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I N T
E R N E T ' S U N D E R G R O U N
D C Y B E R Z I N E
'slaughtering your
dystopian future'
December 2020
Heyoooo! here is the brand new SHADOW WOLF
CYBERZINE ISSUE 9. This one was supposed to
come out earlier in the summer but yeah
things don't go as planned, I had a lot of
stuff to do so we have, like every year, the
new issue at Christmas! I will spare you the
corona covid
'oh-what-did-we-have-a-though-year-talk'
because that is for most of you pretty
obvious, you might not want to be reminded I
reckon.
I think we do have some 'funny' articles
based on events evolving from the virus such
as A SCENE IN SHOCK 'reports from the DJ
frontline of
the corona crisis' but besides that it is
business as usual: Studio tips, poetry, lots
of ASCII art, a DJ personality test with a
newly developed DJ PSYCHOLOGY model from
Dr.Nobo S. Spritzel. Also A HUGE interview
with HUREN/David Foster by Ron Morelli,
Specials on the German minimal wave band
solitude fx, Washington D.C. funksoulsynth
label P.P.U records, some simple but cool
D.I.Y projects you can endavour on (an
electro acoustic Kalimba and CHAOS GATE
MIXER) and lots more!
Owyeah before I forget, we got something
SPECIAL -> for the FIRST TIME EVER we got
a "COVER TAPE!" a Compilation tape you can
download digitally for free/pay what you
want overhere. The physical tape will
appear sooner or later in the shops too I am
sure, I got them ordered already I just need
to copy them. More info on this tape and the
cool artists that contributed below!
You can find cyberzine back issues, sample
kits, mixes, albums, software and lots more
at www.legowelt.org
Thanks to everyone that contributed!!!
S.W.
23 December 2020, Scheveningen Holland.
1...READER'S LETTERS we always have the last
word...
2...SHADOW WOLF COVER
TAPE I TRACKLISTING AND INFORMATION
3...A NEIGHBORHOOD
YOU MIGHT LIVE I ASCII ART
4...SOLITUDE FX -
interview with this synthpop band from
Würzburg
5...How to build an
electro acoustic Kalimba
6...THE TRANS
MILLENIA CONSORT
7...RON MORELLI INTERVIEWS DAVID FOSTER:
Memoirs of a techno vagrant
8...P.P.U - People's
Potential Unlimited records special
9...CREATE YOUR OWN
EXTREME LO-FI CHAOS GATE MIXER
10..PSYCHO HYGIENE DJ
PERSONALITY TEST - what kind of DJ are
you!?!
11..ASCII ART Turkish
Van in an Empty Holodeck
12..A SCENE IN
SHOCK - reports from the DJ frontline
13..STUDIO TIPS
14..CONSPIRACY CRUISE
- cruise ships & Conspiracy theories
mix well
15..DIARY OF A
TECHHOUSE PRODUCER The sleaze exposed!
16..BOTANICAL JOURNAL
- Bee special
17..NSIFO
Paramilitary training camp
18..HUNGER! A new
label from The Hague
19..POETRY CORNER
20..ASCII ART by
JONINSCII
21..Gino's
psychedelic trip guide
22..Calculator Magic
experimental archeology with a calculator
23..TAL NOISEMAKER VST
SYNTHESIZER
24..NIGHTWIND RECORDS
NEWS
25..AMBIENT TRIP
COMMANDER ANIMATION
26..Backpage Bits
& Pieces
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For the first time a real letter
section! A letter section is great because the
person who writes can't react to our answer so
we always have the last word!
If you have any ramblings, questions and remarks
we should know of drop us a line at
Shadowwolfeditor AT g m a i l . com
///\\\
Here is a pungent letter from Italy:
How dare you make fun of our techhouse scene in
your stupid christmas magazine which is really
shit. We have the best DJs you are just a
frustrated and jealous dilletante!
IUTP Italian Union of Techhouse Producers
SW: I presume you are
referring to our 'Confessions from Club
Promoters' article regarding M.Lamborgini and
D.Macaroni in our last issue. You will be
excited to learn that we made some more fun of
minimal techhouse, scroll down a few pages to
read our new 'From the diary of a techhouse
producer", or should we have called it "diarrhea
from a techhhouse producer"??? SW
///\\\
Here is an uplifting letter
all the way from the intriguing Channel Islands,
we found it so intriguing (or disturbing?) that
we gave it the 'Letter of the Month' honours:
Dear Shadow Wolf,
There might still be hope if we mildly chemically
microdose/lobotomize all stupid people (climate
deniers, MAGA supporters, religious
fundamentalists, evangalicals, Louis Vuton bag
users, Flat Earthers, antivaxers, shallow
Instagram Influencers among many others) give them
a megadose of mood lifters and let them roam
around freely on a closed off island were they can
eat bacon flavored synthetic nuggets from
automatic food dispensers shaped like Jesus or
whoever their delusional savoir is. When the
weather is no good they can seek shelter in giant
sheds were they can watch Star Wars & Tom
Hanks movies projected on an enormous screen. And
so they can roam around happily and free in a
pastoral garden of eden while they don't interfere
with the workings of the real world.
Talking about the real world...another option
would be to give them virtual reality helmets,
feed them an unlimited amount of those
Synthetic Bacon nuggets porridge mixed with
Diazepam through feeding tubes so they become
giant vessels of lard and let them be sour and
dumb as much as they want in their own virtual
world. That makes you think of a rather shocking
realization...who knows we are already in a
simulation set up for stupid people by another
reality where civilization was fed up with their
antics. It will be like an Infinite Matryoshka
doll of inbred stupidity realities...quite an
existentialist nightmare!!!
Mortima Eggberry, Gorey - Jersey UK
SW: Well Mortima, first of
all these seem excellent ideas at a glance, but
who will decide who gets lobotomized or not?
What if I or you, in a hypothesized
circumstance, have to accidentally use a LV bag,
perhaps when you are carsick and need to puke
into something and that is the only one
available? And which island do you have in mind?
I would like to propose Ibiza. Also a horrifying
prospect that we are nothing more but mere giant
heaps of lard living in a giant illusion...but
then again synthetic nugget feeders in the shape
of Jesus might be an excellent idea to upscale
that giant puppetshow that is religion to a new
level...
SW
///\\\
a heartwarming letter from
Cornwall:
Hello!
I am a newsagent from Swanpool Cornwall. The other
day a customer came in asking for a copy of the
Shadow Wolf Cyberzine because she had heard it was
WILD and all her friends read it from front to
back. I told her 'That's only on the internet
love, in cyberspace for people with computers
innit' I asked her 'Why don't you buy a copy of
DJmag instead' but she said nobody reads that,
'its soooo square'. And then I thought about it
and indeed I have never ever sold a copy of DJmag
in my 35 years running this newsstand. I heard
once that a hairdresser in Portleven buys it for
his customers reading table, but if they really
read it...maybe they just look at the pictures...I
don't know! As you are in the know of the magazine
business could you maybe enlighten me whats the
deal with this mag?
SW: The solution to this mystery is simple. The
only people that buy DJmag are the people that
have been featured, reviewed or whatever in the
given issue. They buy it to show to their mum,
spouses or an (often hopeless) object of
affection. I guess there are not many
DJ's or producers in your lovely village of
Swanpool and that might be good thing!
I must admit that I once
bought a copy too when I was interviewed by
them just to show to my mum, then I hid it
in the deepest crevices of a closet...its
cover with an eerily photoshopped portrait
of Afrojack is truly one of humankinds most
horrifying artefacts and apart from my mum I
rather would not let the world know I was in
DJMAG! SW
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|_/__________\_| |_/__________\_| |_/_________\_|
This is the first time the Shadow Wolf
cyberzine comes with a 'cover tape' a
compilation cassettetape/digital download with
various artists
spanning the shadow wolf cyberzine-o-sphere.
Back in the day magazines (both music and
computer) often came with a 'cover tape'. A
cassette tape full with music or software.
The real physical tape will be out soon but
for now you can download it for free at my
bandcamp page HERE
Here is the tracklisting with info about the
aritsts/tracks:
BAGLOVER - ANIMALE MAN The
misfit duo from The Hague cuts deep into your
anima with this huge scumtronix anthem. Its
like Autechre's Basscadet crossbred with
S.P.K. but completely on its own terms, like
if your synths are in a volatile hostage
situation and you better develop some
stockholm syndrome to cope with it all!
SOLITUDE FX - DREAM
WITHIN A DREAM
A great track from this supercool minimal
synth wave band from Würzburg.
Check out the article below about them in this
issue!
HAEX-HRLL AKA DJ OVERDOSE - SOUTH OF WARREN
A few years ago DJ
Overdose made an excellent album on Giallo
records called 'Further From the
Truth'under his HAEX-HRLL alias. Some more
of
this stuff right here.
J.S.BACH - FUGUE on OBERHEIM SYNTHESIZER
A reality check for all dabblers who call
themselves 'electronic composers' these days.
Pinch the bubble of your delusional grandeur
and realize that you don't even have
0.000000001 % of the brainpower of J.S. Bach.
When you think your deconstructed 3/16 A.I
generated 2 chord loop is academic...well, get
real and come back when you can make something
on this level.
COMMANDING THE BEAST -
M.HANLON'S DRUID II THEME COVER
Entirely made on the excellent JVC KB700
keyboard synth, an early
keyboard workstation from 1981. The tune is a
cover from a legendary commodore 64 DRUID II
computergame soundtrack, originally composed
by
the illustrious M.Hanlon. It became famous and
even more legendary when it was used as the
music in many cracktros from the FAIRLIGHT
warez cracking group. FAIRLIGHT SADDAMS WORST
NIGHTMARE!!!
R - SPHINXES GATE
A most excellent dreamy track from Andre
Edwards Roderique from Toronto, the
supersymphatetic master of deep melodic techno
and avid fan of 'Neverending Story' which was
the influence for this particular track.
FRANZISKA LANTZ - CALM??
London Global Warming
label boss Franziska Lantz blankets us
with some industrial wooleyness! Check out
the cool interview with her in last years
issue!
RON MORELLI - ALL BETS OFF
L.I.E.S records boss
Ron Morelli sits behind his boxes of
insanity. Stirring in a cauldron of
crispy, fat despair I am sure.
10000 ELEKTROVOLT - TWO
MS10 VIDEO KORFBALL
A track from Jimi Hellinga's archive from
2003. 'I didn't have a sequencer yet so I
handplayed this on 2 Korg MS10's over a TR606
beat, the snare sound is triggered but it
comes in too late because I didn't know the
trigger had to be inverted for the
MS10'...well thats
exactly how we like it!
GLADIO - GERMANIA
INFERIOR was the name for the area of
the Netherlands back in Roman days. Dim witted
Casio CZ Pro One music for a dancefloor
full of drooling imbeciles...which is almost
always any dancefloor to
be honest ain't it!?!?!
ACIDIC MALE - FACE FULL OF RINGS
Rotterdam based Puck Schot mesmerizes the
listener again with her freaked out wondrous
poetry and commanding electronics! Check
Shadow Wolf Cyberzine issue#8 for a full
interview!
HUREN - MAN OF THE CLOTH
We areproud to have a track from Zhark records
affiliate David Foster. Hear how he roughs it
up with this wild ear massage. Chomping biting
gnaweling total awesomeness!!! Check out the
huge interview with him by Ron Morelli further
in
this issue!!!
DIM GARDEN - HIMMELSTRASSE hypnotic synth tones with
a schubert-esque tonality on an Oberheim
and Bassstation.
CHUPACABRAS -
QUIT YO JIBBA JABBA - Classic tune
from Chupacabras - played in many clubs the
past few years - but never released until now!
COMPUTERDISCO -
Computerdisco plays around with his Jasper
WASP clone.
YNTER - RADIO TONE - A cool electrotrack from
Amsterdam. check out
Ynter's bandcamp here!
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"A Neighborhood Where
You Might Live I" SW 2020
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the yamaha psr6100 as
used by solitude fx
Its around the year
2002, I still live in my parents house and
mostly spend the days drinking mint tea,
eating cheese Cheetos and playing Silent
Hill II on the XBOX I bought with my
royalties from my Disco Rout song.
One day I got an envelope in my mailbox
containing a bunch of CDR's I would
pleasantly listen to for years to come, I
think I even made a remix or something but
in the haze of the cheese cheetos MSG
fermenting the brain the memories are
vague...
We return to 2020...almost 20 years later
and I stumble upon solitude fx's bandcamp
and every release is totally FREE.
First let's do a sonic
introduction to solitude fx.
Here are a bunch of my favorite solitude
fx tracks with audio links:
ENDPHASE
- SYNTHETIC MAN click here to listen
This is proto
solitude fx, recorded under the endphase
name. It sounds like the lyrics
are 'All I am is a satanic man' instead
of synthetic man which makes the lyrics
even more awesome. Absolute
&@#*&*@& ANTHEM for complete
club control.
COMPUTERSPIELE
(Featuring Newclear Waves) click here to listen
Meandering but also
extremely catchy, above mediocre in the
first few minutes - but then the
breakdown melody comes in, and it hits
perfection in all its simplicity. Also
cool vocoder sound!
KLEINES
ASTRONAUTENMÄDCHEN click here to listen
Creamy thick
synthbasing and a 'Tränental of
Leidenschaft'only the Germans can cry
out.
VALPARAISO VINA DEL
MAR click here to listen
Majestic almost
Memphis rap style slow burner with
exstatic waves of buzzing synth
goo...also notice that cool beat with
exotic snares.
There are lots more cool
tracks on their bandcamp!
I also wrote Marc
Schaffer, one half of solitude fx, a few
questions via
email:
Who is in Solitude FX?
solitude fx (it is written in small letters
only) was founded by Marc
Schaffer (synths, drum machines) and Orpheo
Weidelt-Baur (lyrics,
vocals). Orpheo also played synths on the
sessions. We had two
short-time female singers but it was always
basically just the two of
us.
What are they doing in 'normal' life?
I (Marc) studied biology and work in the field
of microbiology / molecular biology. Also I
run the record labels Anna Logue Records and
Nadanna. I plan to set up my studio soon and
record music again. I watch my health by doing
lots of sports and a vegan diet. Orpheo
studied art
education and is working with pupils and lives
a rather quiet life now
together with his wife.
When did solitude fx
start, where are you based?
Probably somewhere around the year 2000. We
were already trying a few
things earlier with school mates and friends,
but with acoustic and
electric guitar, recorder, flute, keyboard,
etc. A rather Current
93-influenced sound. I had started working
with synths earlier and
recorded some stuff as Endphase. Our first gig
in 2002 in then my
living room was showing the transition where
we had a first set based
on an acoustic instrumentation and a second
set based on electronics
only. We were based in Würzburg, Germany,
where Orpheo still resides.
I moved away in 2007, to Greifswald, Germany.
What gear do you use?
Endphase and early solitude fx material was
mostly just a Yamaha
PSR-6100 keyboard (which had a sequencer
though and drum programming
possibilities, "Synthetic Man" was done mainly
on this one!), Korg
Poly-61, Kawai K-1, Casio VL-1 and Roland
TR-808. I had acquired a lot
of stuff over the years, so you can hear all
those classic drum
machines like the Boss DR-55, Roland TR-606,
Roland CR-78, Korg
KR-55/55B on some recordings, as well as
switching to Roland CSQ-100
and SH-2 combo later then along with some
other classic synths like
the Korg MS-20 or Yamaha CS01 and strings
synths like the Crumar
Performer.
Whats
the current situation of the band, Is
there new material
coming out?
We've been dormant and not recording for
years. My studio's been down
for years now. But I have a new space now and
will set up a studio
this year.
Just for reference how
would you describe the style yourself?
