Death in June Live in Zagreb 1998

Mon, 1 Feb 2010 03:34:50 +0000

I just found this rare recording of Death in June. Quality of sound is very good.
You can download full concert in 128kbps in the link below:
http://tinyurl.com/deathinjune

there is also a video of the same concert on youtube

MoronTotal - Matrix

Fri, 16 Jan 2009 17:37:28 +0000

MoronTotal
matrix

Credits for video footage(in order of appearance):
Robert Watts - Trace #24,Trace #22,Trace #23
Paul Sharits - Word Movie
Erik Andersen - Opus 74 Version 2
Paul Sharits - Wirst Trick
Ben - Regardez-moi, cela suffit
Paul Sharits - Dots 1 & 2, Sears Catalogue 1-3
Wolf Vostell - Sun in Your Head
Paul Sharits - Unrolling Event
Albert Fine - Readymade
etc.
Source: www.ubu.com

The one and only live VIDEO of Novy Svet

Sat, 13 Oct 2007 00:48:04 +0000

improvisation part1

improvisation part2

FIN.FINITO.INFINITO

Nový Svět
Nový Svêt

KRLJA FESTIVAL reviewed

Fri, 14 Sep 2007 17:58:05 +0000

KRLJA FEST in Sisak 09./10. Februar

"Something is coming"

As soon as I got over the 2-day KRLJA festival there was that degrading question, when I experienced an industrial concert for the last time, that would not escape my head. Have I ever before at all? Oh well, Grey Wolves, Genocide Organ, Propergol and some other occasions, at which knobs have been turned, agitation videos have been shown, paroles have been articulated und ski masks have been worn. But this after all is no industrial. Industrial means shifting paradigms, means breaking up the axis of time by steam hammers, means beginning and radical change. Industrial is thus also a handful of young people, that once were and are still punks in their minds, that organise their first gigs out of nothing, without directing at a certain audience. Something like that is not to be found nowadays in Western Europe. And this sentence wasn't included here out of criticism or defamation; it should rather read: it is not possible by sheer facts. Our time has gone. We had our beginning and we went through much things - maybe not every thing - as much as possible. When today something seems new or revolutionary, it turns out only to be a re-arrangement of proven forms. We know that very well and we also know that this should be no reason to stop enjoying it.

Croatia however didn't experience an industrial subculture of that extent yet. EBM, electro and even neofolk are listened to more often than assumed, there are some rare parties on that, but in summary things happen more tentative and en passant wherefore no really productive, self-dynamical scene could have developed until now. There was also a lack of own projects, that could have sketched out a certain kind of scene identity to the youth. Concerts of Death in June and Der Blutharsch have been relatively well attended, and could maybe even infect some single minds, but basically this wasn't to be considered as subcultural breakthrough. Such has to origin from the very inside and at the moment there are a little few highly promising seeds spread across Zagreb, out of which may grow once a real platform for an innovative sound-art, not only for Croatia or the Balkan countries but for Europe in its entirety. To short-cut: a festival distanced some 17 hours by trans-europa train can't be visited without reason and great expectations.

The small town of Sisak, destined a good few kilometres south-east of Zagreb, shows up alternately rural and industrial, leaving a somewhat irritating impression. Kupa and Save join here and share the fumes and waste water of the local oil refinery and diverse factories. The flames pulsate on the top of the chimneys and mirror impatiently upon the water surface, the streets are often devoid of people and in spite of that repleted by a strange energy. The whole city is overloaded with puissant bridges and crows that would come a-flocking. Sisak is certainly the home of Croatian electro. Also Saša and his project Zarkoff lives here. Teamed up with the female band Dekolaž (again from Sisak) and the UŠUŠUR magazine he organised past weekend the two-day lasting KRLJA FEST at SKWHAT club. That club is located in close proximity to a vast mushroom of a water tower which did evoke somehow involuntary associations with early EINSTÜRZENDE NEUBAUTEN each time we slipped by. In its interior the SKWHAT looked rather sterile, provincial like a youth club. We arrived during the performance of a band of which I never managed to remember its name (despite I've been told several times - inquiries proved it must have been Narrow). At first glance the whole thing seemed rather surreal. The concert hall has been left almost empty while the anteroom and bar was crowded by a lot of more people; punks, alternatives and the usual province youth. That which took its way down from the stage sounded quite minimal-electronic, could have been danced in that way too, as long as this sturdy disenchanted looking guy would not start to kill the rhythm and tempo in this absurd depressive and dark spoken vocal type. More tempo and rhythm however have been delivered later on by Dekolaž.

