Jammin' Unit (left)+ Sea Wanton (right) (image copyright W. Nowak, 'stills.eraserhead.at')

"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 (Zoviet France), 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 (Liza 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." (liner notes by Sea Wanton, Berlin, 2018). the 's.o.t.a.' (cd) album will contain all the songs and will be available in the end of 2019 at the 'Klanggalerie' (Vienna) label/shop.

current:

1. "Hi, First of all, thanks for your enormous patience! After going through all of the 1809 tracks submitted this time to Side-Line since April for the new FACE THE BEAT: SESSION 5 compilation, I'm happy to announce that YOUR submission has been selected!" (Bernard Van Isacker, Chief Editor Side-Line Magazine, www.side-line.com).

recommended:

the 'concrete shelves' blog by Matteo Uggeri (he's also in 'Sparkle Of Grey'). here, Sea Wanton talks and explains ...
and you can listen to our muzak at although we prefer to publish our albums as 'digital downloads', some are archived on a physical medium, for example on 'compact-cassette', 'CD', 'CD-R', 'card-sized usb flash memory','VHS-cassette',or 'vinyl'. fanatical collectors should try their luck at . to contact us, please write at: 'resistance(at)nontoxiquelost(dot)de'

/bin/med/usa, (album originally released as a cd by 'Dossier', review by Alan Milne, from 'Heathen Harvest', 2007)
"Now I have a confession to make here. Quiet at the back whilst I’m rambling. I have a deep respect for all things German. Love their cars. Love their food. Even some aspects of their dubious politics through the ages hits a chord with me. Which kind of includes their uniforms and medals and all the military memorabilia in those conflicts which we are not supposed to mention for fear of being labelled a certain type of person. If you know what I mean. See Lemmy out of Motorhead or Ron Ashton of The Stooges as examples. The country is fantastic to drive through and their Frauen divine examples of Germanic beauty. This is by the by though. I’ve held a secret fascination with German music ever since I first heard Amon Düül II and their mighty ‘Yeti’ release way back in 1970. I followed that up with a serious love affair with Der Plan and DAF ('Deutsch-Amerikanische Freundschaft') and all their ilk in the proceeding years. By fuck that was good times for German music. Then I got into all the EBM and heavy Industrial stuff, far too many groups to mention here, and I still find myself drawn to anything remotely connected to the German music scene even today. A special mention must go to Einstürzende Neubauten who are still going strong. Resilient fuckers old Blixa Bargeld and co. Which ties in nicely with this review for the latest 'Non ToxiqueLost' release ‘/bin/med/usa' which I’ve had spinning away for the last few days…not the act hardly known but by only a select few, including me who adored them, Last Few Days who were something else in every respect…and golly gee whiz if this isn’t a fucking ace release that, at the very least, demands you should hear it at least once in your lifetime. You know that feeling you get when you hear a piece of music for the first time and you get this strange sensation going up and down your spine? Well ‘/bin/med/usa’ did that for me. The funny thing is that in reality the recording isn’t original in any shape or form…but it has that ‘certain something’ that just can’t be described to it that makes you go kind of ‘wow’ when you hear it. Or that could just be me because I’m wired up and weird that way occasionally. 'Non ToxiqueLost' have been around the block for ages now. Part of the early 80’s German Industrial counter culture they have ploughed many a field in different musical genres over the years. Flitting seamlessly between whatever takes their fancy at the time. You just never know what to expect from these guys. They take their music from many influences and mould it into their own sound which they are currently experimenting with at the time. This approach to their music is shown to great effect in ‘/bin/med/usa’ where dance meets rock…and takes in experimental and other musical styles at a whim. There are traces of DAF, Seilwolf, Einstürzende Neubauten…even Die Krupps…to be found lurking within these 16 tracks that twist and turn with an assured Nonchalance that can only be admired. Take the first track 'adresse:boese' for instance that starts with some static and German vocals before descending into a turbo charged electro techno light nightmare of beats and screamed vocals. Or how about the DAF (ish) ‘die schneekoenigin’ resplendent with a thumping drum beat. If that doesn’t seem your thing then maybe ‘buchenwald’ and ‘opium 2’ with their sludge rocking style would be to your liking. Looking for a sexy laid back groove…then seek out ‘Wendy’ for your kicks. So many highlights in a quite superb and highly engrossing recording all given that added sparkle by the German, and some English, vocals which are screamed, barked, mutilated or crooned. They rage. They rant at fuck knows what. They seduce. They fuck you over, in a nice way, like porn studs on ten tablets of high dose viagra. They are 'Non Toxique Lost'… and don’t you ever fucking forget it. 'Vorsprung durch Technik' (translates to: 'advance by technology', note by Sea Wanton). Sea Wanton (vocals, effects), C. Reichelt (electronics, drum machines, effects) and A. Türpitz (electronics, drum machines, effects, guitar) are the guys to thank for this impeccable recording. Buy it. Play it. Embrace it. Love it. Then send me an e.mail of thanks for leading you directly to this fabulous release. It’s the least you can do."

