Erz story for wahwah records FROM short ver.XXvi, short Ver.XXix 05-26.11.2013 part 1
The Dawn of Psychedelic. Part 1, Chapter 1: the beginning … no idols at all, but my jungle boom boom!
Real live story written by W.O.T.
Wolf g.u.i.t.a.r gang is in
zetterlink musik – WoOZ! - Musikkreis – musikstation. In the poor sun, projects and work flow (part two). Rough, unedited version shortened for wahwah supersonic records, spain when they asked for this. Paged, without classified chapter numbers. Prepared for easy reading in book form, 60 signs per line. A very funny writing style is guaranteed by this author, you will never feel boring by reading these impressions from his live story! Best thing: it is all true and based on real expierience.
Chapter 1: No Idols at all, but my djungle boom boom!
Wolf g.u.i.t.a.r gang O.T. in a concert in Northern Germany
When Wahwah records asked me to write about my music, I made the mistake to write a book. After a year I was already up to about 60 pages and more than 25 chapters, as I noticed that no one might print this book. They did not ask me for a book, just for more unreleased photos and some words about my music.
My telephone rings all the time, I don't know who it is, I did not look my email since a month. I was working at the bonus CD, what will come along with the reprint of my ZIPPO ZETTERLINK IN THE POOR SUN LP. - if not sold out here.
And while I am writing this, I let my tiny computer play the bonus CD “Катюша カチューシャ red point on G-spot”, and the more I play it, the more I like it, and I know that this work was done right. Wahwah said, it comes along with the LP, CATALOGUE NUMBER LPS151, as a real Bonus.
There is still an amount of first authentic psychedelic music, the thing I started in after school concerts. On my reprint LP you see some chinese signs. Without having idols you get on faster to develop very special music. I only took things I never heard before to make it recognize to listeners. When all of my fellow musicians hunting for success, by copying their idols, I was blamed by them doing my own speedy things. When my fellow musicians try to copy what they heard, I put a mix of language into my songs. So I claim that I am – maybe still – the first one who put Chinese and Japanese into my songs. But every idea flashes back, so the stone roses tried some Japanese decades later.
For me it is very important, if a composition linked with words, words should have everything you can put into it.
No one wants to know what kind of quarrels I have to stand through with all my associate people around me for the survival of art works. There was not time enough for a careful look at my performance photos and the mass of drawings I did. It is no space left for working, so I made this artwork of crowded mass, my black matter, this black matter I have to rediscover in flow with the maybe coming works to publish.
I started to build my first guitar – from a cigar box with four nylon strings. Equipped with some strings, and a fretboard with wild shape .... Slowly my father recognized that his son tried to sing something out of a strange fantasy with a pling pling from his self-build guitar. Maybe he felt pity, but not too much, because one day he asked me, that he saw a guitar in a music shop in Stade. That is a town smaller than Hamburg.
I know, many people did this, and others had a real guitar from their first beginning. One was Bo Diddeley. His self constructed rectangle guitar was fascinating, and much more intriguing where his rhythms. I was so fond of his rhythm in not fade away (what Buddy Holly took after a first Bo Diddely recording) that I got inspired to play a similar rhythm in my German song Ein Schöner Tag.A rhythm, a shape, but no Idols. Visiting Willie Dixon, Howling Wolf, Andres Segovia, Oskar Kokoschka- they are so different and no Idols for me. But great teachers. For me more like a scientist would say, research people. For me it is so great to know these people lively and to see their habits are true and not arrogant at all. And - there is B.B.King, who has my record "Zippo Zetterlink in the poor sun" and wrote a letter for thanks. Canned Heat took my record home and I got some tour experience with them. Bob Hite, a very friendy bear, drove this band on. But what I did with my guitar I always was teaching me myself, inventing the things I need.
... and next came out, my fingers were definitely too small for this guitar's normal fretboard.
So I invented the two finger style and played my jungle boom boom, sometimes on the low strings, then on the high strings.
I got a first small chord book, and by daily grips pressing the steel strings on my fingertips there grew callouses.
The barre problem I first solved when I had the idea to put one strong finger above the weak one, pressing both, later made me different chord settings I still can use today.
