For a few weeks there were no new albums produced, but today the first Father Valium, “Lobotomy 2017” is out as CHUNK067. This is the first pure Techno drums, sequences and filters driven, almost energic and sometimes strange tracks. Should be heard loud.
It was back in the springtime of 1988. I had finished my Gyrator tape “Missing Girl File Closed” and a few of them copies were sent across the country. You can have a listen here:
Remember: there was no internet available, everything was done by letters and packages, delivered by the postage system; maybe -well, just the talking- by telephone.
Ok, one day there was a letter in the box saying that a promotion company heard my tape and wanted to do a studio demo to sell it to a label. Hm, that didn’t sound bad. So, after a while there was a contract of four or five pages with lots of judicial odds and ends which I can’t remember of. And: For the whole service I had to bear part of the costs, 1000 DM, which would be paid back when the record sells. Anyway, this is a point where I had to take a break. But I didn’t. I signed the contract, I paid the 1000 DM, and in the summertime I arrived in a well-known studio in the north of Germany where I had to spend the next two or three days.
As most of the machinery was absolutely new to me, there were two studio engineers which I had to work with… and as they both preferred rock or hard rock music and they couldn’t cope with my idea of drum machines and noise guitars, things started off in a hardly way. I wanted a reverb on a final track – “this is not possible”, I wanted to add more effects here or there – “can’t do”, and the first day I struggled most of the time with the technicians, it was more frustrating and not very productive.
On the second day we recorded a new version of “Missing Girl File Closed” which came better, and worked out. Then, another visitor arrived to whom I had a good wire (he was also interested in the upcoming sampling technique and HipHop) and we produced an unpreprared HipHop-Like track with lots of scratches and starting samples directly from vinyl into the beat, and this part was most of the fun, and the track was not bad – when I’m listening to it today I must admit, it’s kinda silly and poor:
This is the other song – Actually I don’t like my voice on this track, and all sounds like tidy and clean which I never liked in the first place
After the recordings I returned to a friend; a few days later it was supposed to do the end mix, and I took this friend with me. I don’t know what has happened but they didn’t let me into the studio and talked about “oh there has been some appointment overlay, and we have to do the mix later”. Hm, ok, their reaction was some kind of strange, but a few days the mix was done, and I made copies of the songs to an audiotape because the original tape (on the band machine) were sent to the promotion company who told me that there maybe some label interest for the “Missing” track.
But then the weeks turned into months, and nothing more happened. I once called the promotion company, but they hadn’t any news for me, and they never called back after this. If I didn’t record my tracks to this audiotape, I would not have the recordings today.
Over all: Fuck ’em, I guess the whole thing was a scam, a make believe, they just wanted to rent some studio time for a small price because they couldn’t sell it otherwise. I must admit that the time in a professional studio was some kind of interesting, also kind of fun (especially the later days). But was it worth 1000 DM? I’m not sure… but I’m sure that I liked the experience over all, and never really regretted it…
I almost forgot that there is one new album after the 2-year-plan. The name of the new artist is Takuya Mitarashi, and what he does, is loopy strange sound: Starts off like some kind of safespace… but then really fast turn into a cacophony of sounds, noises, accords and single tones and compounds, finally left off into the delay chamber. Anyway, it’s a hard listen, and I did not find it so remarkable these times. This is CHUNK066.
Meanwhile I combed through my archives, and I found some old stuff from the late 1980s, 1990s and also the early 2000s in my vault. So I put up eight another albums from back of these days:
First there are the Maffick series –
As the original tapes aren’t available anymore, the first is a compilation from these tapes. Strange, noisy industrial ebm like stuff primarily based on samples:
The second is just another compilation of stuff that was never released and some “second best of”:
The third one is another compilation with some re-mixes, more unreleased tracks, but they might be some overlaps with the two first compilations:
From the early 2000s there are two more Arc Maffick albums. Still hard, uncompromising EBM-Industrial beats which were not released properly ever before; now based primarily on synthesizers and drum machines:
The last one from the Maffick series is Coma Coma’s “Coma Coma Boom Boom” which is also ebm and industrial based, but sounds much more friendly:
The second production line is the Coordinator series. Derived from HipHop-Samples, the music turned out into some kind of strange industrial HipHop instrumental tracks which few distorted vocals – this could have been some early proto-vaporwave. For this time there are two albums (released as tapes, edition of 10 or 12 back in 1988 and 1989):
There are still a few in the archive pipe, so stay tuned.