'sam 41643' (from 'Träneninvasion')
 

G. W. F. Hegel 'Hic Rhodus, hic salta' The origin of this odd saying, whose currency is largely due to Hegel and Marx, takes a little explaining. Its original form is 'Hic Rhodus, hic saltus' ('Rhodes is here, here is the place for your jump'),  a traditional Latin translation [see, e.g., Erasmus, Adagia 3. 3. 28] of a punchline from Aesop. In the fable 'The Braggart' an athlete boasts that he once performed a stupendous jump in Rhodes, and can produce witnesses: the punchline is the comment of a bystander, who means that there is no need of witnesses, since the athlete can demonstrate the jump here and now. The epigram is given by Hegel, rather out of the blue, first in Greek, then in Latin (in the form 'Hic Rhodus, hic saltus'), in the Preface to his Philosophy of Right. [Georg Wilhelm Friedrich Hegel, Grundlinien der Philosophie des Rechts [Sämtliche Werke, ed. Hermann Glockner, vol. 7] (Stuttgart, 1928), p. 35.] He does not explain what the proverb meant in its original context (without which it can hardly be understood); indeed a comment he makes about jumping over Rhodes suggests that he may not have fully understood it himself. At any rate, he then offers an adapted German version with a different meaning, 'Hier ist die Rose, hier tanze' ('Here is the rose, dance here', an allusion to the rose in the cross of rosicrucianism, implying that fulfilment should not be postponed to some Utopian future), punning first on the Greek (Rhodos = Rhodes, rhodon = rose), then on the Latin (saltus = jump [noun], salta = dance [imperative]). Marx adopts the saying in the Eighteenth Brumaire of Louis Bonaparte [Karl Marx, Friedrich Engels, Werke (Berlin, 1956-83), vol. 8, p. 118.], where he first gives the Latin, in the form 'Hic Rhodus, hic salta!', a garbled mixture of Hegel's two versions, and then immediately adds 'Hier ist die Rose, hier tanze!', as if it were a translation, which it cannot be, since Greek Rhodos (despite what all the standard commentators say to the contrary), let alone Latin Rhodus, does not mean 'rose'. The confusion, both deliberate and inadvertent, does no credit to either Hegel or Marx as classical scholars, and the epigram loses much of its original power - as well as its original meaning - in their hands. They were evidently intent on turning it to other purposes, but it seems doubtful whether their attempts to improve on Aesop have been of much use to their readers. Special thanks to Terrell Carver for assistance with this account. (taken from: http://berlin.wolf.ox.ac.uk/lists/quotations/quotations_by_ib.html)

A mother speaks out about noise music
"Noise Music" is an awful form of music that is more unpleasant and psychologically destructive than the worst forms of Heavy Metal, Rap, and Punk Rock. It has no musical structure and spreads a gospel of desensitization, anger, degredation and harm. It is growing in popularity and is a threat to families and children that can't be ignored. The main problem with "Noise Music" is that it represents a complete acceptance of a "human order," and a complete rejection of the civilized world, which is built upon the natural order--Gods Order. We were given harmony and melody to sing joyous songs, not to wallow in depraved human misery and pain. Art and music was given to us to bring joy, happiness and lift the spirit, it is the sound of our soul. Children always want to rebel against what ever their parents don't like, this is a natural phase of growing up- people need to walk with their own feet. But this is something else--a systematic distorition away from everything that is good and towards our destruction as a people. Noise Music is unnatural. It is natural for animals to communicate with sound but to flee harsh sounds and sensations; it is also natural for animals to follow patterns from previous generations in their communication. An animal that does not protect itself against painful stimulus, and does not behave like the the others in its flock is a sick animal--possibly suffering neurological damage or post-traumatic stress dissociation."Noise Music" is a contradiction in terms--since Noise is not Music, and Music is not Noise, by definition!