With this female duo one assumed at first sight a Slavic response to Client. Trashy electro punk dresses, nylon tights and red leather shoes, add to this the chugging uptempo analogue synths and the sensual irresistible voice of singer Ana and you will get the picture. But the British popband turned out to be an inept comparison, as the Croatians showed up with more electroclash, more pugnacity, more hip-shaking sexappeal, even though the gal at the laptop might have done not more than operating the music playback. Yet somehow that was absolutely not the point in this set, the mood in the hall that now filled with a few more people was terrific, everyone was stuck in movement and prominent faces could be recognised: PUNCH:-RECORDS label boss Tairy C. and the Italian band 1997EV made it to Sisak as well, to see that festival with their very own eyes. Well, they saw a lot of things: at the end of the performance some crazed fans (some of them in jogging suits) bursted upon the stage and lay literally at the two women's feet. Everything was engulfed in a brief chaos and the concert concluded amid the blustering applause of 20 to 30 spectators. The Friday evening dropped off into the night, euphoric, dancing, with neon colours.

At the next day Sisak would offer diverse possibilities to have an exhilarant pastime: a medieval fortress, where some 500 years ago an infinitesimal number of Croatians withstood a superiority of 20.000 Turks, pastries shops with endlessly sympathetic business hours, crossings and anonymous apartment blocks that inveigle to get lost and go astray. We had had our fair share of everything on that weekend, and of some things a bit too much.

In the evening excitement increased. Ampoule Andario and Smrt i čekić from Zagreb would go for their first official appearances on stage. Both projects created a few new tracks spontaneously during their soundchecks. After doors opened the same audience situation as on the day before was to be found: the bar fully occupied by a bunch of disinterested youths that had their own (radio-)music to force some kind of counter-event, the concert hall only barely filled, but vivid with dedication and fascination about the performances. Archetypes like uniformed guys, poseurs, tattlers, bored elites that characterize our concert images so damn often were not present here. If a real scene should entrench here in the future, it will look much different from the picture of Eastern Europe that is preset to us by the concert and label activities in Russia and Poland. The rather militaristic post-industrial style of these countries seems mostly just like a well-emulated copy of the West. Croatia in contrast got its own tendencies. This was presented at first by Smrt i čekić. The duo immediately dashed off with a pressing load of electronic crashwaves. Tubby pulsating bass loops pushed themselves again and again from the underground to the surface and couldn't resist a dozen rough skirmishes with a whole armoury of improvised noises. Singer s.mor never stopped to scream some incomprehensible words into the mic, brutally rhythmic articulations echoed along the walls with a thousandfold of reverb, which constituted the essential part of the performance. The whole thing was carried almost without reprieve by an incredibly punching dynamics. You could have danced well to this, probably as long as you would not brake your bones. That which was presented here seemed to be a certain kind of industrial punk in the vein of the French I-C-K, but it proved its otherness by the utter omitting of standardized gloomy effects and a political/meta-political superstruction. Except for the chaos itself there was no pre-programmed concept beyond the music, that would have been planned from the beginning. Then there was this one moment when everything slowed down suddenly and more by a feedback than a synthetic layer a wellnigh sacral atmosphere grew out of the ruins. A short and calm counterpoint to this altogether powerful and noisy first gig of Smrt i čekić.

One of the two musicians remained on stage for his second project Ampoule Andario which he runs together with the young mamin sin. A plenty of electronic devices and keyboards was spread upon the desk and a vast TV-set had been placed with the screen in front of the audience, plugged with an old C64 that would be operated by joystick. The mood that unfurled from that anachronistic instrumentation is difficult to couch in terms. The buzzing sine waves impended coldly and abstract in the room and sometimes it seemed they would pierce through the boundaries of music and lose the human contact, what in fact has been an unexaggeratedly appalling experience. Then they were cast back down to earth each time with more rhythmic parts and the whole set oscillated between these two poles and in some passages they would touch in the crystalline interim of de-structured and savage sound-chemical reactions, dissonantly yet casting a certain spell upon you. The female vocal parts, in one track even in German, added to that just another, somehow unreal dimension. The whole performance was acoustically under way on impassable, hardly discovered mental paths. Uneasy listening, if you like, intoxicative, a darkness with endless degree of abstraction. Ampoule Andario are like anti-matter set to sound, for single moments their Commodore compositions circled round black holes and rallied again and earned the much-deserved respect of those who witnessed this undisguised experiment.