(Minimal synth, minimal wave, synth pop
etc.?)
Probably minimal synth pop. In fact in
addition mostly with a huge
demo character. Most of our songs are just
recorded ideas with vocals
put on top. There are only a few tracks that
were really thought
through, structured and multi-tracked. But we
-and also some people
out there- seemed to enjoy the minimalistic
and honest nature of those
recordingss, so we just kept them as the were.
Thank you Marc, looking
forward to your musical adventures in the
future!!!
SW
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How to make an...
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A perfect instrument for
getting haunting ligotti-esque satanic
music box sounds, as used in the latest
Zandvoort & Uilenbal album
(listen to the sound in
'Always a nice story before bedtime')
A Kalimba/Mbira is an African musical
instrument, a 'lammellophone' consisting of a
box with a number of thin metal plates
('tongues') on which you can play melodies.
An 'electro acoustic' version is truly the
most simplest thing in the world to make:
you will need:
- A Thumbharp, Kalimba, Mbira (Any local
musicshop will have one)
- A contact/transducer/piezo element with an
audio plug
connected to it. You can make these
yourselves supercheap by getting
a 70 cents buzzer element and attach a cable
with plug to it. Contact mics with an audio
cable already attached are also cheaply
available.
- Gaffer Tape
Tape the contact mic to the upper part of
the kalimba, below the the steel rods so its
not in the way of playing.
Connect the plug into your mixer or pre-amp
or whatever and you are ready to go!
you probably have to pump up the gain a bit,
put some effects over it (Spring reverb, a
bit of overdrive/distortion with delay is
most excellent for this sound) and start
playing!!!
L.S.
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-___________===========================================_|
It is with crystal tears of rain that an
international community of fans mourned
the passing of legendary synthesist and
electronic producer Pauline Anna Strom,
known as the Trans-Millenia-Consort. Her
music is reflective of her elusive alias,
transcendental in every way, opening
portals of ancient wisdoms which she
channeled through a Prophet 10, Yamaha
DX7, E-mu Emulator and Yamaha CS-80,
bringing never-before sounds to life in
the company of her beloved pet iguanas
Little Soulstice and Ms Huff. She released
seven albums – mostly limited cassette
tape release – which remain however nearly
impossible to find. In 2017 RVNG Intl’
released a compilation featuring tracks
from 6 out of 7 of her albums -
Trans-Millenia Music - which received a
2020 re-issue. After a 30- year break from
music producing, after having sold her
gear because of financial difficulties,
Angel Tears in Sunlight is a new album to
be released on RVNG Intl in early
February, available for pre-order on
bandcamp. Part of the proceeds of the
sales will go the Iguana foundation. Safe
travels, Paula, you are dearly missed and
your legacy will never die.
Z.Z.
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A stream of (un)conscious conversation
with David Foster aka Huren, Teste, Zhark
Records, by Ron Morelli
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David
Foster has lived many
lives, some by
circumstance, others by
choice. Hailing from
Hamilton, Ontario, Canada
Foster was part of the
short lived, cult techno
group, Teste, and produced
the 1992 classic
"The Wipe" on Ritchie
Hawtin's and John
Aquaviva's Probe Records.
The group's quick demise
led to Foster leaving to
New York City where he
linked up with Patrick and
Rachael who formed the
infamous high end/lo-fi
Motorhead driven squatter
techno label Zhark
Recordings. Foster's
project, Huren, took what
he did in Teste and
shattered it to pieces.
Ron Morelli caught up with
Foster from his Berlin
apartment and discussed
what its been like to be a
"Techno Vagrant" for the
last 30 years. Teste's new
"Graphic Depictions" LP
will appear on L.I.E.S.
Records in the near
future.
RM: I am sitting here with David Foster, Dave
has had a long career in the world of
electronic music, he’s done many projects:
Teste, Huren, , Opgang 2, OH and probably a
handful of others that I am not listing.
Today we’re just going to be having a
conversation with Dave and talk about his
weird and strange journey, which started out
in Canada, went via New York City to somehow
ending up in Berlin. It all starts in the
early nineties and I am sure even if we really
want to get technical in the eighties. Dave
thanks for sitting down with me today to have
this conversation.
DF: Always a pleasure.
RM: So basically I think what I want to talk
to you about is your early times making music
and coming up in this strange electronic music
scene in Toronto, right, because you are from…
DF: It’s Hamilton, actually. The Hammer.
RM: Hamilton is like a
suburb of Toronto or something like
that?
DF: They call it the GTA, Greater Toronto
Area. Now it’s sort of like Toronto “light”,
Toronto is so over gentrified now that
people come to Hamilton to gentrify it,
that’s when I left.
RM: Alright, so you are growing up there,
you’re a young man, you’re a teeny bopper
going to sock hops?
DF: Yeah, right...looking for transgressive
shit, but something did not click with the
rest of the gang there, you know. Hamilton
is an odd city because it has a strange sort
of music history, because you know Brian Eno
lived there for a bit.
RM: So, I don’t know this, why don’t you
tell us a bit about the music history in
Hamilton and then your involvement in the
various scenes there.
DF: I don’t know why Eno was in Hamilton, I
think he has family there. It was always in
the mythology of the city, you would hear
about how Brian Eno used to wear his
bathrobe on the bus. And David Byrne lived
there briefly and Ian Astbury from The
Cult...these are the bigger people. There
were always rumblings when I was growing
up...I would hear about all the shit that
happened, like U2 would be taking the bus
from Toronto to Hamilton to get flights and
people would see them there.
There was a bit of a punk background because
a lot of the bands there like Teenage Head
and Forgotten Rebels, they’d go to New York
and play CBGB’s and become friends with the
Ramones and so there was a bit of a
cross-pollination there in that way. There
was a bit of a lunch bucket punk rock scene
there with some arty, esoteric music. And
then Grande Avenue studio is the famous
recording facility, which I actually only
ever visited once strangely towards the end
of my time in the city. It was the guy who
ran the place that told me they had just
stolen all of Eno’s VCS synthesizers. Shit!
that was all in there. I wanted to see his
Putney Synthesizer that he used with Roxy,
but it is all gone.
RM: How did your path in music start?
DF: Just as a kid staying up late watching
TV, to be honest. My first exposure to
Cabaret Voltaire was seeing a Sensoria video
as a kid staying up late to watch, just as
the Canadian MTV started, it’s called
MuchMusic. There was Mordicai Richler, the
author, his son Daniel Richler, who I
actually credit to exposing a lot of music,
he would always have some interesting
guests, he would have Throbbing Gristle on,
or the Mary Chain when they were good...
Cabaret Voltaire, there was always a sort of
interest in that music.
RM: So this is almost
a Canadian version of MTV's 120 minutes,
but maybe this is more subversive, because
I don’t think Throbbing Gristle was ever
on 120 minutes, not that I know...
DF: It was probably Chris & Cosey, I
might be getting that wrong, right, and I
know for sure Psychic TV was there, because
I became friendly with Fred Giannelli years
afterwards, so.
RM: And they also have one really big hit
at some point. I forgot the track but it
was that really big one right.
DF: TG, Hot on the Heels of Love?
RM No, no Psychic TV,
so that could easily been.
DF: Ah yeah, God Star, I think.
RM Right Godstar
exactly, it is a cover right?
DF: Yeah. That really blew my mind. I think
it’s obvious that Cabaret Voltaire
influenced what I do, and that Sensoria
video (watch it here)
it’s still in my head all the time....it’s
still like just an eleven year old kid
seeing all the crane shots it’s just like
(laugh), you know, later on in life you
realize the song is about doing a lot of
drugs. The underlying subversive thing, and
from that, its good to have those initial
things to start exploring deeper, and think,
where does this come from, nothing ever
really comes out of nowhere...
RM: You’re a drummer so I would feel
probably you are maybe playing drums in
bands before you got into the heavy duty
electronic stuff?
DF: Yeah, because drums was actually what I
was formally trained on, so my drum teacher
was part of Hamilton philharmonic and he had
studied under some famous drummers.
RM: So you are a real drummer with a real
drum teacher, not one of these basement
garage rock guys.
DF: Yeah it was not blast speed, it was
trying to learn some jazz technique, but I
don’t know...maybe it was ADD, everything is
over diagnosed now, but I could not really
focus on and stick with it.
RM: Yeah, it’s called being a kid.
DF: So I was
thinking, why I am learning to play this
stuff that I don’t actually like to listen
to. Years later I found the kind of jazz I
wanted to listen to, but that was just like
sort more traditional stuff, like Dave
Brubeck and stuff like that. You did not get
to Sun Ra, when you’re 10, some kids did,
but I didn’t.
RM: I don’t know
anyone 10 years old listening to Sun Ra,
ever.
DF: I Just tried to find musicians to play
with, it was just shitty high school rock
bands, playing Joy Division covers, Sex
Pistols and stuff, its terrible. That is
where the disillusionment came from, I
couldn’t understand at that point, why don’t
people want to do something serious, people
just wanted to fuck around and look cool.
RM: As rock and roll
is lot about how you look..
DF: Right...it was not going to work,
getting people together for this. And then,
around that time at high school I was
exposed to more industrial electronic stuff.
RM: What years are we
talking about now, just to establish a
little bit a base?
DF: Just maybe about 88.
RM: OK.
DF: So, 88 was when I was getting really
sick of trying to play high school bands, I
was like 16, 15 I don’t know. And then
my friend Thomas who is kind of still in
Teste... we were in high school , Teste was
a kind a high school thing and then we
involved this other guy, Himadri, so
originally a trio.
RM: So Teste starts
really in 1988 - 89 somewhere around
there.
DF: The idea for it started around 90, 91,
right at the beginning of 91, I think in the
3 years of high school we just listened to
as much industrial music as we could. Tom,
his father was a professor, he went to San
Francisco during one part of the semester
and then it was pre-internet, so, we used
the send each other audio cassette tapes, be
like, hey! I am listening this Killing Joke
record or hey you should check out this new
beat shit. Every month, we would send
cassette tapes in the mail, recording
records that we just bought, and he had
access to cool music shops in the Bay area.
RM: At this point did
anyone have any type of equipment, drum
machines, Commodore Amigas, or anything
like this?
DF: That’s not a cool story...I asked my mom
to buy me a Yamaha keyboard at the mall
(laughing).
RM: I think that a lot
of stories end up starting out like this.
___________________________________________________________________
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DF: So, the local shopping mall had these,
it’s funny, I actually wish I still had it,
because it was a really nasty FM synth, the
Yamaha PSS-480 which was like the Casio like
home keyboard equivalent of the DX-7. That
would be probably my first synth actually, I
think, and later on I learned that Stereo
Lab and Broadcast used it, it had some
cachet to it.
RM: When you get this
synth, are you like what the fuck am I
suppose to do with it...how do I get this
to sound like these Wax Trax records, how
do I do drums, were you thinking...now
what?
DF: Well, it was quite small...it’s funny
because it was kind of the equivalent of
those (organ beatbox rhythm) things that
Suicide used. It had the accompaniment like
it had a rock drum beat.
RM: So you got this synth, you got these two
other guys with whom you are exchanging music
and figuring stuff out with, and your mind is
being blown by hearing all this kind of new
stuff...
DF Yeah like Front 242,
Frontline Assembly, it’s just kind of funny
now, years later being in contact with Rhys
Fulber...oh I grew up listening to that
shit, and now we’re friends, so that’s
cool. The thing I like so much about
their career is that it veered off in
different directions, that’s why I look up
to Richard H.Kirk (From Cabaret Voltaire) a
lot, he developed, he did not just stuck in
the same place all the time. Around that
time, we were just teenage kids, you had to
sneak into clubs, because of the ID. So we
would just wander around depressed... we
would do all bad shit that I won’t get into…
(laughing)
RM: I can imagine what it is.
DF: So yeah living the
industrial life, right (laughing). But, then
we started hearing his techno shit starting
getting big, and oh my god there’s this guy
in Canada which is actually really popular,
let’s go listen to him.
RM: Before we get to this guy who is popular
in Canada, what is the first techno stuff you
guys are hearing and how are you hearing about
it? Is it on the radio, or is it just in
clubs?
DF: I heard house and Chicago tracks,
probably when it all came out, they are like
88 right, like Adonis and that stuff. I
remember this really dreary... that one of
the first clubs that I went to in
Burlington, its Club Stars, in which this
serial killer used to go, so it is like it’s
always had a weird connotation about hearing
a lot of the Old Chicago tracks, because I
remember when I first heard them, I was
hearing those in a club with that fucking
serial killer was, you know.
RM: Was this serial killer working at the
club?
DF: No, but he used to
stalk, like prowl the place for victims, his
name was Paul Bernardo.
RM: So you’re just hearing original Chicago
house.
DF: Yeah, with Nitzer
Ebb, because in those days...ah you know
...recently when I’ve been touring with
Bestial Mouths, we’ve been playing goth
clubs, and it’s so crazy because actually
they are playing the same music that I first
heard in clubs, it’s like the same exact
play list. In those days it would be like
they’re playing Joy Division and then
they’re gonna play Front 242 Head Hunter. It
may have been a little more creative in this
club I went to because they would also play
Adonis 'No way Back' or something. At least
they were throwing something a little bit
different in those days. For me it has
always been proto-techno, sort of fringe
techno, like Liaisons Dangeureuses and
Depeche Mode it got me into that
stuff...then realizing hearing how Detroit
was quite influenced by it. There is this
Depeche Mode the Shout Rio mix, from 1981...(listen here) you
know that one? That was sort of a proto
techno record those guys were influenced
by. So, I think, this stuff is all
tied together, and I live really close to
Detroit, why don’t I go there?
RM: Did you go there?
DF: Yes, the first time I went was with
Himadri and we went to the Detroit regional
music conference (DRMC). There...holy
shit...this is my music dream here! I met
Fred from Psychic TV, Mad Mike, Juan... you
know everybody was at these parties for this
thing, it was the sort of the proto movement
party.
RM: This is in a night club?
DF: It was spread out throughout the city, I
think it was in the UR Underground
Resistance warehouse.
RM: So what year are we talking now?
DF: This is actually right when Teste came
out (around 1992) I am jumping over around a
bit, so.
RM: Before you were saying you were starting
to hear about this Canadian DJ guy who was
playing techno in Toronto, and you guys
figured we should go check this guy out.
DF: Yeah, actually I think we checked out
John Acquaviva first, because, he was
playing somewhere in Toronto.
RM: Some people might not know John Acquaviva,
he was basically also a producer and DJ on the
Plus 8 label.
DF: There was Acquaviva and Hawtin that ran
it, at that point, and then there was
Telenet, the blanket of distribution.
RM: Yeah, I think just some people kind of
skip over it.
DF: Yeah, the history of Plus 8 is a little
spotty.
RM: Then you check out John Acquaviva...
DF: Yeah he was friendly, and he was like,
if you got a demo, give it to Rich because I
guess Rich was playing in Toronto the next
weekend. We were like okay, we’re going to
ready, we will record this thing!
RM: Now before this demo, have you guys
recorded other stuff? Did you have other
projects? You recorded or played a lot before?
DF: We played just a couple of shows. In
Hamilton there was nowhere to play, We had
to play the one place...it was like a sports
bar. It was for the goth people in the
city...anybody who was an outcast came to
the show.
RM: You are actually bringing all your gear,
computers, drum machines? Like you got to get
a van to bring all this shit?
DF: We did not bring out too many synths,
because we used the 4-track. Then we played
with Digital Poodle (listen), I think, and
later on, Rich and I did a remix for Digital
Poodle, they were quite successful in the
early nineties, for EBM.
RM: They’re kind of a cult band, I think.