A night in the garbage-press - an Australian escapes from being killed at last second (Sydney)
After a night having been pissed off in a pub, an Australian from the harbour city of Perth found himself in a garbage-press and made only a narrow escape from being killed. He could remember how he got into the garbage-truck, said Wayne Griffin to the tv channel "Channel Seven" at wednesday evening. He only woke up, when bits of glass pushed themselves into his body and he saw the hydraulic cylinder of the garbage-press approaching. But the supervison cameras of the police had screened, how three men had pushed the 40 years old retailer into a garbage-container, which had later been cleared by the garbage-truck. (AFP) / 09 / 29 / 2005 7:55 A.M.

ogre-sse originally released on vinyl by 'Vinyl-On Demand'

'Guess that NTL was the first (and only) band I played with , that didn't require identification of sorts - neither with a name, nor a principle, nor a style. What probably united those associated with that name was a shared unease within a cultural rule, that after the political ossification of the 70s began to spread throughout art and music - the need to even design protest or subversion. A reaction to this was NTL's 'non'- style - no rock, no punk, no experiments, no recycling and no improvisation...- or bits of each, condensed in a thick amalgam, if needed. Though most of NTL's pieces didn't entirely cross the borders of the 'song-principle', the virus of disintegration was pretty much alive. Within, and sometimes even without...' liner notes by Achim Wollscheid (2003), image courtesy of 'alternation.pl', live at the 'Wroclaw Industrial Festival IX', (Wroclaw, Poland), 2010-11-13 20:30

"In few words, what was (if there was one) the political / social "message" of NTL during the early days? What it is now ?" (question by Eric Duboys, answered by Sea Wanton, 2011, in preparation for the 'INDUSTRIAL MUSICS Volume 2' book)

"first approach:
In the end of '82, in the course of a radio-show we are asked: "What do you really want ?". But we could / cannot give a (simple/distinct) answer. If we should know it, we could stop searching.
second approach:
The (still perceivable) world is a complex mixture of many systems. They cooperate, come into conflict with others, overlap, are deleted and re-established again, from time to time. People have constituted their economic, social, cultural politicals systems to ease their existence/subsistence. Historical rules can't be noticed, a class of people, which should plan something revolutionary, seems to be a peril for those like us. Dominance of people over people, but also over the other objects of our world, and, informations are not excluded, is a principle of structure, which is used in almost each "modern" society as a highly effective tool. A permament memory for this fact,the permanet criticism at the "ruling situations", to swap into really different systems makes it possible for a personal structure to survive in the rooms of dominance, which had been constructed by so called "majorities". There resistant behaviour might follow, but also allows an adaptive one, to supply more social-partners with this possibility of this kind of approach. First established in the cultural area, this vision is able to develop as an "subcultural" hold point, can agree to the newest "style", can negate it. Call of programmes, now sound-events, their configuration, new order. Reorganisation until dis-identification, alientation. But must stand the accusation: "What do you really want?" But isn't ashamed of not giving a distinct answer - is more ashamed, if nationalism, racism, capitalism turn somersaults in the heads of our fellow men. If a movement (to name only one: "Punk") is lead to the feeding bowl of the "Rock-music" and music again becomes something, which the brutal rulers of the occident have already once celebrated with a merciless cynism: As the music to salute the maltreated, grated, suppressed. To perceive - to bear - to hold it out - he who doesn't close his eyes may turn. The world isn't yet in (best) order. Solution: he who will not turn - will not change anything ! After Auschwitz there's still a place like Guantanamo. And there other games played than "Blackjack" ..."

thee industrial records story   copyright Genesis Breyer P-Orridge (excerpt, taken from "TG CD1", 1986)
"...It's an investigation. We 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 are documents of attitudes and experiences and observations by us and other determinedly individual outsiders. Fashion is an enemy, style irrelevant. We want 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 want to make music and records more effective and relevant to our Industrial society, and we want 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; we work in an old factory; industrial labour is slavery, destructive, a redundant institutione ... 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. There are NO LIES on this record, 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. On this record are people who were not afraid to think, did not avoid risks. People of all ages are here, from 16 years old to 70 years old. 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..."



möglich
Publiziert am 17. Juni 2019 von Richard Gleim (aka 'ar/gee gleim')
Die politische Aussage von Punk bestand nicht darin, politische Grausamkeiten zu benennen und zu verdammen, sondern darin, unabhängig davon sein eigenes Ding zu machen, und so über den Dingen zu stehen und zu handeln. Das versuchen meine Bücher zu erinnern. Darin besteht auch deren Wert. Ein häufiger Ausruf der Betrachter dieser Bücher ist: “Verdammt, ich bin in der falschen Zeit geboren!“ Welchen Schluss ziehen wir daraus, dass hier gezeigt wird, dass etwas möglich ist?


translated:

possible
Published on June 17, 2019 by Richard Gleim (aka 'ar/gee gleim')
Punk's political message was not to name political atrocities and to condemn, but in doing its own thing independently, and so to stand above the things and get in action. That's what my books are trying to remember. This is their value. A frequent exclamation of the viewer of these books is: "Damn, I was born in the wrong time!" What conclusion do we draw from this that shows that something is possible?