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?
possible Published on June 17, 2019 by
Richard Gleim
(aka 'ar/gee gleim') Punk's political message was
not to name political atrocitiesand
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?
hats off !! (Sea Wanton, on
behalf of 'Non Toxique Lost'). r.i.p. we shall miss you !!
Jammin' Unit (left)+ Sea Wanton
(right) played the
'KLANG25'
festival in Vienna (2018), organized by
Walter Robotka from
'Klanggalerie'.
we performed alongside 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). hats
off to Liza + Walter.
image copyright W. Nowak, 'stills.eraserhead.at'.
and you can watch some parts of the 'NTL' show at 'YouTube'.
the 'S.O.T.A.' (state of the art) album
will contain all the songs and will be available in the end of 2019 at
'Klanggalerie'.
"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 (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)
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).
2. It is planned to play some NTL tracks on
'MUHMURRADIO' and you can
listen to the MUHMURRADIO show from 20190214 here !! (expect the
songs of Suicide, Metal Urbain, Richard H. Kirk, Scars, Duet Emmo,
Marias Bad, Modelbau, The Damned, and, of course, of Non Toxique Lost).
and you can pay a visit to Steve
Cammack (from 'Dieter Muh') at the following site:https://remuhmuration.blogspot.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 'HeathenHarvest', 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.
'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..."
Jammin' Unit (left)+ Sea Wanton
(right) played the
'KLANG25'
festival in Vienna (2018), organized by
Walter Robotka from
'
image copyright W. Nowak, '
will contain all the songs and will be available in the end of 2019 at
'
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. 
ogre-sse
, 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