DF: Yeah, Heiki (Sillaste) runs a label I
put out some stuff there recently, we
remained loosely in contact.
RM: Cool. So you guys were like playing
some gigs out and it’s three of you at this
point.
DF: Three of us, yeah, and then the cracks
were starting to show I mean like everybody,
you know we’re kids, we’re all fucked up
people, so, just all the fucked upness was
going on in different tangents, then it was
just like we all hated each other and wanted
to kill each other (laughing).
RM: So, before that, you’re playing some gigs,
you meet Acquaviva, he’s a cool guy and
he’s telling you hey, if you got a demo,
give your demo to Richie.
DF: And then what happened, well, I was so
antisocial, I was so shut-in I couldn’t for
the life of me socialize, I was like...'oh
god, can you phone them?' So basically Tom
phoned John and then they put us on the
guest list for this rave in Toronto with
Cybersonik, Dan Bell and Rich. So, we were
working up the nerve to talk to them, he was
really blowing up at that time. We thought
we were just going to be these losers giving
him a tape. But the funny story is that
there was another Canadian DJ who was quite
famous at the time, Chris Sheppard, he was
the headliner and then Rich and Dan were
opening up for him. We figured we’ll just
try them both. Actually Rich was I think
more successful then Chris at that time,
Chris was a total idiot, he was just like
'get away from me' when we tried to give the
tape...and Rich was like okay cool give it!
He just said 'there just better not be any
fucking breakbeats on it'(laughing). Because
at that time Toronto was mostly drum and
bass kind of music. So his story was that
when they drove back from Toronto to Windsor
he kept playing the tape over and over
again.
RM: Your Demo tape?
DF: Yeah.
RM How many tracks were on the tape?
DF: Three, I think, so it is just The Wipe (listen here) and two
others… I don’t think they ever saw the
light of the day because actually I think
they were pretty bad (laughing) and then
Himadri and I went to Hawtin’s to do the
final recording of the tracks. Actually the
mix that everybody likes we recorded in
Ancaster at Tom’s place, so that’s the 5am
one that everybody liked, but it’s
interesting when I talked to Surgeon
recently he likes the Sonic Dub mix, that’s
the one that he was hyping, and that’s the
one we recorded at Hawtin’s, and they’re
quite different. Now that I recall that
record, it was just two versions of The Wipe
and a kind of ambient track. So the record
came out and we starting to see some buzz. I
was 20 or 21, I was a complete idiot, we
couldn’t keep it together... we played just
one show in Scotland for Twitch, for Keith
McIvor, and then we just broke up after
that, because I was just getting too fucked
up.
RM: There was one record, it was a hit back
then, and then through the years, I would say
that it has become this ambient dub techno
cult track too...
DF: Yeah, it’s funny even Adam X says it’s
kind of trancey (laughing).
RM: Yes, but it’s not though.
DF: No, no...but I know what he means,
because its actually kind of Goa trance. One
thing I will say about it, is that a lot of
different styles of DJs play it.
RM: Right, I think, it’s a testament to the
power of the track of course.
DF: It’s interesting, because there are some
DJs that I know that are totally into that
sound and wouldn’t like the stuff that I am
releasing nowadays with you, for example.
RM: Sure, of course, they would shun that
stuff I think. Sonically, I think it’s
probably night and day from a lot the stuff
you are doing now too. So you had this record,
it blows up, but you guys were in your
twenties, and like everything in your
twenties, you’re not going to hold a
band together, and then it essentially was a
band with three people, so…
DF: And then it became two, and then it
became like, fuck everybody, it’s over,
forget about it. So, as I say, for me
it ends at that show in Glasgow.
RM: So that was it, you guys broke up in 1994?
DF Yes, that’s what I mean, I was so
deluded, it’s like we’re going to become
stars...we’re going to become like Aphex
Twin and all of this, and then, nothing
(laughing).
RM: Right, I mean it was the classic thing of
having a big record and expectations and
then... reality hits I guess...
DF: And then it would be like, oh god Rich
is not returning my phone calls anymore, oh
shit, what’s going on haha.
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RM: So, you guys became 'those guys on the
label'...
DF: Actually, they stopped doing the label
quite soon after that... the nineties ended
it. Everybody went off and did their own
kind of thing and that’s when I went to New
York.
RM: So now, Teste is finished and you’re in
Hamilton and you’re like I got to get the fuck
out of here, I’m gonna go to New York City?
DF: Basically, yeah.
RM: Did you know this ahead of time, or did
you think, I’m packing my shit and getting out
of here.
DF: Well, it was fortunate because Patrick,
Kareem from Zhark, he was actually going to
NYU at the time.
RM: Ok, I just want to establish this.
Patrick, did you know him? Is he Canadian?
DF: He’s German.
RM: How did you meet him?
DF: He is an interesting guy, basically,
he’s a German guy that was going to school
in the States, he went to NYU, and he just
liked to go to techno parties. He missed it
from Berlin because he was going to Tresor
when it opened, and all the legendary stuff
here. He was like, I hope this stuff is in
America (laughing), so, he was in New York
and then he would come to Detroit and then I
met him at a Detroit party through Rachael
(Kozak), AKA Hecate,
RM: Ok and Rachel was from where originally?
DF: She is in Detroit.
RM: So now we have this Patrick who is a
German living in New York City going in NYU,
Rachael who is living in Detroit and you
living in Hamilton.
DF: It was the way it
was in those days, you had to travel to see
this stuff, because there was not much
locally.
RM: Right, it was truly underground, it was a
mission to find it..to get there, to be there.
I would remember friends of mine always
traveling to go to raves for the weekend,
usually it would be longer then a weekend and
I was just...repulsed by it all, I was like no
way, I’m not getting in a car and drive 5
hours to Buffalo to go to a rave...to be cold
and on drugs and having that pounding music,
no fucking way man.
DF: Yeah, it’s harder now at our age to see
the appeal of it, but I mean those days it
was so life affirming...
RM: Sure, it was a truly renegade thing, now
it is absolutely commercialized, and back then
music was actually being developed as a result
of these kind of parties, people were making
music to play at the parties, ideas were kind
of spawning from doing this stuff, and it’s
not to disparage now...but now, kind of
anybody can do it and there’s no journey.
Silly as it sounds, but there isn't a route
leading up to it, you can just one day snap
your fingers and decide I want to do this,
with very little effort and probably be able
to do it and immerse yourself in it, whereas,
these other times...I think, it’s probably why
also your friendships with these other
like-minded people were probably even
stronger, because you had to go out of your
way to make something happen almost, you know?
DF: Yeah. There is
dedication to it, there was some
enthusiasm... because it was a big deal, it
was like, we’re gonna actually do this now.
It’s not just sitting around and wait for it
to happen. And it was exciting to hear
somebody’s records when they came out, like
hearing some of the Basic Channel records
for the first time, even I heard them when
they came out, but the context appeared
later, but like the Chicago Jack stuff, just
hearing that, it transports me to another
dimension, still to this point, it is a
different time...
RM: Yeah completely.
DF: It’s simple music,
you know you’re doing some more strictly
acid stuff, there isn’t much in it
musically ..but yet, it creates something...
right? I always like the quote by Mark E
Smith, saying that rock and roll isn’t about
playing instruments, it’s people mistreating
instruments to get out emotions.
RM: Right, I think that makes perfect
sense. So now, you decide to get the
hell out of Toronto and you’re going to New
York City and you already have this guy down
there, Patrick, you’ve got a friend over
there, you’re in touch with him.
DF: Yeah by phone, and I
was like ah god I’d hope they’re not too
fucked up to meet me at Port Authority
(laughing).
RM: What’s year is it?
DF: This is ’95. Yeah, just over a year
after Teste had sort of crashed.
RM: So, you jump into New York city in 95,
which is still, the city is pretty damn raw,
it’s not 1980’s raw but it’s pretty wild
still, kind of anything goes.
DF: Yeah, for me, it
was.. I took acid on the greyhound bus to
New York. Here I am going down there,
tripping, and I had probably like 5 g’s
worth of gear with me.
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RM: Under the bus, in the greyhound?
DF: Yeah, and then just hoping they were
going to be there when I get there because I
know they are party people (laughing). But
luckily, they were there to meet me, but I
will never forget stepping off the bus, and
I was thinking wow!
RM: It just hit you. Had you been to New York
before?
DF: No, that was my first time.
RM: So this is kind of the dream...?
DF: Yeah you know, but
all I knew of New York was from movies, like
Abel Ferrara shit...Bad Lieutenant and
Driller Killer, I’m like yeah this is gonna
be crazy (laughing). I was always looking
for a weird connection. Anyway, those were like some
of my New York imprint kind of things and
the funny story is the building that I
stayed in, do you know the building
Zeckendorf Towers with the pyramids?
RM: Hum.. no
DF: It’s right across
the street from the Palladium, Park Avenue.
So anyway it was because Patrick, his
family’s business is like clothing and
fashion, they had some fashion industry
connections, so that is how he got in that
building and it’s just to say that Grace
Jones lived in there, I never saw her, but
it was like the building has like...the
'door guys'.
RM So, it’s a fancy building.
DF: Yes, it’s right
across from Irving Plaza.
RM: Right, ok exactly, sure, and then of
course I know it, I’ve been to Irving Plaza a
million times.
DF: So, I was staying in
there (laughing).
RM: So, you’re living there, in this posh
building...you...fucked up techno punks,
basically.
DF Yeah. you know this TV series called the
Equalizer which was my weird New York kind
of go-to memory...the last episode was
filmed in that building...there is some
useless information (laughing).
RM You saw it been filmed or not?
DF: No, but it is just a
weird connection to me, like all the things
that were my New York markers I kind of
experienced Like going to see CBGB’s and for
me, Liquid Sky was such a big movie and then
to hang out at the Liquid Sky store (A NY
rave subculture shop) when that was coming
up. I can’t remember if I met her, but Chloë
Sevigny did work there, right when she
started dating Harmony Korine. And Patrick
was letting Rachael/Hecate stay, it’s like
he would just let everybody crash at his
place, so it’s funny it’s in this exclusive
building, Zeckendorf towers, but we would
just like party like crazy at the place.
RM: And the neighbors, you guys are like
partying hard there, or you keeping it
respectable, were the neighbors banging on the
door...be like hey, what the fuck is going on
in there, or?
DF: I guess it was well isolated because, we
were partying all the time and I would never
see people. Yeah, that is a good point, I
don’t think I ever really saw anyone next
door.
RM: Ok, so. It is a bit mysterious then.
DF: Yeah. That was sort of my base there,
because Patrick would just let me stay
there, because he had to go back to Germany
for some family stuff there for some
semesters so, whenever he wasn’t there, I
would just stay there.
RM: let’s paint the picture a bit more. It’s
95, you’re in New York city. There is at this
point still tons of night clubs, but of course
the disco era is long over, a lot of people
have died from AIDS.
DF: Limelight was sort of the big thing at
the time.
RM: Right, techno and house music were the
music of the time, it’s in full swing.
DF: The club kid thing was there as well, I
mean, it was just such darkness, they made
the movie about it, did you go to limelight?
RM: No, I mean I’ve been there a handful of
times, but not…
DF: I remember it, you could feel such a
dark atmosphere there.
RM: Right, drugs are just running rampid.
DF: Yes. oh yeah...I mean, some people say
Berghain took their cue from the
Limelight...it was definitely a similar
situation and experience.
RM: You guys are now going to all these clubs…
DF: Yeah mostly to
Robots.
RM: Save the Robots, which is like..
DF: I can’t remember
specifically, I think I went to Save the
Robots and it became Robots, so, it’s like
it’s changed, there was sort of a wilderness
era there...when it closed, they knew they
were being scoped out. It was tense in those
clubs, you never knew who was undercover.
RM: Right, so now to paint the
picture...Around 88 there were the riots in
Alphabet city...they were trying to get the
homeless people and squatters out of there and
obviously that went really wrong and that kind
set the stage for Giuliani to come in around
that time...1995 there was another kind of big
riot down there...were you around for this as
well?
DF: It always seemed it was on the verge of
a riot, I mean it was the first time that
I’ve ever seen severe police shit. Like cops
telling you to take your fucking ass off
against the wall, I had never seen it
before.
RM: They’re trying clean up the neighborhood
after that, it is the aftermath of the
eighties and the aftermath of crack. The city
is grimy, people are running around, you could
kind of still do what you want but they got
this new mayor, and they’re saying, we’re
changing the shit, this stuff isn’t going to
happen. You got cops all around, but still
there is this freedom and lawlessness that
exists.
DF: Yeah, for me I remember seeing the
old Times Square as well, yeah right before
Disney got it. That’s maybe around 95...97,
but I think it’s right when Disney really
cleaned up all of the Times Square.
I remember seeing some
of the 42 Second Street in all its classic
grindhouse sleaze glory...
RM: Around then, thats when Zhark records
starts?
DF: Yeah, we were basically like, we just
got to try and do this. Patrick also wrote
for a German techno magazine called
Frontpage, which I think later became
De:Bug. So, He knew everybody at the
distributors and all the booking people at
Tresor at the time... he was ready to make
it happen. We just needed to do some tracks
and he liked the Teste stuff, but I just
wasn’t really in the head space to do
anything, so the first releases were him and
of Rachael.
RM: Did you all have a studio inside the
apartment or was it somewhere else?
DF: Yeah.
RM: So it was in the apartment, so that was
the headquarters?
DF: Yeah, I mean I think they were mixed on
home stereo speakers, I mean, a lot of the
stuff, like Teste the 5am mix we did on home
HiFi speakers (laughing). We did not know
any better (laughing).
RM: You see, this is the kind of stuff the
kids need to be hearing, you know, you can
still get a track sounding like Teste The Wipe
on some Sanyo old home hifi speakers.
DF: Yeah exactly. And we did. I mean
obviously as time goes one, people
formalize, structuralize everything, right.
Nowadays if I sent a track to a mastering
engineer, it’s like “oh it’s not -6
db” and I am like, come on, does it
really need to be!?!...do you want it to
sound exactly like everybody else’s
shit?!! Do you believe that? I don’t
know....
When they did our Zhark mastering at
D&M, I remember Pole, you know the
producer Pole, Stefan Betke, he used to
refuse to do it, that was when Rashad
started working there, and Pole's like you
do the Zhark shit, I don’t want to do it
(laughing).
RM: So Zhark was shunned by the techno
professionals, shall we say?
DF: It was and it wasn’t, I mean I think
that they got it...but I don’t think they
understood why we were trying to bring that
into their scene.
RM Right. They did not see it as techno, they
saw it as punk music or experimental
electronics. When you guys were doing the
Zhark stuff, was there any specific goal or
influence when you said, ok, like I just did
this Teste thing, I need to step away from
what that sounded like, I want to just tear
that sound apart and bring something new to
it?
DF: I think it’s age related, also I am
obviously obsessed with Motorhead and I was
looking at it from the Lemmy perspective.
It's kind of like...the Huren stuff was sort
of my Motorhead attempt, you know, he formed
that in revenge for being kicked out of
Hawkwind, right.
RM: Right.
DF: So, Motorhead is driven on Revenge.
RM: OK.
DF: So, it’s just like I
was really pissed off, go full on. And then
my thing was, and I still do it, is just not
listening to techno music to make techno,
right? So, it’s that simple, like you do it,
it’s the one thing that I always found
limiting about the DJ scene of that era as
well, it’s just like people did not listen
to that much other music besides techno.
RM: Right, I think that kind of stands true
today as well, when you step outside of a
certain circle of people, I think, it’s really
much single minded there.
DF:I get it as well,
like you’re immersed in the whole thing, but
maybe you can settle a little bit of time
aside, check something else out.