One brief moment after two statures, veiled in black from head to toe entered the stage. They both wore wigs with red light-emitting diods, who they were and what exactly they did was a complete mystery to everyone. Just a few days after the duo made themselves public as le circostanze strane, the identities behind this project however will remain a secret. On the musical side they seemed most of all ritually, massively hammering and especially ponderous. Downtempo is a wild understatement for that. A bit like Ô Paradis or NOVÝ SVET recorded and darkened beneath a thick blanket of felt and whatnot. Or like a mysterious tribe of island people in the pacific ocean, that was kidnapped by aliens and forced to perform fertility dances in slow-motion on their space ship. I absolutely can't remember how long all this lasted or if it happened at all, but at least a few photos that give proof exist somewhere out there. Anyhow, a totally psychotic experience and presumably the conceivably best substitute for the local punk heroes PARAFIN, that regrettably had to cancel their gig shortly before.

The conclusion was delivered by Zagrob, a more acquainted one-man project whose very good first demo album that even got a quite AIT!- and Nový Svêt-inspired touch, is to be found on the net since some months. Zagrobs gloomy and experimental neo-cabaret songs are home-recorded with a manifold of acoustic and electronic instruments. On stage however he focuses entirely on the vocals and interaction whilst the music is done playback. For the KRLJA FEST he prepared quite a stylistic surprise. The track "Ušušur" tells the bloody fairy tale of an elf- or goblin creature that killed its wife and now vegetates in bitter perdition. Veiled beneath a white mask and irritating with insane and frightening voices and gestures he seemed himself ghostly and demoniac. The music in the background was rather dark ambient oriented, a plenty of deep black layers shifting into each other and only gaining power and pressure by the effects of the vocal reverbs, which sometimes could remind you of very old and ritual Ain Soph (especially "V.I.T.R.I.O.L."). After this very extended track, a few other, shorter ones were played, more catchy, more in the style of the first demo, being swerved into the hall almost like drinking songs to offer at last a more conciliatory end of the concert.

What a pity all of this happened in front of not more than approx. 30 spectators. But this exclusivity in the end had its attractions too - during all the time such an exciting feeling of the unspoilt was in the air. All of these bands had nothing to lose here, which offered them space enough for natural performances and an intimate atmosphere. The fact that even a label like Punch:-Records was interested in this festival, displays well that real potential is present here. And this so very young scene experiences at the moment its most crucial phase: everything is still very fresh, new and energetic. It is Croatia's own kind of industrial. It is Krlja!

Roy L. for www.nonpop.de

I am sorry for teh delay...

Fri, 14 Sep 2007 17:20:29 +0000

I've been a bad leader, I haven't noticed any of your journal entries, I admit. But now I am ready for Changes. I will caress you, I will posses you, I will make you purr like a little kitten. I will stick it in your ear, as if my words were the sweetest sugarcane...Hey baby, I know you adore my sweet talk.

Death is our friend, meat is our lover!

Fri, 30 Jun 2006 18:58:06 +0000

Butcher's House Production proudly presents the criminal industrial label of rome (since 2002)

The label was created by Alessandro Marchettini and Adriano Vincenti (Macelleria Mobile di Mezzanotte), trying to create a great tribute for old industrial scene of Italy and to encourage new projects into this kind of music.

Here you can download free mp3s in 128kbps: http://www.butchershouse.com/index_home.htm

Butcher's House Production Artists:
Macelleria Mobile di Mezzanotte
Der Bekannte Post Industrielle Trompeter
Profile
Acherontia Styx
No Light for Tomorrow
Selaxon Lutenberg
N.
Marat Sade

Psychic TV (Močvara, Zagreb, Croatia 1.10.2004.) Picture Gallery

Sun, 11 Jun 2006 16:58:29 +0000

http://mizantrop.pondi.hr/forum/galerije/PTV/index.html

Psychic TV

Ait! & Nový Svět (Vivaldi bar, Barcelona 25.02.2006.) Picture Gallery

Sun, 11 Jun 2006 16:54:16 +0000

http://mizantrop.pondi.hr/forum/galerije/Novy%20Svet-Ait!/index.html

AIT!
Nový Svět
Nový Svêt

NAVE! second album

Sat, 8 Apr 2006 10:46:14 +0000

This great music is very hard to describe, words are useless, free for download here:
http://www.evanaronson.com/

Second album can also be heard on last.fm nave02

Evan keep up the good work! :)

NAVE!

daredevillive's Last.fm Journal