weird stuff. As a child I had seen many concerts because of my young parents that would always take me everywhere. Also during the nineties many CD’s of labels like Warp, Ninja Tune etc etc entered the house. Jazz had always been there, as well as Eastern European jazz rock. Trip-hop, the lounge scene and the rediscovery of Italian library music made its impact around the change of the millennium. After seeing the original 1969 Stooges in 2006 at the Sziget Festival in Budapest and the riots that broke out, I asked my dad what other music was in line with something like that: I got MC5, The Monks and Spacemen 3. A few years earlier my mother had died very young and unexpectedly so I was living with my dad and his record collection since I was 14. The bands he told me of were amazing. I was looking for new meaning in life that surpassed the daily routines and entertainment, because my concerns were often somewhere else than my high school peers. I started to look for 60’s garage punk music on strange forums. Back when they still had codes and passwords of the forum when you downloaded the album. 

Later on my musical taste evolved and the cold eighties started to make a big impact. Besides Joy Division, New Order, Soft Cell, Fad Gadget the link was soon established with Throbbing Gristle, Current 93, Coil, Psychic Tv, Laibach, Death In June. You name it. Also the Dutch psychedelic anti-establishment movements of Provo and other kinds of international hippies were important. I started listening to Gong and  Zappa next to Bauhaus and Tuxedomoon so to speak. More importantly all this stuff was already on the shelves at home. The whole occult side of music seemed appealing since my Father prohibited me to get involved in Crowley, because of people in the eighties losing themselves in suicidal adventures. Soon I started a band with my close friends which resembled a bit old F/i, old Cabaret Voltaire and relied heavily on a Spacemen 3 and Stereolab sound. All recorded at home on cassettes within the realm of a few square meters. Later I started my Formatory Apparatus project out of love for analog synths, minimal synth music and Gurdjieff. Anyway, simultaneously I was finding out more and more about strange groups and DIY cassettes searching the web for inspiration. Then it occurred to me that many crazily obscure bands were all in my father’s record collection and that during the years they kept popping up on this music blog called Mutant Sounds.

In the beginning it was the time of Rapidshare.de and the long hours of waiting after you downloaded  just one file. I started to see the whole interconnected spiderweb of bands that were so obscure or nationally underground that it was almost impossible in pre-internet times to know about all of them. Different continents, different political regimes… etc. Together with other blogs Mutant Sounds alo uncovered many artists of the legendary Nurse With Wound list. Basically the base for everything avant-garde, art-prog, krautrock, modern composed, weird, cult and incredible, plus yes, long before internet. Unbelievable. The consistency of Mutant Sounds was mindblowing and the uploads came about with such a rapid speed that it was hard to keep up. At a certain point I started to download everything which became a day job after coming home from school (not to mention from all the other blogs).

Later in the existence of the blog Eric Lumbleau of the great odd Vas Deferens Organization became part of the blog who eventually was the one keeping Mutant Sounds alive for its last years. The Rock In Opposition and NDW style bands on the blog exploded and new perspectives came to the fore when the blog collided European with North-American uploaders. The blog was mind-boggling and Eric’s review writing made it even better. Mutant Sounds’ musical synaesthesia was somewhere in-between a drug cocktail and watching The Holy Mountain, Planete Sauvage, Liquid Sky and Sweet Movie at the same time. So much stuff from all over the world was compressed on the blog and finally got its deserved attention. Finally due to the format of the blog, music history could be altered and forgotten artists got their recognition. There is so much content on the blog that it’s hard to start anywhere discussing it in dept. 

Nowadays so much music that was initially posted on Mutant Sounds is reissued or will be reissued. Many labels know that they found the music there. Fortunately these labels made the second step and actually tracked down the artists to bring back this music. The blog can still be used as one of the most extensive archives of avant-garde, prog, post-punk, rock in opposition, NDW, psychedelic, modern composed, minimal synth, zeuhl, noise, industrial etc. music .
I didn’t mention that it was also kind of prohibited to talk about the blog. I remember that people did not share the website so much because of its hermetic knowledge haha. The same happened at first when I moved to Berlin right after high school and got to know friends in the Sucked Orange gallery I was part of. Later Mutant Sounds became part of our ethic and our religion, but that’s another long story! ;)

I usually don’t like to talk so much about myself in a time in which everybody wants to prevail. I wrote this today as fast as I could in a super raw manner, because it’s the exact 10 year anniversary. It’s not a piece trying to tell how blogs changed music or how cool I am and it’s not well written! It’s a personal take on Mutant Sounds. It had to be written!

Thank you Jim and Eric (plus VDO) for running a blog that changed my life and many life’s forever. Thanks in the name of so many of my friends scattered around the world that owe much of the knowledge to the blog. Thanks for the basic purple lay out and thanks for turning me onto so many amazing artists (for example Nine Circles, Catherine Ribeiro, ADN’ Ckrystall, Igor Wakhevitch, Stratis etc etc). Also hope that you guys are doing well in your personal life! Thank you for the inspiration to start an own blog! (as well as No Longer Forgotten music, but that will be another story too). I had to continue marginally when the heavyweight blogs stopped.

Mutant Sounds forever! Check out the Mutant Sounds radio show on Dublab which still exists! 

Bence – Archaic Mutant Inventions. 

Another article I wrote on the importance of blogs: http://occii.org/knik/nl/filing-the-underground/