RM: To me it was always interesting when
you’ll hear the original Detroit and Chicago
guys mixing on the radio. The reason that all
that music was so interesting and people
always fail to realize this, is that they were
listening to all this crazy stuff...
DF: Ron Hardy, everybody uses that example,
he would play the b52’s and Fat Gadget and
stuff and he would do his tape edits.
RM: They had this deep root in playing black
music whether it was Salsoul orchestra, or a
James Brown record, or something on West End.
But then they would take also this crazy other
stuff, like Electrifyin' mojo did, they would
take this other side of really spaced out
music, that’s why the original DJs all
worshipped Kraftwerk, that’s why you would
hear all the Chicago and Detroit DJ's play
Liaison Dangereuses.
I think maybe people really forget about how
special that amalgamation of all that being
combined together was. To create the genre
which is techno and house music, especially
the Chicago guys listening to Italo
disco, because you were getting Italo
imports, coming in from Canada or
wherever. So to me, that was always the
real interest and I think as years went by
with electronic music it got more streamlined
and it failed, a lot of people failed to pull
from these outside sources that made the
original so interesting.
DF: Yeah exactly. Now,
there is this idea about the selector, like
selector culture, right, so, do you think
that kind of relates to it a bit, like, I’m
gonna go see Harvey play all these weird
records?
RM: Yeah, I mean, I just, I don’t even think,
I don’t even know if the context for now is
even applicable because it’s so many goddamn
DJs.
DF: There’s too much information, people are
kind of too sophisticated now, right.
RM: It’s the impetus in reasoning for doing
it. It's not the original reason for doing it.
DF: Right, creating emotion or experience.
RM: Yeah, it’s just becoming a hyper nerve
fucking thing, to outdo the next motherfucker,
a lot of it. It’s not about just playing
really sick music to blow someone’s mind...and
that’s always the thing that gets lost. The
point of this is just to blow people’s minds
and planting some crazy ass shit. I think now
to me it has become absolutely completely
uninteresting and it’s like jock shit
basically, you know? I seriously would rather
watch pro sports then some of these DJs’ play,
I mean, at least I enjoy pro sports...going
over a tangent here...
So now basically Zhark is starting and Teste
is over and you’re like…
DF: I’m pissed off and fuck everything
RM: This is my punk project now, basically.
DF: Yeah really, just a full on
experience...nihilistic everything ...making
ugly music! It was really formative to me to
listen to Motorhead as a kid, Overkill, for
me is a benchmark...just a track with double
bass beating your fucking head in. It’s kind
of the beginning of thrash too, it has a
thrash approach. And then obviously you put
Napalm Death in there, just that kind of
feeling.
I took that into scumtronics through scum
records, there is just a feeling that record
evokes that you just want to kind of put to
a dance audience, or have a club audience
accept this stuff, I guess now they can,
but...(laughing).
RM: , when you were doing live shows what kind
of places were you playing and who would come
to these gigs and what were the reactions like
at this time?
DF: Now it’s, well let’s face it, it’s kind
of just people are
there for other reasons, I mean they are on
their phone.
RM: No, I meant, back then.
DF Oh back then, oh.
RM Back then, you’re doing this in New York
city, you guys are doing live shows?
DF: We had really good support with Con, Con
is just a cool guy, like, you know he had
his Temple shop and he did a night at Robots
called Killer. He was like yeah just do
it...he paid well and he was really cool
about it all. And he’s like, we’ll just put
you on early so not too many people leave
(laughing). But people liked it. It was
rough at that club in a way too, I mean
that’s why they had a lot of security, I
remember there were a lot of fights in
there.
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RM: It was in avenue B, third street,
something like that, that’s kind of the heart
of Alphabet City. You are getting a complete
mixed bag of people, you’re getting punks,
you’re getting drug freaks, you’re getting
techno people, you’re getting neighborhood
people, all kinds mixed in there ?
DF: The security in there was pretty intense
so it was mostly techno people, it would be
techno and some punks and some art people. I
remember even Moby going, I think Joey
Ramone went too. I can’t remember his name,
who is that Scottish comedian, I think he
was a security there. Craig Kilborn is that
right? I mostly
went to that club, And then I went to one of
Adam X's raves, the subsonic groove thing
too.
RM Where was that?
DF: That was Brooklyn. So, I did not
go to Brooklyn much that’s the thing.
It was really mostly Manhattan based, the
only stuff I went into in Brooklyn was this
stuff Soundlab, which was... you know this
label
Asphodel?
RM: Yeah.
DF: It was Asphodel, it
may have been Bill Laswell, that’s the thing
Bill was always kind of floating around that
scene.
RM: Right, because he had his studios in Green
point.
DF: Yeah, there was DJ Spooky. And then
those guys took themselves very seriously,
it wasn’t good. I think, we’re
like...I don’t really think it’s worth going
out there for, but then again, why not.
RM: I think, when you think of music that
didn’t stand the test of time very well...
DF: Triphop...
RM: Illbient...The perfect example of music
that should never be dug up, maybe only to be
annihilated.
DF: Exactly, so there were some things that
did not really work and then even Liquid
Sky, like the store, you know, Temple was
cool, but like, did you ever hear the label,
it was not really good.
RM: No.
DF: Yeah, It kind of really was watered down
drum and bass, triphop, and a lot of hippie
themes.
RM: This drum and bass thing I never
understood...
DF: It’s a UK thing really.
RM: It did not translate too well into New
York city, I mean, I knew it was there, but I
had little interest in it and again it seemed
corny to me.
DF: I know and thinking back too, I remember
all these weird people that I would meet
too, they were like Warhol leftovers, like
this guy used to hang out with Paul Morissey
and, they would just go on about the Factory
days and then you’ll hear other people that
were left over stragglers from the no wave
era and stuff.
RM: I guess, you still had a very colorful
bunch of people running around.
DF: Yes, they were coming to the techno
parties too. It was new for them and there
would be drugs. They weren’t old enough to
give up just yet. I remember I saw Moby at a
few things, he’s a nice guy, I talked to him
once, I don’t like his music (laughing). Or
maybe he isn’t a nice guy, I don’t know, but
I mean he was fine when I talked to him...
RM: Going back to Zhark, were you guys at this
point informed about the The Hague scene
because I feel like something like Zhark runs
parallel to what they were doing in the Hague
at that time, which was this kind of
reactionary living in their own bubble kind of
world.
DF: Unit Moebius I knew, it’s funny I
remember I had that on CD...I never got it
on vinyl (laughing). I wouldn’t claim that they
were, like direct influences, but we knew
there was stuff happening, something
similar.
RM: When you guys are doing the Zhark stuff
and making all your music, is there any kind
of self-awareness there you are actually doing
something that is absolutely going against
everything what’s around you. Is it even
like conscientious or you guys are just
like...
DF: Yeah, because we just didn’t like a lot
of the esthetic of rave or techno.
RM: So it was reactionary?
DF: We just thought rave and techno were
kind of cartoony, we just didn't like the
cartoony imagery and a lot of the mysticism
around it. We just wanted it to relate more
to the Motorhead or the Napalm Death
angle. I wanted to make different
music literally, it was just as simple as
that. In punk music, they said that the
whole idea was to be individual.
RM: Sure.
DF: If you’re making punk, why would you
want to sound like the Ramones, there’s no
point, they’ve already done it, so the whole
idea was to like take the spirit but just
put your own personality in.
RM: Making it all make sense, to you at least.
DF: Yeah, because, isn’t your goal as an
artist to come up with your own expressions?
RM: Right, I think it’s important and it’s
also...people fail to realize it’s like when
you listen to a Huren record or Kareem record
or Hecate record on Zhark...you can identify
them. You did take it and made it your own
sound , The same thing with the Bunker records
from a certain era, you can tell, that’s like
Legowelt from 1999 or Unit moebius from 96 or
something like this. You can hear it in the
sound.
I think that's what a lot of people are
missing from what they do. You have to put
your own stamp on it, that’s why, I was just
wondering that.
DF: Those guys were hardcore too because
they were like full on squatters right.
RM: Guy was yeah, and probably a couple
others, not all of them. I also think as
it is in The Netherlands...the term squatter
is used in a pretty loose sense, because you
can actually, or at least could...for a long
time squat in a really nice building.
DF: yeah, they treat the artists so well, I
love to play in Netherlands, it’s so great.
RM: But you know Unit Moebius was heavily
involved with Spiral Tribe, doing gigs with
them and even records with them together. So
there was that kind, I guess, travelling
techno vagabond, crust hippie shit, but like
speed hippies, they were tied into it...I
don’t know the specifics.
DF: I consider myself a
techno vagrant, now I’m in Berlin for ever
reason, I mean, I’m like, I’m not really
established here right, so (laughing).)
RM: It's fair to say that you are a techno
vagrant.
DF: Yeah, because in New York I was
just kind of there, unprepared...
I think that’s been my approach just show up
(laughing) and see what happens.
RM: So now, the label Zhark is pumping out
music...
DF: By the time Zhark
really started getting more organized with
the releases, I left New York. The end of
97... I remember that feeling of leaving, it
was so sad, I really felt, like oh it had
changed.
I had exiled back
to Hamilton.
RM: Ok.
DF: Because, I don’t
know, I mean I think I’m like a lot of
people when they go to New York, they think,
we are going to go there and we’ll get
signed, because people still thought like
that in those days. We thought 'oh maybe
some major label will pick it up'
...because, Hecate, Rachael was really
driven that way.
RM: Right and it was really extreme music, so
it is a little surprising
though as well.
DF: I think we were loosely thinking, in her
influence, maybe we will catch it. In those
days there was so much of a change....like
music really was changing...people were
looking for something new all the
time, we thought there would be good
chances we would be the next thing...
After a few years there I realized it’s not
really happening. From there I went back to
Hamilton and then I ended up in Europe. I
ended up in Denmark, because, the
other guy in Teste, Tom, he had left Canada
at that time, and I just sort of, I think
you can see I am sort of a nomad, basically
like him and his wife had a flat in
Copenhagen and she’s Estonian, so,
they left to Estonia for some family stuff,
so, I stayed there for a year or so.
RM Here you go. Then you are techno
vagrant
DF Yeah, techno vagrant
because I was just like flopping around to
see where the hell else this thing will get
me. I had such unrealistic
expectations I don’t know what the hell I
even thought, I just felt like, I just go to
Copenhagen make this shit work somehow.
RM: And at the time, you are still recording
now for Zhark, right.
DF: That’s when my Zhark
releases actually came out, because when I
was in New York, none of this stuff I did on
Zhark came out at that time, so the New York
Zharks were mostly Patrick and Rachael.
RM: Ok, but you’re recording and it’s just
didn’t come out at that time?
DF: Yes. So, some of the
stuff that I did live at Robots was on one
of the Zhark CD's. One of my first record
releases was what I first played at Tresor
in Berlin and that was such a crazy
experience too. Again, I mean now at looking
at all, you are like oh is this guy like
travelling and doing all that shit for this
techno shit that I hear every week in Berlin
or whatever. It wasn’t really like that on
those days, as you know...if you wanted a
real severe extreme experience, it wasn’t
going to happen much, so, I just had this
really odd focus of wanting to keep going
further and further into that fucked up
thing. So, I just kept going...like, well
it’s not working in North America, let me
try it in Europe, right.
RM Ok. And this is we’re talking about 2000s?
DF: 98.
RM: oh, 98, so you really went, you didn’t go
back to Canada for all that long?
DF: No.
RM: You like dropped some shit of and then I’m
like out of here.
DF: Yeah, so. That was my first
European kind of stuff, and then those
releases were coming out and then there was
some kind of interest, but it’s hard to say
right... I mean we were getting shows, but
it was all a kind of a side show thing. I
mean the show at Tresor was just literally
by Patrick knowing the booker. They
didn’t really want to do it though..
RM: You forced yourself in there.
DF: It was a Thursday
night or something I don’t know, a Wednesday
maybe. It wasn’t the main weekend times. I
just remember that I played the Love Parade.
RM: Jesus.
DF But it wasn’t like on one of the floats,
it was in this exclusive wine bar in Mitte.
RM: Ok. they would let you do that in an
exclusive wine bar?
DF: Patrick knew his way
around, he knew people, he always had
something kind of going right (laughing).
So, it’s strange, yeah, I mean it's all
blurred, because I was still pretty young
and partying all the time.
I was just...yeah makes sense, just try it,
see what the hell is gonna happen. How I did
it all in retrospect, I really don’t know,
how did I pay, how did I live? I really
don’t even remember. I mean, I made money
with records and shows, but I didn’t know
what I was doing (laughing).
RM: Well, you are still standing.
DF: It’s been crazy
having the covid down time, just to look
back at it all. I was so fucking gone, like
when I look at it...I wasn’t operating in
the real reality. Some other thing I was
looking for...some personal businesses
maybe, I don’t know. Who knows...it
wasn’t really logical at all. I was bought
into that myth like the really subversive
artist, right , like Jean Genest, like the
low life outcast.
RM: Yeah, truly living on the edge.
DF: I guess I still am,
right, so.
RM: In a different form maybe. So now, fast
forward to now you’ve been living in Berlin
for quite a time.
DF: Yes, I outlasted
Bowie that was my joke. And Iggy, they were
only here four years. But, I mean like if I
look at it to New York I was only there for
3 give or so, I mean it’s all timing right,
you know, it’s like probably what brought
you to Paris right, it’s timing, right.
RM: I don’t belong here whatsoever.
DF: Right.
RM; Just ended it up here, but if would you
asked me 10 years ago where would you think
you were gonna to be…
DF: Yeah, well that’s the interesting thing
about it, then it’s interesting that techno
is a part of that. People can piss on techno
all they want, but it is really
transcending, it’s one of the few ways to
step outside of a regiment of existence,
still I think, I think, I hope. God I hope.
RM
transcription of interview: SLP
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P.P.U records = PEOPLE'S POTENTIONAL UNLIMITED
records
A label from Washington D.C. USA that releases a
microcosm of deep soul, electrofunk, minimal wave
synthfunk, boogie space jazz, Lo-fi disco, prison
rap and various connected styles, re-issues of
70's 80's lost gems and fresh new stuff on LP,s
7"s and tapes.
Here are 5 supercool tracks released on PPU
records put in the spotlight:
DWIGHT SYKES - IN THE LIFE ZONE PPU044listen here
Hailing from KALAMAZOO, Michigan. A wonderful deep
combination of poppy soul funk, r&b and smudgy
minimal synthwave - the latter mostly sounding
like that because of the use of certain
drummachines and homekeyboards.
Everything Dwight Sykes is crazy good so check out
his other music definitely too!
NAPOLEON CHERRY - WHEN YOU HAD THE CHANCE PPU68 listen here
A bit of a creepy love
song, if I got this as a demo I might have
alerted the authorities its so weird! Some
snippet of the lyrics:
"Don't make a mistake, I'll be watching you
The life that you live, the friends that you
make
Don't be afraid our love is here to stay"
The atmosphere is so strange, eerie
uncomfortable, it could be basically about a
stalker, maybe also not...who knows. But the
music itself is so hypnotic and very
intriguing. The beat, the ever repeating
Rhodes riff, how stuff comes in and fades out
again, that string on the background...It is
by all means definitely a track to study
deeply musicwise, because you will learn a
lot.
And check that supercool videoclip
THE SOLICITORS - JOYCE PPU017 Listen here
Synthetic romance with
lightly distorted analog drumbox and EXTREME
gnawling groovey synthbassline. Add some
laxative saxophone riffs (not too much
fortunately) lush synth strings and cool vocals.