If I play I need the free feel, this can be noticed by many of the audience. When the drummers won't catch up with my time change, they where not able to change the foot machine: from 4/4 to 5/4 and after 8 bars back to 4/4, they did not like that at all, so this is hard to do. You think you are in the groove and what happened now? Your right foot is not on the one anymore! It is your High Hat with your left foot on the one, with your 4/8 beat. You try to follow, but when you change to the one on the bass drum – it is too late, because now the beat changed again, so here my advice: just stay in your rhythm and you get the one for the bass drum after a few bars again. This is psychedelic, and you can try it with my recording 'Zippo Zetterlink in the poor sun' for 27 Minutes. As well on 'Electric light machine take over – not make kaputt', so first acid against contract players who smoothed what they think they heard out of psychedelic to make quantity audible ready for marketing the masses. That time the radio was open to everything. They played my record several times, but then came new regulations, money pushed to reconstruct the pyramid, radio dropped psychedelic roots. If plastic guitar on 'I deal' or silent concert at the art school where 'cool fish' with colorful outfit in the time Wernher von Braun team sends NASA Saturn rockets – he said 'destination Mars', not Moon, my 'Kind im Weltraum' was already composed years ahead. Unlucky to choose the wrong musicians, my band I had in Cologne, the producer didn't fulfill my contract. All I got from Uwe N. were some shabby answers – and zero support. So my 'child in space' was not allowed to come out. The Eagle was landing and sending this prototype to Hawkwind, and all psychedelic they converted into one industrial copy.
We did the the interactivity and phenomenological aspects of LARP (Live Action Role Play), but much more of it.
I can imagine Patrick F. Brady as a time traveler. He may be disappeared in 1910 from a Casino in Monte Carlo after a win win situation without any trace, just after Dostoevsky, another time traveler, lost all his input, and F.P. Brady left all his suitcases still in the hotel ... they have been kept until today: F.P.Brady appeared again in 2015, in the night of Friday the 13th, Gallery links - rechts, Gängeviertel, his dice still in his pockets.
After this night until now I have not seen him again, so I animated these pics to GIFs movements, later to drop them in tumblr, you can say no, then I don't. Or maybe we can support each with our comments.
Great tribal work, Francis, Louise, Astrid, Jan, Coutschi, take your time travel easy to come back
I want to tell you more about in my ongoing work where I still want to integrate our nice collective learning - many thanks for all the experience. I am communicating you from my silent spaceship and from now on I am working out some of the material in here.
If you have any idea or concept to reflect and use this, please let me know. The mark of integration
is our tribal knowledge, for my micro tone composition I made with my flute traverse in the
opening night I had the background recording from:
Louise Vind Nielsen - radio transmission, Astrid - folksong frequencies, Jan - dark cave, Brady -
falling dice, Coutschi - metal and water.
My flute does only the wind sounds I expect when I went to look over my panorama view, called “sirrr!”, one up going tone frequency, where on my way I met the folksong frequency collector Astrid. She operates a self constructed machine, and the Navigator F.P.Brady found the Iglu in Northern Siberia where two more time travelers have been melted out of the ice, a strong 10year old girl, and Jan, who can let the spirit come like a shaman.
As I may quote myself, refer to tweet I did (not numbered, but published on ..), time travel from and into the past to present is something else and possible, than to travel from the present into one unknown future. Because, like I tweeted, the present is all we know. Even our projection about a future is a plan, futurism, is grammatically wrong, like Pannini – the Indian Grammaticalogist - might say. He didn't, I am boasting this moment to intrigue you.
Now in Addition there is the machine from the collector of folk song frequencies Astrid live on one of the saved recording material, a falling dice intro by ... oh now I am so sorry by my unintentional awareness to take everybody's Email too, so that our tribal work may flourish. But this near to soundless coming plop from her lips fits great.
It was good to let some time set, before I made these tracks. The wind flute in a record recording it made in the night of the gallery opening, where a side room for gathering together was installed by F.P.Brady and Louise V.Nielsen, letting go the soundscapes we recorded only some hours ago. To these micro tones I have some few words to say.
It is quite easy for me to play the "normal" flute, but for micro tones I need some special environments, and these I got in the night of the opening from our exhibition.
About the signs we invented, I found a GANDHARA script stone, can not date it, but there is a slight similarity to our writing inventions. Have to check the roots.