But the future is now more important than these yesteryears. What is definite: there will be another Killjoe album, another Takuya Mitarashi, and maybe Drinkfish will do one. There are more projects, but they just in “planned” stadium, so no definites about the names or the styles.
I’m still owing the fourth part of “What the hell is going on in the local music business?”. Ok, here it is:
In March 2016 I visited another club here in Mannheim called “k***b**” for a reading. It was a cozy-cold place with some punk appeal and a room in the souterrain with the possibility for a band to play. After everybody has gone I asked one of the remaining persons who I have to contact to make a concert here. The one who said he was the owner of the club, I told him that I sent an email before but there was no answer. So I played him a part of my “Dublicist”-tracks, and he said “It just doesn’t swing enough.” Wtf? Dub-Reggae isn’t “swinging”, never. Anyway he told me I should send another mail with a link to my music and that’s what I did after, but I decided not to promote Dublicist any longer in this case, but Pegmayer. I asked via facebook if the mail has arrived, and the answer was yes. Then I got the answer, my concert could take place at May 18th, and if I would have enough stuff to outlast three(!) hours. I wrote back that three hours Pegmayer might be a bit of exhausting and/or boring, so I offered him two more projects: Splicix and Electric Boogers (both need more volume than Pegmayer, so Pegmayer would be the chill out.. this might be a necessary point here because in Jungbusch quarter it’s forbidden to play loud music after 23.00). Guess what?
I got no answer anymore – even I asked again. Instead a few days later on their facebook page a performance schedule appeared, and who was scheduled on May 18th? Apparently not Pegmayer, just another DJ or electronic act or something. So I asked again via facebook and someone answered that the date was already reserved… but why I didn’t get this information just straight? So I suggested another date at July 13th, from which I thought the running was long enough (2 months!) not to conflict with other reserved dates. No answer, once again. After a few days I rated this place with one star at facebook with an objective justification.
It lasted just a few minutes that I got an answer! But what: I was just insulted in a way that might be called “anti-social” – not one line of straightness or fair-mindedness, just stupid hate text. After a while I decided to take down my rating and immediately: no answer again. So I tried again to “talk” with this “facebook friend”, but it was useless – there were no appropiate answer, and I put on again my 1-star-rating. There are still some answers to my rating where anybody can get an idea how communication works in those realms.
Anyway, I have given up my plans to play any concerts here, and I will not attend concerts nor go to clubs anymore spending money on them. It’s not worth it. I won’t support these kinds of ridiculous behaviours anymore.
It can work in another way: I also mailed some clubs in the USA, and I got normal answers in spite of those were refusals. So, what’s wrong with the people here in Germany?
The 2-year-plan has finished with CHUNK064. For a short overview CHUNK065 is a “Best Of” from the last ten years. Not all artists or projects could be involved as there was a limitation to 25 tracks and roundabout 2 hours playtime. Listen to it at bandcamp (it will not be uploaded to youtube):
Also the back catalogue has been restructured on bandcamp to bundle the releases: https://chunkrecords.bandcamp.com
The free download period is over – the normal price is now 2€ per digital album, but you can buy the complete back catalogue with a 60% discount: 65 albums for 52€.
The catalogues of artists which produced three or more albums are also available discounted 40%. The link is in the main catalogue album description.
The changes have some impact on the availabilities on this page – they will be repaired in the next weeks.