7" Very uplifting fun track! Re-issue of 1983
original on San-Ton records
CRUISE
- CRUNCH PPU003
Listen here
One of the earlier PPU releases, a re-issue of a
1982 original 7" on Style records. Real sleazy
lo-fi funk with a touch of Italo vibes and Afro
funk, especially when the organ comes in later.
DELROY EDWARDS & BENEDEK - STRUNG OUT PPU058 Listen here
L.A. Club resource boss Delroy Edwards teams up
with Benedek for an iressistable slab of LO-FI
funk! Future archeologists will be puzzling
about that drummachine.
This is just the tip of the iceberg of the vast
P.P.U catalogue,
a label well worth doing some further deeep
diggin into :)
SW.
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How to build your own
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__
| '_ ` _ \| \ \/ / _ \ '__|
| | | | | | |>
< __/ |
|_| |_|
|_|_/_/\_\___|_|
By dr.Erasmus Nork
_________________________
/_______________________ \
| (____)
(____)
| \
/------------------------/ \
/ / ==
/ == __
/ /
/ ==
/ /
/ /_/
/ /
/ / / / /
/ /
/ / / == /
/ /
/________________________/
/
\________________________| /
\_______________________\_/
This is a hypothetical
design for a four channel random 'gate'
mixer. using a box with strips of conductive
silverfoil -
4 for the inputs and 4 for the outputs, each
next to eachter.
A bunch of metal balls can roll around
freely in the box and
make random connections with the different
audio signals when
the input strips connect with the output
strips.
There is absolutely no use for this I guess,
except it will be
fun and interesting for experimental music.
You can also use
it for CV/gate signals in a modular set up
or whatever as a
sort of random switcher.
You don't need any soldering or electronic
engeneering skills to
make this, just some silverfoil, tape,
wires, audio plugs and
a box...and ofcourse metal balls.
The result will be a strange conntraption
you can shake around/
tilt to get random short audio connections.
You can use any number of channels we just
chose 4 because
...why not. It is possible to make it with
just 1 channel but
that might be a bit boring.
What you need:
- A box (wooden or plastic,
cardboard is possible too but you
will be probably shaking it a bunch so you
might want to have
something sturdy)
- Silverfoil - to make the strips.
- audio cable/wire
- Audio inputs for jack/minijack/RCA
whatever you want to use
for this we need 4 inputs and one for
the output, so 5 in total.
- Glue, tape
- Metal balls - The balls have to be big
enough so they can bridge
the gap between the input and output foils.
You can have as many
balls as you want. More balls will
create a more chaotic and
intense sound. One ball will make a more
sparse minimal sound
because it makes only 1 connection at a
time.
You can make very good metal balls out of
silverfoil, you might
know this as the Japanese silver foil ball
challange were you just
roll a rough ball out of scraps of
silverfoil and then keep adding
and rolling until you have a nice round
ball.
Most probably this mixer will work better
with a more 'sausage'
cilindrical shape, maybe try to experiment
with different shapes and sizes of the metal
balls to see what works best.
Now you can put everything together
according to this SCHEMATIC:
just knot or tape
wires connected to
the wires together
silverfoil strips ___
|
|
| audio
____________________V________________V
output
||
_____________________________\
|O|
metal balls||
|| _____________________\
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roll around ||
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|| ______________\
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|____\/ \| || |/ \| || || || <----- strips of silverfoil
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<-- Box, probably handy
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| if its enclosed so you can
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| roll the metal balls
around
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| withouth having them fall
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| out...or make a plexiglass
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|| | lid so you can
see them
|_|O|
|O|
|O| |O|
_____| roll around and have some
input 1 input 2 input 3 input
4 visual feedback
connect the
individual audio inputs to the 'input'
silverfoil
strips with some wire and tape or you might
want to
solder it, as well as the 'output' silverfoil
strips to
the output
wires.
If you are a littlebit more tech savy you can
ofcourse make
volume pots/knobs on the channel so you can
control the volume
of each channel individually.
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Psychological Hygiene with dr. Nobo S. Pritzel
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|o/ o |
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Dr.Nobo S.Pritzel is doctor at the department of
Border areas in
Psycho-Hygiene at the university of
Wurzelmännchendorf. Specialized in the mental
health issues of DJs, artists and others in the
electronic music related workfield.
He developed the Nobo S. Pritzel DJ personality
test - a deep insight in the often mentally
clouded psyche of 'these' people. Most probably
that is YOU, so why don't you sit down and do
the test and reveal your true self. Take some
paper and a pen and write down the number that
is before the answers you choose. At the end you
calculate your score by adding all the numbers
given before the answers.
Are you ready!?! sit down comfortably and let's
start the test:
I When it is time for the
next DJ to take over in the club, do you:
1 - Play a Jandek record
so people can't dance and a new chapter
can commence.
3 - play one giant
gabberkick with a sustain release envelope of
three minutes.
4 - Jump on
the table and make a handstand.
6 - Stop the music and wait
for applause and cheering
9 - Start a fist fight with the next DJ.
10 keep playing at least 15 more intense club
bangers at the
fastest BPM possible at maximum gain
because the people
came to see
me.
II On social media you will give your opinion
on current news events to 'discretely' promote
yourself:
1 - No, I only
correspond about geopolitical events via
handwritten
letters sent to
imaginary friends that live in different
times.
2 - I only
post pictures of my cat
3 - I
posted something about clubbing seal babies
once
7 - I see what my peers post
and jump on the bandwagon
9 - I only post communist propaganda, DJs have
to unionize!!!
10 - Every day on every platform! Because my
opinions matter
and I am a godlike being and have to lead my
flock who
are dimwitted lemmings.
III You buy new music
digitally on...
1 - Bandcamp
2 - I only download
from obscure soviet postpunk tape blogs
3 - I
just download on Soulseek & Russian
torrentz.
7 - I play vinyl f*Ck digital
that is not REAL music
9 - My assistant buys it on Beatport for me
20 - I just stream it from my Spotify,
Spotify is the best!
IV On your artist rider
your preferred beverages are:
1 Bottle of Water
2 Raak Baby Cola
3 Tjolk
Choco & banana drink
8
Desperado beer mixed with Red Bull
9 Smirnov
coolers
10
Various class A substances, Champagne and
quionia salad
V Your dream gig is to play in which of the
following places:
1 Bunker Dystopia club The
Hague circa 2012 for free acidpunch
2 Golden Poodle
club for 3 beers and a fallafel sandwich
3 Goth party
in the Boerderij Zoetermeer
8 Coachella's Urban Stage
for a bottle of water & 80$
9 Tomorrow Land's
progressive deep house stage
15 Anywhere
in IBIZA...IBIZA is the best!!!
VI When you miss your flight to a gig because
you overslept you:
1 - Are happy you have the
night off, you can spend some more time with
your cat.
4 - Say you
are boycotting the country the gig was in
because they
club baby
seals.
6
- Say that you are a flat earther and you are
convinced planes
and air travel are a hoax.
10 - Tweet
about how bad the airline is because they
didn't wait for you.
12 - Blame the tourmanager.
VII While traveling to
your gig you read:
1 - The Shadow Wolf Cyberzine
2 - Weird Tales Magazine
3 - The newest Baz Reznik novel
6 - How to buy
a house and remain a socialist digital native
8 -
DJ Mag / MixMag or any other Ibiza literature.
15 - I don't like to read so I just flick
through
my instagram and watch Netflix moviezzzz
VII How do you cope
with jealousy in the 'scene'
1 - I don't care, people are only jealous at
me and rightly so!
5 - I cry silently in the corner and
drink myself to sleep in
frustation
10 - I start tweeting how
shallow and not P.C. the person that
I am jealous at is and hope the person gets
cancelled
20 - I will
make many fake social media acounts to give as
many thumps down possible, start cyberbullying
and make
miserable comments on the person's content, even
though
I never met the person in real life.
Those were all the questions, now add all the
numbers before the answers you chose and see
what score you got...
RESULTS:
8 - 12 EVAPORATING MYSTIC FELINE TYPE
An aura of mysticism surrounds you, illusive
with a sparkle of sinister life force. You are
like an authentic cat evaporating in the
shadows. You don't worry about anything and a
great future lies ahead.
12 - 19 VERITABLE ANIMALISTIC TYPE
You are an adventurous DJ playing varied and
intense sets. Not afraid of stepping out of the
bandwagon. You can, or have already, achieved a
certain cult status. You are pretty stable,
though you might not know it.
20 - 29 UNDERDEVELOPED CURIOUS PANCRITTIN
TYPE
You are curious enough to maybe find more
interesting paths in your life quite easily...do
just that and your future will unfold like a
bold adventure!
30 - 39 UNCONCERNED MEDIOCRE TYPE
You are truly middle of the road, the epitome of
pedestrianism, you probably can't wait for the
new Star Wars movie and think the Shawnsharank
Redemption is the greatest movie ever. You
have an IKEA Expedit shelving unit and
categorized your record collection by color.
Your mind thinks too much in boundaries. You
might ponder that DJing a house record in a
techno set is already getting really edgy. Maybe
its time to expand your total self and have more
fun in your life!
40 - 49 LETHARGIC ENNUI INDUCING TYPE
You are a bit extra bland. You think Kayne West
is edgy music and a pioneer of hiphop music. To
be around you is mind numbingly boring. But
fortunately for you a large part of the human
population is in the same category so you
probably won't ever notice...
50 - 59 MERITOCRATIC ELITIST BORDERLINE CULTURAL
NARCISTIC TYPE
Upwardly mobile, seeking status everywhere.
Unaware that your achievements are unimportant
and most important of all, useless in a
fulfilling life. Music itself is not really
important in your career, its all about your
prestige & prominence.
60 - 69 MYOPIC DARK TRIAD TYPE
Though people treat you in a way that will make
you think you're cool, its all a facade. They
really think you are a sad excuse
for a human being and they are only nice because
they paid a lot of $$$$$ to book you and don't
want to piss off your agent. However, there is
still time to change, its not too late!
70 - 100 and above GRANDIOSE DELUSIONAL
PSYCHOPATIC TYPE
You are truly an annoying dweeb, an exploitative
sour rotten soul with delusional visions of
grandeur and a god complex. Psychopathic
tendencies run deep in your neurotransmitters.
Trump would be proud of you! You probably DJ EDM
music at plague raves.
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o
o
o o
o o
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/ | |
/ /
/_____/
| \ __/__
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/______/__________/
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__________/_____/,,,___________________/_/______/
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"Turkish
Van Cat in
Empty
Holodeck"
-----------------------------------------------------------------------
Disclaimer: The following
article is meant to be satirical
The story, all names, characters, and incidents
portrayed in the following article are fictitious.
No identification with actual persons (living or
deceased), places, buildings, and products is
intended or should be inferred.
___ \ \
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// /\___
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// /..../ \/ \_\ __/...|
/ \....\ |__|_
|_/.\ |...|_|
/..../
|......|
/..../
|.....|___ |.....|
DJs in 2020 a report from the frontlines
of |.....| \__|.....|\
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__ _ ___ ___ ___ _
__ ___ (_)_ __
___ _____
/ _` | / __|/ __/ _ \ '_ \ / _ \ | | '_ \
| (_| | \__ \ (_| __/ | | | __/ | | | |
| __
\__,_| |___/\___\___|_| |_|\___| |_|_|
|_| _____
_
_ ____
___| |__ ___ ___| |
__
/ __| '_ \ / _ \ / __| |/ /
_____
\__ \ | | | (_) | (__|
<
|___/_| |_|\___/ \___|_|\_\ ____
_____ ___
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_
By your special reporter
Jazzmyne Breitkopf
DJ’s are the first line of non essential workers
in the corona crisis that feel the impact HARD.
Like a modern jester that is thrown in the moat
eaten alive by the castle’s guard crocodiles. Like
a flattened squeezed out pop tart discarded on a
rural side road. Like a faulty USB stick full of
deconstructed club music edits left in a CDJ after
a mediocre wedding party. The situation is GRIMM…
Do people still have time for their self entitled
mumbojumbo on social media, what about their
depleting frequent flyer status, airline lounge
access, their drug fueled highs of euphoric
spiritual enlightenment on a Saturday night before
a crowd of binge drinking sophomores……
All turned into a desolate empty wasteland of
nothingness
As the tumbleweed gently floats by Shadow Wolf
checks out how some of them are coping in the
CRISIS:
First Billy Bouffon aka DJ Plurrezebel. His agenda
was booked well into 2021. Festivals were queuing
up to book the highly socially political active
DJ, but just like that they all evaporated into
the bottomless pit of the Covid-19 virus.
Not traveling and having to stay inside for weeks
if not months, he
had to stop his crusade against industrial
cranberry farming. Not even because it might not
be the time and place for such a thing now, with a
food crisis looming every cranberry counts. He
simply doesn't have the motivation.
He could only find solace in binge watching reruns
of Friends and Transformers 2, his favorite movie.
The humdrum was about to set in deeply until he
got an email from a fast food company looking to
do something edgy in these dark times.
His approach on the lockdown turned a sour
occasion into an unexpected cheerful optimistic
new opportunity:
@@@@@@@@@
/
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/ __/__ \
\ /
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/ |
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/
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\_||||
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_____\____
\ / \
/
/ / _____
__\__
\____ _____ \ ____\ //
\
__/
/ /
/ \
| |
/_____\
/____\ \\ \ \
\
/ / ========
| |
----- ------\-----/ \
\
____/ \______/
|___|
\_____/
\____/ \___/
---------__________===-----------------
“My weekly 10000 $ gigs suddenly stopped so I
don’t have any income - patsboooom just like that!
How can I pay for my living expenses now?
Fortunately I got a deal with this fastfood giant
where I get free burgers, chicken nuggets and
larded bacon fries three times every day delivered
to my house in exchange for making a podcast. All
I got to do is eat the food on air while I
casually DJ my collection of bloghouse disco edits
mixed with 1990s Australian trance records. I put
an Electro Harmonix Big Muff pedal on my smacking
and gobbling sounds to make it more intense. Its a
combo of ASMR & Mukbang...its a whole new
undiscovered area of electronic music...a unique
and exciting melting pot of cultures. Maybe it's
something I can do in the clubs live when the
Corona crisis is over, a giant Mukbang party
together with the crowd. I see some great
sponsorship oppurtunities here...move over Red
Bull and make way for Transfat Burger
corporations, official purveyor for the Mukbangs
generation's food supply!”
/\
/__\
Its a different story for Lionel Cassarole -
better known as DJ BoboBinky and his collection of
Luis Vuton handbags worth over 100,000$. He used
to get paid hundreds of pounds to attend events
and advertise on his social media accounts. DJing
is not really a thing he actually did, unbeknownst
to the crowd he would just stream some Spotify
playlists from his phone, but that is besides the
point.
"Everything has been cancelled," he explains.
"Normally, I post pictures with my bags but nobody
wants to see that at the moment…its so awful how I
am going to survive this!?!”
In order to make ends meet he set up a
crowdfunding campaign called
#helpbobobinkeythroughcoronacrisis
When asked what the donators get in return Lionel
replies “I had this idea of going through my
wardrobe I make some pics and put them on
instagram...I am sure that will give some hope and
inspire people in this difficult situation”
But even with such an uncertain future Lionel
refuses to sell any of his bags "they are my
babies I will never get rid of them - what will
remain of me without my bags? They are everything
that make me who I am"
/\
/__\
Last up we spoke with Londoner Merlin Copperfield
aka DJ Pepe Paddington, a progressive deephouse
artist who used to play every weekend in places
like Ibiza and Doncaster before the crisis hit. He
finds it difficult to cope with the new normal.
