bemerkungen / liner notes
sota

state of the art=stand der kunst auf dem 'KLANG25' festival in Wien (2018),
irgendwann, bei einem unserer treffen hier in Berlin, hatte ich Walter Robotka (dem labelchef von 'Klanggalerie' (Wien)) vorgeschlagen, die projekte/bands seines labels doch auch live zu präsentieren. seine bedenken, dass er keine erfahrung im konzertmanagement habe, waren nicht zu ignorieren. aber zum jubiläum seines labels (2018 wurde 'Klanggalerie' schon 25 jahre !! alt), lud er einige der interessantesten projekte ein (John Avery (Hula), Simon Crab (Bourbonese Qualk), Zahgurim, Ron Wright (Hula), Thighpaulsandra (Coil), Tabor Radosti, Zea (The Ex), Renaldo & The Loaf, Rapoon, und Eric Random (Cabaret Voltaire). sie sollten live im 'Replugged' club in Wien ihre aktuelle musik vorstellen. auch für 'Non Toxique Lost' bot er an, reise- und hotelkosten zu übernehmen. wir ('Non Toxique Lost') beabsichtigten, mit Achim Wollscheid, Jammin' Unit, DJ Vrhovny und Sea Wanton an dieser veranstaltung teilzunehmen. doch da es einige probleme gab, bestand letztendlich das line-up am 16. 6. 2018 nur aus Jammin' Unit + Sea Wanton. Am sonntag trafen sich dann die organisatoren des festivals (Lisa und Walter) mit einigen der teilnehmenden künstlern (und ihren begleitern) zum frühstück. Die gespräche dabei, das kennenlernen (ausserhalb des musikbetriebs) wird mir in guter erinnerung bleiben. Ja, es ist gut, dass es solche menschen, solche musik, solche unterschiedlichkeiten gibt, die einen wohltuenden gegensatz zum augenblicklichen trend der konformität, gleichgültigkeit und nationalismus anzeigen. das konzert wurde zwar mitgefilmt, jedoch gab/gibt es keine expleziten tonaufnahmen davon. 2 wochen nach dem auftritt wurde dann das gesamte programm noch einmal im studio aufgenommen und entspricht relativ genau dem live erlebnis. Genesis Breyer P-Orridge hat vor einigen jahren eine beschreibung abgegen (siehe den englischen text unten, 'thee Industrial Records story'), die auch für solche aktivitäten wie 'state of the art' und das 'KLANG25' festival gelten könnte. wir schliessen uns dieser an.
Sea Wanton (Berlin, 20181024 1834)

translated:

sota

state of the art at the 'KLANG25' festival in Vienna (2018)
At one of our meetings here in Berlin, I suggested Walter Robotka (label boss of 'Klanggalerie' (Vienna)) also to invite the projects / bands of his label to play live. His arguments and his concerns, that he has no experience in concert management, were not ignorable. But for the anniversary of his label (2018 'Klanggalerie' was already 25 years old!), he invited some of the most interesting projects (John Avery (Hula), Simon Crab (Bourbonese Qualk), Zahgurim, Ron Wright (Hula), Thighpaulsandra (Coil), Tabor Radosti, Zea (The Ex), Renaldo & The Loaf, Rapoon, and Eric Random (Cabaret Voltaire). They were to perform live at the 'Replugged' club in Vienna and present their current music to the listeners. For 'Non Toxique Lost' he also offered to cover travel expenses and hotel costs. We (in 'Non Toxique Lost') intended to attend this event with Achim Wollscheid, Jammin 'Unit, DJ Verhovny and Sea Wanton. But there were some problems and, finally, there was a line-up on 6/16/2018 only from Jammin' Unit + Sea Wanton. On sunday, the organizers of the festival (Lisa and Walter) met some of the participating artists (and their escorts) for breakfast. Talking about music, getting to know the artists (outside of the music business) will stay with me in good memory. Yes, it is good that there are such people, such music, such differences that indicate a beneficial contrast to the current trend of conformity, indifference and nationalism. The concert was filmed, however, there were no explicit sound recordings of it. 2 weeks later, the whole program was recorded in the studio again and corresponds relatively exactly to the live experience. Genesis Breyer P-Orridge made a description some years ago (see text below), which could also apply to such activities as 'state of the art' and the 'KLANG25' festival. we join in this.
Sea Wanton (Berlin, 20181024 1834)

thee Industrial Records story --- copyright Genesis Breyer P-Orridge (excerpt, taken from "TG CD1", Mute, 1986) "Industrial Records began as an investigation. The 4 members of Throbbing Gristle wanted to investigate to what extent you could mutate and collage sound, present complex non-entertaining noises to a popular culture situation and convince and convert. We wanted to re-invest Rock music with content, motivation and risk. Our records were documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion was an enemy, style irrelevant. We wanted to also investigate music as a Business phenomenon and propose models for entirely new and innovative modes of commercial operation. A parody and an improvement ...We wanted to make music and records more effective and relevant to our Industrial society, and we wanted to make business more efficient and creative as well ... Big records companies produce records like cars; we are connected to a contemporary social situation, not a blues orientated past style; we work hard for what we want, we are industrious; we parody and challenge large industrial companies and their debasing ethics and depersonalisation; ... industrial labour is slavery, destructive, a redundant institution ... Our records are a combination of files on our relationship with the world and a Newspaper without censorship ... INDUSTRIAL MUSIC FOR INDUSTRIAL PEOPLE.You Get what you deserve. Or do you ? Well, from the people with a vested interest in controlling and guiding society to follow their recommendations as to what attitudes you should have, what motivations should govern your behaviour and what goals you should be satisfied with, you DO NOT get what you deserve. You get what you are given, and what you are given is primarily conditioning that pushes you towards blind acceptance, wasted labour, frustrated relationships and a vast sense of hopelessness. We are trained to feel we are not responsible or in control of our society and world so that we will continue to let "Leaders" look after us like parents with retarded children. Leaders are not essential, we are TAUGHT to believe we need them, that we are not able to assume responsibility for ourselves. Lies created leaders, lies perpetuate leaders, lies destroy joy and creativity and hope ... bundesregierung no one here is a leader. We assume full responsibility for ourselves. We will not be deflected from our destiny. OUR LIFE. There is currently a trend back towards total control and safety in the record and music industry. Groups are styled, hyped and successful before they even release a record. Old outlaws and thinkers are opting for security, comfortable records that apply radical discoveries to banal musical ends. Show business and its inherited goals and justifications are triumphant again. The public is seduced and cheated by emptiness packaged alluringly in cheap tinsel. Fear is the Government once more ...Truth and hope have no boundaries, no set style, they are implicit most clearly in the way you choose to live. The title of the last record issued by Industrial tells the rest. "Nothing here now but the recordings." Or perhaps there is ...