“Its hard not to be in the spotlight right now, no
shows, no adoration
...nothing to feed my self esteem! fortunately me
and my manager hired a PR agency to see how we
could keep momentum and people will still pay
attention to me”
Lysander Marmaduke of the Barbazon Communications
Agency, who helps build profiles for artists,
politicians and industry CEO’s, took on the case:
After careful deliberation we decided that the
best way to go for Paddington was to be a sort of
spiritual counselor, giving guidance to people in
these hard times. We devised that a series of tips
how people can cope with the lockdown from the
very personal experience of the DJ themselves
would be the way to go. We let him brainstorm in
his London apartment for a few days and then he
came up with a list of Netflix shows and
Playstation videogames people can watch and play.
Brilliant!
He is so down with the people...such simplicity,
nobody would have thought of doing those things in
lockdown. People will be thankful for his efforts
so his career can just fly off again in light
speed once the corona crisis is over next month!”
Three different lives but all in the same boat
sailing on the wild seas of the Corona virus. In
the end the world keeps turning and we will
persevere, as sooner or later the proverbial cat
of society will land back on its feet...after a
tumultuous free fall that is.
Jazzmyne Breitkopf
----------------------------------------------------------------------
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| |_| | |_) \__ \
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____
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/ / \/
/ ---
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/ /___\\
/
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/_______ /
/_________\_____-'___---
\_\
/
/
---' _/ __________________
_
///---- ___ |\ \\\\\\\\\\\\\\\
\ _________
/ ///////////// /\
\ \ --------------- \
/ __ \
/ ------------- /
/ \ \_________________\
/ /__\__\__
________________/
/ \|_______________._|
\___ \\\ \
\_______________\/
\
\ \\\......\
\
\_______/ / \\......\
\___________________________________/
\\\\\\\\\
\\______\
Some alchemical concoctions for further advancing
the arts of
electronic music production
HOW TO
GET COOL ARPEGGIO SEQUENCES
Record or program a
pad/string sequence, making sure you have the
MIDI notes recorded. Make it 4 bars or 8
bars, vague melodic elements, polyphonic, no
lazy shit. You can do long notes like 4 counts
or more each. Now just put an arpeggiator over
the recorded MIDI sequence and change the
pad/stringto a sound that is more fitting for an
arpeggiator. Short bass/polysynth sounds. A lot
of times this will
result in a cool arpeggio line, or at least
something that will inspire
you to work a bit further from. You can use the
original pad/string sequence recording to layer
with the arpeggiator occasionally. And there you
go...almost a finished track ha. Eazy does it.
MAKE EXTRA FAT SNAREDRUMS/CLAPS
Layer snaredrums and claps
with other snaredrums/claps and synthesized noise
sounds to get extra thick fat sounds. Move the
layered sounds a bit, either forward or backward
so they are not perfectly on the count. A few
milliseconds or whatever works, use your ears. You
can do that for each snare/clap count differently
so you get authentic grooves that are not too
boring and tight. Layer at least 2,
change the volume of each sound to control the
dynamics of the total sound. Add some compression,
filter envelope or discrete bitcrusher to the
layered sound group to make the sound more
'wholesome'.
Just an example:
1 . . . . . 2 . . . . . 3
. . . . . 4 . . . . .
| | | | | | | | | | | | | | |
| | | | | | | | |
-
-
-
|-
BD
|SD1
BD
SD1
-|
-
CP
CP
-
_
SD2
SD2
REVERSE SNARE/CLAP BEFORE THE COUNT
A little rhythm trick made
famous by the late Edwin Birdsong on the Rapper
Dapper Snapper beat. Reverse a snare/clap sound
and place it before the normal snare/clap that
comes on the count, like 1 count, a fw
milliseconds, hear what works. You get this cool
'sucking' sound that announces the main
snare/clap sound with some extra intensity. The
reversed sound doesn't have to be the same as the
snaredrum/clap that follows, experiment with
different sounds!
|| ||
|||| ||||
.....||||||| | ||||||||.....
|||| | ||||
|| ||
reversed
snare normal
snare
1 . . . . . . . 2 . . . . . . 3 . . . . .
--------------------------------------------------------------------
Let's go on a
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'_ \| | '__/ _` |/ __| | | | @@@@
| (_| (_) | | | \__ \ |_) |
| | | (_| | (__| |_| | @@@@@@
\___\___/|_| |_|___/
.__/|_|_| \__,_|\___|\__, | @@@@@@@
|_|
|___/ @@@@@
_
@@@@@@
___ _ __ _ _(_)___
___
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/ __| '__| | | | /
__|/ _ \ @@@@@@@@@@@@@@@@@@@@
ugh
| (__| | | |_| | \__
\ __/ @@@@@@@@@@@@@@@@@@@@@@
_ _ugh
\___|_|
\__,_|_|___/\___| @@@@@@@@@@@@@@@@@@@@@@@@@ \/
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/--
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/ =--
__---- \___________
/
\ ______
/-------
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/--- --- --- - - - - - - - - - -
- - - - - - \______
/___
\
________/
- - - - - - - - - - - - - - - - - - -
--- --|
-_
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. \
-__ . . . . . . . . . . . . . .
. . . . . . . . . . . . . . \
--__
=
--__
___----___ ____
__---____-----___-----___---
__-----___-------___----
____------__----
----____-----____----__
By Chantilly Champignon
We are huge fans of Brad
Abraham's documentaries, one of his most
acclaimed, the 2018 'Love and Saucers' about
painter David Huggins who paints scenes of his
interspecies love affair with an extraterrestrial
woman is a charming captivating portrait of an
eccentric outsider artist.
Now Brad made his first short fiction movie and
everyone should watch that one too...it is called
CONSPIRACY CRUISE.
Back in the 1990s in the pioneering days of the
internet the "conspiracy scene" was all cute,
fueled by TV series like the X-FILES every
computer nerd bathed in the romantic spielerei of
the mysterious unknown. A world of intrigue and
adventure lay ahead on the computerscreen
soundtracked by the ghastly noises of modem bleeps
and IDM. We all wanted to be the superdorks of the
Lone Gunmen hacking UFO documents from some
government database from our cyberpunk bedroom.
Enter 2020, conspiracy enthousiasm is associated
with a bunch of very scary people. Annoying at
best but overall extremely dangerous. A festering
petri dish providing a gene pool for Trump
supporters and anti vaxxers mixed with
racial hatred, drinking bleech and the corruption
of wisdom we have so painstakingly gained in our
history. They are ready to throw humankind back to
some dark age were science and objective thinking
has no place. Conspiracy enthousiasm is all cool
and cute when its low key and well into the
boundaries of common sense...but when it
influences the well being of us all its a whole
different story.
Let's mix this with another
puzzling aspect of our current civilization:
CRUISE SHIPS.
Giant floating shopping malls where larval
consumers are fed unlimited all you can eat sludge
while they gamble, get drunk, sloth around, spread
diseases and pollute our environment. Cruises are
an insult to life itself and let's all admit that
we watched the early 2020 Corona cruise stories
unfold with a sense of sinister 'schadenfreude'.
Combine these two things together and we have a
narrative winner for
a short fim. Enter Brad Abraham's CONSPIRACY
CRUISE. Go watch it here for free: here https://vimeo.com/413682378...
it is a lot of fun!!!
Let's hope Brad makes more movies, docs, fiction
whatever its always a winner!!
Chantilly C.
--------------------------------------------------------------------
Welcome to the deepest pits of blandness...
o
_
_
__
o o
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_ ___ / _| __
_ /\____________
/ _` | |/ _` | '__| | | | / _ \|
|_ / _` | \
_____ \
| (_| | | (_| | | | |_| | | (_) | _| |
(_| | \_______---_ /
\__,_|_|\__,_|_| \__, |
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\__,_| |______::::::
|___/
| / ::::::
_
_
_
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| |_ ___ ___| |__ | |__ ___
_ _ ___ ___
/_
::
| __/ _ \/ __| '_ \| '_ \ / _ \| | | / __|/ _
\ |
:
| || __/ (__| | | | | | | (_) | |_| \__
\ __/ \
/
\__\___|\___|_| |_|_| |_|\___/
\__,_|___/\___|
_| |
|____ |
_
" / ____\
_ __ _ __ ___ __|
|_ _ ___ ___ _
__
/ /_____\__
| '_ \| '__/ _ \ / _` | | | |/ __/ _ \ '__| __
/__//
\
| |_) | | | (_) | (_| | |_| | (_| __/
| \ \ _ /
/ \
| .__/|_| \___/
\__,_|\__,_|\___\___|_| _\ \_/
/| | I♥Ibiza /
|_|
\ \
\__\\ /_| /
/
\ \
\__\\ |
/ _/
\ \
'--'\ | /
_/ |
\ \
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|/ / |
\ \
/___
\______/
/ /
\ \___________//_
\
/ |
\_______________\ \_____________/
|
As you might well know tech house is the most boring
music style in the universe. Everything is BLAND
about it, also the people behind this uncultivated
lackluster monotonous soulless music are of such an
apathetic nature that even 20 seconds in their
vicinity can cause extreme ennui.
Our North Sea Institute for the Overmind Special
Counter Intelligence division managed to get hold of
a diary of such a person. We can not disclose who
this person is. It remains also top secret when it
was 'retrieved' and where....but one thing is clear:
It gives a truly shocking antropological insight
into the mind of a techhouse producer, the words
speak for themselves!!!
....here is a page of the diary of an anonymous
techhouse artist:
8 march 2020
10.45 AM Woke up and checked my Instagram. Need to
think of new Instagram photo subject for today. I
remember my dream...I was DJing before a large crowd
and had no pants on and my USB stick had 300 mp3's
which all sounded the same, the tracks were oddly
named techhouse 1, techhouse 2,3,4,5 and so on. What
is the dream trying to tell me?
11.27 AM Coffee and quiona flakes in goat yoghurt. I
ponder about the day ahead...another
challenge. I got to push the sound forward
with new angles. How do I get the best of both
worlds....that dynamic texture of both TECHno and
House....techhouse is truly unique I sigh...and nod
my head horizontally revealing a vague smile.
11.35 AM Before everything my hair. If your hair is
good, the rest of the day will glide by smoothly. I
comb it, put on some hairgel and it feels right. A
bad hairday is a bad life day. Maybe THIS right here
is the Instagram photo moment of the day with that
deep motto I just contemplated...perfect for my 120
shallow followers. But somehow I feel, or I know for
certain, that a more glorious moment will come
today...something that will catch more likes and
maybe even new followers.
13.00 PM In my studio. Like any Techhouse
producer my favorite brand is Behringer. Its
character and unique social aware branding fit
perfectly with our sound and scene. Behringer just
breaths TECHHOUSE in all its machines. Maybe I
should make an Uli Behringer tribute album...or at
least a track to show my appreciation...he is truly
our Jesus. I nod my head once again and smile.
13:55 PM ACTION TIME. I load up my copy of Magix
Musicmaker, the DAW of choice for us techhouse
producers. Anxiously I open the MAGIX TECHHOUSE
VOL.3 LOOPS folder I downloaded yesterday. So much
choice..the possibilities are truly endless...300
loops I can combine! A quick calculation gives a
possibility of 3250000000000000000000 different
combinations. That means there are
3250000000000000000 new techhouse tracks I can give
to the world! Its fascinating to be me.
14:00 PM I combined 3 loops, copied and pasted them
after each other and hit the render button. The cool
thing with producing techhouse is that you can make
a track in a shorter time span then the track's
actual running time. I don't even have to listen to
it, just render and upload it to beatport. Life is
good.
14:05 PM Logged in to BEATPORT - the techhouse
nirvana, walhalla and heaven combined, the epicenter
of our community. I can spend hours browsing all the
tracks and let my mind be blown every time I hit
play.
My dream would be a DJ controller from Behringer
that automatically streams any Beatport track...only
Beatport and nothing else.
Two giants, Beatport and Behringer melting together
in one divine product from the two big B's.l...the
BEATBEHR. I have such good ideas. Maybe I could work
for Beatport or Behringer...or both at the same
time...shall I write them an email?
TO BE CONTINUED...
------------------------------------------------------------------------
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|/ __/ _` | |
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(_| (_| | |
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|_|_|\___\__,_|_| __
__/
\__
_
_ /__\__/ \
(_) ___ _ _ _ __ _
__ __ _| | / / \__/__
__
| |/ _ \| | | | '__| '_
\ / _` | | \__/\__/
\ \ / \
| | (_) | |_| | |
| | | | (_| | | \__/\__/ \/___/
_/ |\___/ \__,_|_|
|_| |_|\__,_|_|
/
|__/ __
/
__
_\// __/_/_/ / \
/ ___
\/ /
\
__\_/ \ \\ _| |_
/\ / \
\ /
\_/ _/
\/ _/_ \__/
_\_ / \ / \_/
\/
/ \__/ /\/ / \/ \/ \
\ / \
\_ __/
/\_ \___/
\___/
\_\_/ __/\
\
/ _ __ / \ /
/\
/___/___/
__ / /
. / \
/ \\__ /\_/\_ / \_ /
\_\
.
\ \ | / \__ _/ \ \ \_______
/ ____ \__\|__/
/ \
\ / \ / \
\ .
/ \/\ \ \ \___ / \
\_/___/ \ \
\ . |O O
_ | | | \ \
/ \__/
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. \_._/ \\ /_/
/ \
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\/
. //
\\ \\ \___\____/
\______
\ /
. \\ //
//
\ \____\
BOTANICAL
JOURNAL - BEE SPECIAL
By Penny Littleton
Tips on helping out our Fuzzy pollinating friends
The population of wild pollinators is dwindling at
an alarming rate worldwide due to the use of
pesticides and climate change, despite their
absolutely crucial role in maintaining
ecosystems.Wild pollinators - such as thousand
species of bees, butterflies and moths - are
necessary for the reproduction of around 90 percent
of the world's flowers and crops. Our fuzzy, winged
friends need our help. The last issue of the Shadow
wolf Cyberzine included a DIY tutorial on creating
your own seed bombs.
Earlier this year, thousands
of seeds were planted at the North Sea Institute
gardens, which have seen a sharp increase in its
bee population, bringing harmony and supporting
the local ecosystem which is struggling to keep in
balance due to the seemingly endless drought. Here
are a few things you may not have known about
bees:
1. When mating, male bees' abdomens get ripped
causing death. Their endophallus gets stuck inside
the queen bee.
2. Bees can distinguish between human faces.
3. Honey is actually beer vomit.
4. A bee sting can have some beneficial effects, for
instance, can relieve pain caused by arthritis.
5. There are around 16 000 species of bees.
6. Bees can communicate and 'hear' through
vibrations. Beehives have at their entrance a sort
of "hall" of empty cells, so that the floor can
vibrate when a bee begins to dance.
7. Bees come in all different colors, including with
blue rings (blue ringed bee) or spots (African
cuckoe beer) red, metallic green, purple etc.
To help out the bees, seed bombing neighbourhoods
and city and planting flowers around your home is
the best option. Even if you don't have a garden,
you can place some flowers at a window sill or
balcony, to help them out! Some basic wild flowers
will do the trick. This depends on where you are
located. If possible, you can plant some flowers
that can thrive year-round so that the bees and
other insects can find a more permanent home.
The more diverse, the better. Aim for planting
pollen-rich flowers that do not have too many
petals (this makes it more difficult for bees to
access). Of course, don't use pesticides! If you
have a garden create a simple bee house to provide
nesting sites for solitary bees and other insects.
Also, do not remove lawn weeds such as dandelions,
these are great for bees!
At the North Sea Institute, bees have been
particularly attracted to the bushes of lavender
and poppies!
Another bee tip: if you encounter a bee that looks
like it is struggling and is on its back, you can
help by gently placing it on a bee-friendly
flower. If there is no flower around, simply
placing it near a bit of water mixed with sugar
will help it gain its energy to fly again!
------------------------------------------------------------------------
NORTH SEA INSTITUTE FOR THE OVERMIND
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| '_ \ / _` | '__/ _` | '_ ` _ \| | | | __/ _` | |
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|
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\__,_|_| |_| |_|_|_|_|\__\__,_|_|_|
\__, |
|_|
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_
_
_
| |_ _ __ __ _(_)_ __ (_)_ __ __
_ ___ __ _ _ __ ___ _
__
| __| '__/ _` | | '_ \| | '_
\ / _` | / __/ _` | '_ ` _ \| '_ \
| |_| | | (_| | | | | | | | | | (_| | | (_| (_|
| | | | | | |_) |
\__|_|
\__,_|_|_| |_|_|_| |_|\__, | \___\__,_|_|
|_| |_| .__/
|___/
|_|
/\ /\ /\
______ \ / \ /
\
____---------
/ X
---_ /
/ \
__-----
\__________/ /
\ ___-------
| |______
\___---
______ .
.
|___/\___|\--- \
(______\ ||---[]----[]---||
|
|
\---\
|-
\ \ . // |--| \\ .
| - | \
\
|
. \ \ //__|__|__\\
____\____/_______\
\ \_ / \\ \___. .___/
/ \_ _/
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_/ \___\ \ /
|\
\/
_________/ |\ ___---/
/ \
|----|
|\ |
.
|
\\---
/__/| \ \ /
/\ \
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| .
|
/_\
__| _ ___\
\ / / \ \
| |
.
|
\__-- |/ |
\/__/ \__\
| |
.
|
||_|________/--' '---
|___|_________|
========
|___|
|
/ \
\
|
|
/ /\ \
\|
|
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/ / \ \
|
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/ /
\ \
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/
\ \
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| _--
|
_-- \
_|_____|____|__
-------
-------
/_______|_______\
This winter in our special
base hidden in the lovely dune valleys north of
The Hague, we present our special PARAMILITAIRY
TRAINING CAMP. We will make the STRONG & MEEK
out of the FEEBLE & WEAK.
If you pass the training successfully you will be
commissioned to special commander in the order of
the Shadow Wolf and you can franchise your own
Shadow Wolf Commando group. This can be YOU for
just the price of 5000 euros (excl.VAT including
FREE uniform and TRAINING HAND BOOK)
A day at the training camp would look something
like this:
Before the dawn breaks all participants are woken
up for roll call.
BREAKFAST: - Lentils with Oats and Garlic Onion
Juice with microdosed buckwheat croissants
and 3 OMNIUM vitamine pills.
Fitness training & jazzballet with Italo disco
dancing teached by ex-Rai Uno choreographer
Ambroziano Valantzio
Live hand to hand combat training with various
different martial art styles such as Systema,
Turkish Olive Oil Wrestling, classic street
fighting and Bar brawling.
Cybernetic Warfare Training - Commodore 64 BASIC
programming language, Amiga disc cracking,
introduction to MODEMS and phone phreeking
PSY OPS and Counter Intelligence measures -
psychological warfare class
how to gaslight your enemies and defeat them using
PSY OPS techniques.
LUNCH: Semolina porridge with pickled gherkins and
dried sauerkraut flakes. Nettle tea.
Medieval warfare studies: Sword fighting
techniques and siege strategies.
Theoretical Class spanning various subjects such
as:
Foraging in the forest - surviving on plants and
mushrooms
Druid philosophy and communicating with animals
E.S.P. training, mind control using tabs of acid
and manipulation of your own reality by thinking
force techniques.
SUPPER: Whole grain soba noodles with algae flake
seaweed slime
and 1 whole Buht Jolokia pepper. Brocolli juice.
Lights out at 19:30 and curfew in your barrack
where you sleep on a
tiny mat made out of forest moss which you foraged
yourself earlier in the day.
At the end of the training there will be a big
test were you are given a giant dose of crystal
liquid acid laced with psylocibin and salvia and
put in a closed white room with no windows for 24
hours with Kenny G's Songbird on loop playing in
the background.
If you survive this staying sane you will have
accomplished your training program successfully!
--------------------------------------------------------------------
_
_
| |__ _ _ _ __ __
_ ___ _ __ | |
| '_ \| | | | '_ \ / _` |/ _ \ '__/ |_|
| | | | |_| | | | | (_| | __/ |
_
|_| |_|\__,_|_| |_|\__, |\___|_|
|_|
|___/
___
__--- --_
____----_
__--__
_-
_-
-
__- _-
-
-__-----__
-
_
|
_- -_
_-
_
| _-
-
-
-_
| _-
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-
-_
|
_-
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-_
-_____________
_-
-
_--- ---___
---
---
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-
-
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-
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---____--
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---/ \
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/____________---
-_
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- \/ - \ \ -_
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-
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\ /\ -_
_-
--___ __- --
____/ /_\/ -____--
--_______----- _ /
/__ -----_____
__--
_- / /
__
----__
_-
___-- /
/ --__
---__
-_______---- /
/
---__
_-
\
\
---____---
\ \
\ \
A fresh
The Hague based label releasing high end
cassette tapes
In march 2020 the label
released its first two albums:
JENTLEMEN - WITHOUT WINNING
YOU OVER (HUN001)
ALINA VALENTINA / DIM
GARDEN - L'ASCENSEUR SPLIT TAPE (HUN002)
available digitally on
their bandcamp and as 2 tape pack with
poster which is most
probably sold out.
Upcoming:
BAGLOVER - 'Throw Down the
Gauntlet'(HUN004)
New full length album by The Hague’s misfit scum
electronics duo inspired by the heroism of
Jeanne D’Arc, featuring sharp and granular
sounds resonating through the battlefield.
Synthesized and composed on the mighty MS-10,
strewn with field recordings, found objects and
poetic spoken verses.
ALCHEMULATOR - 'Larping at
Fairsnake Market' (HUN003)
RPG Fantasy Larping music
made on the Yamaha PSS480, the ultimate
dungeon fantasy RPG
fairytale synthesizer!
--------------------------------------------------------------------
_
_ __ ___ ___| |_ _
__ _ _ ___
___ _ __ _ __ ___ _ __
| '_ \ / _ \ / _ \ __| '__| |
| | / __/ _ \| '__| '_ \ / _ \ '__|
| |_) | (_) | __/ |_|
| | |_| | | (_| (_) | | | | |
| __/ |
| .__/ \___/
\___|\__|_| \__, |
\___\___/|_| |_| |_|\___|_|
|_|
|___/
We received a bunch of poems
again, here they are:
OO____ ___oo
||
||
/
\
/ \
\\__\__/
\__/__//
//
||
||
||
_||_
_||_
'SNOOT & MUTTLEY'
by Erasmus Nork 2020
Snoot & Muttley
A terryfying short film
from 1984
It unfolds
In an infinite void of darkness
The only thing that exists
In that universe
Are two wingless flamingos
Snoot & Muttley
Surrounded by
A thin facade of fake palmtrees
Vividly rendered cubicles
That function as their abodes
Yet most prominent of all
The immeasurable terror
Of meaningless
Cold empty space
The uncanny valley is high
In this one
But your life
In all likelihood
Is probably not much different
---===---
'HOLOGRAPHIC SPACE'
by Wendy Wormhole 2020
The holographic
image
does not fill
space.
It is
space.
---===---
FOR THOSE WHO GRAZE THE LAND
sent in by Celeste L'Orbesia 2020
Dying planet, dying crops
So we can chew our chops
Grieving tears and heartache,
So we can eat our steak
Sickness and disease
So we can gulp our cheese
Agony and no rest
So we can wear the vest
Never ending sadness
For meat packing madness
We shall mourn the loss
Of the billions of lives lost
Turn a gentle hand
For those who graze the land
---===---
A Poem sent in by Nina de
Raadt
I just had a sensual moment with a tree.
It was definitely more than friends.
I think I noticed him first outside in the
courtyard.
I hesitated I had never been with a tree before.
I could feel him from afar, he was a strong tree.
And I knew we had things in common.
First I just sat nearby and let myself be shy.
A harsh light shone directly on my back
and casted an exaggerated shadow on the wall I was
facing.
I closed my eyes and took a couple deep breaths.
A young girl with her boyfriend
walked up and sat right by me.
She was curious,
but all I could think about were your
roots underneath me,
When I finally got up and walked over,
butterflies tickled my belly.
I leaned up against him.
It seemed almost unreal,
our bodies connected seamlessly.
Where there were my bones,
his organic shape had dents
and his knobs gently sank in to my muscles.
I had never felt more supported.
I moved my body sensually
up and down his trunk.
He massaged my back willingly
and with gracious ease.
I whispered a few words to him ,
but I knew what was really being said
was beyond spoken language.
I fingered the wrinkles in his bark,
his imperfections excited me.
I left him after some time for the dance floor.
I just had a sensual moment with a tree.
---===---
A little dutch minimalistic
poem sent in by Michaël Brijbag
Hier op de traptreden van het geluk
Komt het nog wel eens voor
Dat ik een appeltje pluk
---===---
INDISCUTABLE
By Fiume 2015
La sueur n'est pas une ennemie
Elle rafraîchit la peut
Et tu aimes son humidité poisseuse
Les inconnus passants et quelque visage familier
Le soleil est aussi chaud comme notre sang
Un destin ou une coïncidence ?
Qui peut prétendre quelle réponse est bonne
Sujette à interprétation
Selon les intérêts dans une situation donnée
Mais les deux positifs donnent un positif
C’est indiscutable
Comme tes mains blanches
Sur un clair de lune brillant
---------------------------------------------------------------------
_
_
| |__ ___ ___ ___ _ __ ___
(_)_ __ __ _ __
_
| '_ \ / _ \/ __/ _ \| '_ ` _ \| | '_ \ / _`
| / _` |
| |_) | __/ (_| (_) |
| | | | | | | | | (_| | | (_| |
|_.__/ \___|\___\___/|_| |_|
|_|_|_| |_|\__, | \__,_|
|___/
_
__
__ _____ _ __
_____ _____ | |/
_|
\ \ /\ / / _ \ '__/ _ \ \ /\ / / _ \| |
|_
\ V V /
__/ | | __/\ V V / (_) | |
_|
\_/\_/ \___|_|
\___| \_/\_/ \___/|_|_|
We got some supercool ASCII art sent in by Berlin
ASCII
artist JONINSCII check
out more here
I guess I am going to make an animated gif of this
one ;)
:::::::::::::::::::::::::::::::::::::::::::::::
:::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::/ \:::::::::/ \::::::::::::::::
:::::::::::::::/ | \ _____ / | \::::::::)::::::
:::::::::::::::\ ,\ ` ´ /,
/:::::::::::::::
::::::::::::::/
\::::::::::::::
:::::::::::::/ \_ \ , /
_/ \:::::::::::::
:::::::::::::/
(o\ /o)
\:::::::::::::
::::::::::::/
\
/
\::::::::::::
:::::::::::::/ \
___ / \:::::::::::::
:::::::::::::/ \(
`Y´ )/ \:::::::::::::
:::::::::__/ \ \ V```V
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\__:::::::::
:::::__/
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\__:::::
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.-----.
`SHADOW´´
.-----. \::
:/ / / / |
\>
WOLF </ | \ \
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/ / / / /
/ / | \ \ \
\ \ \ \
/ // // // / // // |
\\ \\ \\ \ \\ \\ \
/_____________________________________________\
| o o o
o
JONINSCII
[] |
'---------------------------------------------'
:::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::/ \:::::::::/ \::::::::::::::::
:::::::::::::::/ | \ _____ / | \:::::::::::::::
:::::::::::::::\ ,\ ` ´ /,
/::::::::)::::::
::::::::::::::/
\::::::::::::::
:::::::::::::/ \_ \ , /
_/ \:::::::::::::
:::::::::::::/
(o\ /o)
\:::::::::::::
::::::::::::/
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\::::::::::::
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___ / \:::::::::::::
::::::::::___/ \(
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| |A...A|
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___/ / / | \>_______________</
| \ \ \___
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| \ \ `v´v´v´v´\ \
/ // // // / // // |
\\ \\ \\ \ \\ \\ \
/_____________________________________________\
| o o o
o
JONINSCII
[] |
'---------------------------------------------'
-----------------------------------------------------------------
Sent
in by expert psychonaut Gino van Dam aka JEANS:
_
_ /////\\\\\\
__ _(_)_
__ ___( )__
\\\\\\\\ ///// \\\\\\
/ _` | | '_ \ / _ \/
__| |__
__ | /////
\\\\\\
| (_| | | | | | (_) \__ \
| . , | /////
\\\\\\
\__, |_|_|
|_|\___/|___/
| ___ | /////
\\\\\\
|___/
|______/ \\ ///
//////
_
/
_ _ _
//////
_ __ ___
_ _ ___| |__
___ __| | ___| (_) ___ /////
| '_ \/ __| | | |/ __| '_ \
/ _ \/ _` |/ _ \ | |/ __| ///
| |_) \__ \ |_| | (__| | |
| __/ (_| | __/ | | (__ ///
| .__/|___/\__, |\___|_|
|_|\___|\__,_|\___|_|_|\___|//
|_|
|___/
/
_
_
_ _
////// \\
| |_ _ __(_)_
__ __ _ _
_(_) __| | ___ ////// \\\\
| __| '__| | '_
\ / _` | | | | |/ _` |/ _ \//////
\\\\\
| |_| | | | |_) | |
(_| | |_| | | (_| | __////// \\\\\\\
\__|_| |_|
.__/ \__, |\__,_|_|\__,_|\___|//// \\\\\\\\\
|_| |___/
/// \\\\\\\\\
//////// \\\\\\\\\
\\\\\\\\\\
/\\\\\\\\\\
////////
/////////
\\\\\\\\\\
///\\\\\\\\\\
////////
/////////
\\\\\\\\\\ ////
\\\\\\\\\\
////////
/////////
\\\\\\\\\\__////___\\\\\\\\\\___////////_______/////////
///\\\\\\\\\\_________\\\\\\\\\\_////////_______/////////
////\\\\\\\\\\_________\\\\\\\\\\///////_______/////////
///
\\\\\\\\\\\_________\\\\\\\\\\/////_______/////////
I find that tripping in itself and the use of
psychedelics is too often misinterpreted and
stamped as drug abuse. Unfortunately,
because of all the disinformation that is
spread there are a lot of people who do not
know how to deal with it and that is a shame
because these are the means that can open the
doors to a higher consciousness and make your
life a lot more pleasant if you handle
it well. It therefore seems a good idea
to set up this trip guide. This is not
an all-inclusive trip guide. I'm going
to talk about mushrooms, truffles and LSD
now. This is a good foundation and will,
if you handle it wisely, automatically guide
you through the world of many other resources
out there. Remember that the use of
psychedelics is very personal, and each path
is different from another. Follow your
own path!
Magic
mushrooms truffles and LSD. The
difference between these 3 products is that
magic mushrooms and truffles are natural raw
products and that LSD is made in a
laboratory. The trip you experience when
using magic mushrooms and truffles is much
more earthy and that of LSD a bit more playful
but they are all 3 perfect means to expand
your awareness and to recognize your ego as a
separate and generally created image of
yourself. It is not surprising that some
people see that ego as something negative
because it is a manifestation of a self-image
that has been created by yourself and your
environment over the course of your life years
and this is not pleasant for everyone.
But a life without ego is virtually impossible
so I would say: Get to know your ego.
Say goodbye to the puzzle pieces you are not
comfortable with and become friends with the
ego that remains.
The setting of a trip is
very important and so is your mental
state. You put psychedelics temporarily
next to your ego and that is not pleasant when
you are not feeling well. If you have a
good shaman with you as a guide at the time,
this can become an overcoming situation because
the shaman can guide you through the trip and
eventually let you say goodbye to the resentment
or pain you feel. But if you do not have
this guide with you and you are in the wrong
setting without any idea what you are doing, the
trip can become a fucking experience that is of
no use to you. Therefore, always be honest
with yourself when you want to trip and dare to
say no when it doesn't feel right. even
though I made arrangements to do it that day.
The best setting is a familiar setting, so
ensure comfort. Easy to operate
music. Also make sure you have playlists
ready in advance. This is often difficult
to find during a trip. Provide relaxed
lighting and be with people who are chill.
Think of it as a ceremony. A ceremony with
like-minded people. This is very
important! A bad apple in the group can
ruin the whole atmosphere and the atmosphere is
a very important element during the trip.
I highly recommend doing it outdoors in nature
during a hot day in a place where hardly anyone
comes. In nature is magical.
Bring enough fruit and water or natural
juices. This is nice when the trip is
going to work out. Too sweet stuff will
give you headaches and moreover, this will not
taste for a meter during such a trip.
Always start with a small dose and work your way
up until you are at a comfortable level for
you. The 1st time may therefore be a light
and shorter experience and that is all better
than a long hard trip. Not everyone likes
that immediately the first time. You have
enough time to convert. In principle you
can have your correct dose under control within
2 months, but there is no rush. That is
why it is also chill to trip when you have
nothing to do. Taking the day off is also
very beneficial. Then you have time to
land and give everything a place.
At the beginning of the trip I always push the
method to shut your mouth for 1 hour. When
the resources start to work it always feels a
little uncomfortable. Taking off your ego
feels a little naked at first and that's just a
little uncomfortable. At that time it is
better not to talk to each other and lie down
with chill ambient music in the
background. After an hour you should be
fine and you can socialize with each
other. Watching mirrors, listening to
music, walking through nature, playing with
animals, philosophizing about life, about
yourself, looking at the stars, swimming, making
love, cuddling etc etc. There are plenty of
things that are fun and good to do but
don't forget to take your foot off the throttle
every once in a while and turn it in because
over time you will notice that the lessons come
from within. That is why solo tripping is
also recommended. But do not trip solo
until you are experienced and you know how to
handle tripping.
A bad trip is just a concept. You will
also get this automatically over time. A
bad trip is actually a concept based on the word
itself and sounds anxious and therefore quickly
evokes an anxious feeling in you. But a
bad trip doesn't really exist. A trip is
as it is and you will soon learn that accepting
both good and bad will lead to a balanced
existence. Do you have the feeling that
your trip is not going exactly the way you
want. Then go to another room, change the
light, put on different music and talk about a
different subject. Because you are very in
the moment while tripping you sometimes seem to
end up in a loop. If this loop does not
feel comfortable, it is a simple matter of
stepping out of the loop and creating a new loop
that feels pleasant. Be in charge of your
own trip! :)
I would like to end this guide with a different,
more subtle way of tripping. Namely,
microdoses. With this method you can trip
in a very light and subtle way in everyday life
while you are still able to do your shopping or
even work. Microdosing is fun to do for a
while (a month or 2) and then every 4
days. It opens doors in your brain in a
very subtle way and it influences your
creativity. It actually does exactly what
a normal trip does, but spread over a longer
period of time. You can almost say that
you experience an extremely long trip but then
one that you and your surroundings hardly
notice. Almost not, but after a few weeks
you will discover that things will certainly
change and that you will be much more aware of
life. How to microdose? Very
simple. Grab an empty bottle. Put
10,15 or 20 small glasses of sterilized water in
it and put a stamp in the bottle, shake the
bottle well. Put the aluminum foil around
the bottle (against sunlight and so that nobody
accidentally takes a sip of it) and put the
bottle in the fridge. So if you put 10
cups of water in the bottle, you know that 1
glass of water from the bottle is 1/10 of the
seal. Also start with this method light,
so 1 / 20th and build your way up. So it
is not the intention that you really trip. M. If
you feel light that your senses become sharper,
you sit more in the moment but can still have a
normal conversation then you are busy!
Lots of fun!
At the moment I am working on a piece of music
that will function as a magic mushroom trip
guide but in musical form. The piece of
music will last 6 hours and guide you through
all phases of a magic mushroom trip. Also
in keys, tones have been chosen that are equal
to certain frequencies which will change slowly
during the duration of the trip.
I expect to present this piece of music sometime
in near future.
Gino Aka JEANS
---------------------------------------------------------
_
_
_
___ __ _| | ___ _ _| | __ _|
|_ ___ _ __
/ __/ _` | |/ __| | |
| |/ _` | __/ _ \| '__|
| (_| (_| | | (__| |_| | | (_|
| || (_) | |
\___\__,_|_|\___|\__,_|_|\__,_|\__\___/|_|
___
_
/\ / \
_ __ ___
__ _ __ _(_) ___
/ \__/O O \ /\
| '_ ` _ \ / _` |/ _` | |/
__| \
/ \__/ \
| | | |
| | (_| | (_| | | (__ \___\ \___/
__/
|_| |_| |_|\__,_|\__,
|_|\___| /
/
|___/
/
/
*
*
*
*
o O
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%
*
* *
________________________
%
X
|
____________________ |\
| | --
-- -- -- - | | \ % o
| |
/_/ /\/ /_/ / / | | |
x
| |____________________| | |
O
| ___
___ ___ ___ __ | |
@
| |on_||_C_|| +-|_%_|__| | |
o
| ___ ___ ___
___ | |
| |_7_||_8_||_9_||_x_|
| | o
| ___ ___ ___
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| |_4_||_5_||_6_||_-_| | |
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| ___ ___ ___
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| |
|________________________|_/
A littlebit of interactive experimental computer
archeology.
A loooong time ago somewhere in the 1970s
calculators entered human civilization...
They were seen as supercomputers, sentient A.I.
technology, delphic
oracles that could solve all the worlds problems. Of
course like any
new technology people would also be against
calculators. They would
protest in fear, burn down calculator stores and
speak of doom and
gloom for the world if everyone started using one.
The aura of mystery around calculators would be
hyped up by books
which showcased all sort of magic tricks and games
that could be done on
these wondrous machines.
People would spend their Saturday evening having
calculator parties: Some booze, some reversed
pineapple cake with canned cherries, some
Kraftwerk and Jean Michel Jarre records on the
record player and in the middle of it all - a
calculator.
A whole world of digital wonder and proto cyberspace
lay open
in the 9 digit LED screen. The first futile steps in
the digital
age had commenced...
Relive these exciting times in this interactive
archeology experiment!
Get out your old calculator and astonish yourself
and your friends with the following calculator games
and tricks:
THE DEVILS NUMBER
This game particularly
caused an outrage in evangelist circles and got
the calculator almost banned in the USA. Enter
your date of birth in the calculator
Day/Month/Year If you are born on 22 December
1988 then you enter 22121988 now press the
divide key and enter the current date.
So if thats 23 december 2020 you type 23122020.
Press the = key
now add 1332, press the = key and divide by 2.
CALC'O'WAR
You need 2 players for this.
Put the calculator between you and the other
player. One player holds their finger above the
1 key, the other
player holds their finger above the 9 key.
Countdown from 3 to 0 and shout GO!. Both
players try to press their key (1 or 9) as fast
and as many times as possible. After 3 seconds
both players stop and look at the screen - the
player with the most digits on the screen has
won!
THE LOL TRICK:
A little calculator trick that was popular in
Holland.
Flip your calculator 180 degrees, Type in 707 + 707
and see what appears! Now this is interesting
because of course 707 flipped comes out as LOL and
the answer is even more mesmerizing. But LOL
didn't mean anything back in the 1970s except in the
dutch language where lol translates as 'fun'.
MINE FIELD OF CALCULUS
Calculator top entertainment for 2 players. You need
a small strip of paper to put over the calculator
screen.
Give the calculator to the other player. They will
enter a secret number from 1 till 8 which they will
not disclose to you. The calculator is put in front
of you with the screen concealed with a piece of
paper.
The other player now has to traverse on the
calculator keys from 0 to 9
without stepping on the mine, which is under the
secret key number.
The player starts at 0 and can move to any adjacent
number key: up, down, diagonal and sideways.
if the player lands on the secret key number the
other player shouts BOOM! and its game over.
If the player lands on a adjacent number key of the
secret number key the other will say WARM...or Alert
or careful!? whatever you like.
When the player lands on 9 they win and the other
player has to give them a piece of chocolate.
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___ __ _| | _____ _ __ -
| '_ \ / _ \| / __|/ _ \ '_ ` _ \ / _` | |/ / _ \
'__|
| | | | (_) | \__ \ __/
| | | | | (_| | < __/
|-
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-O-
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-_-O-
-O-
By S.hadow Wolf
A little apreciation blurb about this awesome free
VST software
synthesizer from Switzerland called TAL NOISEMAKER.
Its old already, from 2010 or something, so we can
maybe speak of something like a vintage VST! Its
both for PC and MAC and can be downloaded here
I have used this thing probably for almost a decade
now on countleses of records and I will probably
keep using it forever. Most of the time, software
gets obsolete quickly, especially VSTs but
Noisemaker has
this timeless character.
The interface might be a bit confusing at first
glance, with certain sections of the screen that are
hidden, but they can easily be expanded and folded
by just clicking on them so there is really not much
confusion going on.
Its a 3 oscillator substractive analog emulation
synthesis VST but it got some interesting tricks up
its sleeve...
First of all there is a huge selection of filters.
The usual 12/24 lowpass, bandpass, hipass, a very
juicy 18 db filter , and even more exotic: a 6db
filter, this one especially has a unique raw yet
smooth sound.
Another cool function is the envelope editor. A
'drawable' modulation envelope LFO which you can
loop. Just draw your own LFO waveform/envelope,
select the speed, the modulation destination and
choose if you want to let it loop or do a 'one shot'
trigger.
In the control section we find some more cool
functions. There are effects such as reverb and
delay, a bit crusher and two sliders for 'vintage
noise' & filter drive which give your sound a
rather appetizing dusty character.
TAL NOISEMAKER PRO TIP
In the control section, turn up Cont & Cut off
on the Velocity sliders(make sure the CONT knob in
SYNTH2 filter control is low or at 0, so the filter
has more 'velocity headroom'). Set the filter type
to 18db or 6dB. Turn on Portamento in auto mode,
with around 10 - 15% portamento amount. Make sure
its in mono mode (voices: mono). Now program some
sequences where you have some overlapping notes so
they make slides.
B
A#
A
=== <-----
will make a high slide from the
G#
.
lower note at E to A and goes back
G
.
F#
.
F
.
========
E ===
===========
.
D#
.
D
===
===== <--- Will make a low
C# slide from F to D
C
1.......2......3......4......5......6...... etc.
This will be an excellent recepy for intense fluid
raw rough acid lines!
TAL software also just released a Jupiter 8 VST for
a very friendly price , I haven't checked it out yet
but I am sure its awesome!
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| '_ \| |/ _` | '_ \| __\ \ /\
/ / | '_ \ / _` |
| | | | | (_| | | | | |_ \
V V /| | | | | (_| |
|_| |_|_|\__, |_| |_|\__|
\_/\_/ |_|_|
|_|\__,_|
|___/
_
_ __ ___ ___
___ _ __ __| |___ _
__ _____
_____
| '__/ _ \/ __/ _ \| '__/ _` / __| | '_ \ / _ \ \
/\ / / __|
| | | __/ (_| (_) | | |
(_| \__ \ | | | | __/\ V V /\__ \
|_|
\___|\___\___/|_| \__,_|___/ |_| |_|\___|
\_/\_/ |___/
!!!!!!!!!!!!!!!!!!!
!!!!!!!
!!!!!!!!
!!!!!
.....
!!!!!
!!!! .....
___
_-_
!!!!
!!!! ..... -___-
_- -_
!!!!
!!!! ... _-_
_-
-_ !!!!
!!!!
_-
-_-
- !!!!
!!!! _-
!!!!
!!!!!
!!!!!
!!!!!!!
!!!!!!!!
!!!!!!!!!!!!!!!!!!!!
Ok, this is not really news,
just a little list of the latest
Nightwind Records releases:
NW023 LEGOWELT - TIPS FOR LIFE listen here
NW024 ZANDVOORT &
UILENBAL - FOLK TRIUMFATOR listen here
NW025 LEGOWELT - PANCAKES
WITH MIST listen here
NW026 SHADOW WOLF CYBERZINE
COVER TAPE 1 - VA listen here
NW027 SMACKOS - EDEN IN A SEA OF MISERY listen here
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__ _ _ __ ___ | |__ (_) ___ _ __ | |_
| |_ _ __(_)_ __
/ _` | '_ ` _ \| '_ \|
|/ _ \ '_ \| __| | __| '__| | '_ \
| (_| | | | | | | |_) |
| __/ | | | |_ | |_| | | | |_) |
\__,_|_| |_|
|_|_.__/|_|\___|_| |_|\__| \__|_| |_|
.__/
|_| o
o
o
_
___ ___ _ __ ___ _ __
___ __ _ _ __ __| | ___ _
__
/ __/ _ \| '_ ` _ \| '_
` _ \ / _` | '_ \ / _` |/ _ \ '__| /\
| (_| (_) | | | | | | | | | |
| (_| | | | | (_| | __/ |
/ \
\___\___/|_| |_| |_|_|
|_| |_|\__,_|_| |_|\__,_|\___|_| |] |
__ ___/\
______--- /\
| |
o ____/ \ /
\ ____---
/
\
|] |
_/
\ / ____---
o |]
|
| |
/ _/__---- / \ \
o | |_-_-_-_-_-|
|
___---
//\ \ \____
|]
\
__----
/ ____//__\ \____ \ o | ]
] ]
\_
/ [_____ ___ _____] \__
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\
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| |
\_ /
_____/
____
o / |_____|___|_____| \/
/
/ \
/
|
|
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_____/ \
/ \_______________/
/
\
A feature length
animation coming early 2021!
The animation portrays the story of Samantha
Tapferstern who lives a lonely mundane life
working as a repair technician in a small
synthesizer store in a medium sized city. One day
she gets a mysterious invitation and a train
ticket to travel to a small village in the dark
mountainous heartland of Europe. Here she meets a
strange group of people who introduce her into a
sinister plot.
I am going to do a tour showing the animation and
doing the
soundtrack live on synths - if you want to book it
in your
theatre, space, club whatever contact my agent.
Check out some screenshots from the animation here
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| '_ \| | | '_ \/ __| /
_ \/\ | '_ \| | __/ __|
| |_) | | | |_) \__ \ |
(_> < | |_) | | |_\__ \
|_.__/|_|_| .__/|___/ \___/\/
|_.__/|_|\__|___/
|_|
Some blips & bits for the 'last page' of this
issue...
Intergalactic FM TOP XXX
Intergalactic FM The Hague's
worldwide internet radiostation for freaks of all
kinds is doing another TOPXXX on 26 December
transmitted live via Intergalactic.fm/cbstv
This year is dedicated to just vocoder tracks!
Lift-off is 1600 Central Intergalactic Time (CIT)
and you can even be there if you manage to catch an
invite.
Details regarding this will follow!!
Legowelt stream on New Years
Eve
The PIP club in The Hague is going to do a New Years
Eve stream
with a Legowelt live gig. It will be from 20.00 till
2.00 (C.E.T.)
Also playing Pasiphae & Intergalactic Gary,
Elias Mazian, Some Saturn & Tom Trago. I will
play from 23.00 till 0.00
Keep an eye out on the PIP clubs social media to see where etc.
I wish you a fantastic 2021!!!
S.hadow Wolf