First sign on the left looks like " म " , Sanskrit for " bha " and " ma " - depends on the upper
line. I prefer " bha " because the line is left open. French colleagues directed GANDHARA to
eastern Pakistan. The writing signatures the dress of a figure so common in that time, it is as well
shown on gold plates, maybe used as medals or coins. Now the conquered empire of Alexander the
Greek comes into my focus: The gold plates showing Greek letters, and the Buddha statues in the
Bamiyan valley standing upright, wearing Greek dress. It points me to a form of Graeco-Buddhism.
Time traveler Patrick Francis Brady was there, too - but this I can only guess.
This collective work we did has very scientific roots like the linguistic search for meaning. Out of the many studies in the art of meaning I concluded that Symbolism in art was already done in the 20th century art, for deconstruction Nancy philosophy puts an end to it, now we pushing on to the
unknown. ACT3 must be considered as the canonical loophole to this great push.
our exhibition night on friday, 13th November 2015 in Gallery links-rechts, Gängeviertel Hamburg. from left: Louise Vind Nielsen, Patrick Brady, Jan Koopmann.
Photos Wolf O.T.
ACT3 was topping the works of ACT1 and ACT2, thanks Louise Vind Nielsen, who inaugurated us.
We build a new pleasure dome.
By the way, there is a superstition in some minds, that any work you do, any film work from Hollywood, any music video will become a truth one time in the future of the participating actors and actresses. Before my meeting with Francis Patrick Brady I sent him one audio work of mine, a play where I try to find a landing opportunity for me and the crew of my spaceship. We just came back from Jupiter moon Europe, safely passing the asteroid belt, and I tried several Earth languages to meet a feedback from there, including this old fashioned English. Until now I wait for a response, and if this really comes, I am ready for my art translator. Or the global earth language is African Fanti this time. That makes me know that Earthlings still love fashion.
If you want to ask for this artwork, you have to buy two, because the one you might want is included in the other.
Wolfgang Orschakowski - Tschaikowsky for Zetterlink art writings.
What use has it, if the idea is the same as the realization, if most of my ideas I published are used by other artists and then by misunderstanding been destroyed and shown without the concept and idea I put into my work? These epigones put my concepts out as fragments, they are even not interested in the background, they only look for quick money and name dropping, so the idea has no worth.
Maybe you know me, maybe you know me not. Maybe you talking what I was talking, too.
No Pyramid with hierarchies, but what my work is to you? I can work from every part of the globe, I have no center, and I don't need to travel. At least not now.
Our ambitions of making art are quite the same: to change thinking. This important topic most of the epigones forget. Our differences are not so big: my parents did not allow me to work as an artist, they did not support me, they threw me out of our house. One of the reasons that this old stone house, what survived the Anglo-American bombing in Hamburg, what was built for future generations by great grand parents and renewed by grand parents, and by parents again, been tored to the ground to make space for a kind of blackrock banker, after authority drove the rest of my family from our ground, new order, so I got homeless for a time but I wanted my studies. Learn, learn, learn, like Lenin said. While struggling for exhibitions I noticed, that our Hamburg town authority did every thing to help foreign artists, but they did nothing for their own people.
AS IF – as if there is nothing what allows me from this position to spread my concept, only by giving this away to artists from allied countries or artists of this Germany who are more silent and show they can obey rules even not acceptable. I still talking about thinning out Ideas what could change the thinking of mankind. One has to send the Ideas to people who are allowed to perform, but when these ideas return, they always damaged, by cutting away the basic meaning. I made this to another art concept, and I have a name for this concept. So I can only wait long enough, and it will come back to me in whatever disguise it may have, plundered and worn out, just to hold me down for the next years, guess this is the feeling you talked about. I stay for my work, and I can only look ahead while what comes next to bother me and will bring me off from my work. Another incident, another struggle, another court fight with people who invented stories of mobbing and blame, just for themselves, these are the easier downers. No air raids at least, but dangerous to think about, it can awake sleeping wishes of greedy persons, looking for careers.
This morning my dream does not show me the landlords breaking in my little workshop room, this morning my dream shows me a big tiger on the ice. We where few tenants with less chances. But we knew that the tiger hates water. So we stomp the ice to pieces, and I saw the claws of the tiger already grabbing for our feet. But the ice breaks, and the tigers claws got wet. The tiger was not so dare anymore, and try to call out for companions. But they are too far away, and they don't want to get wet, too. So I saw the tiger giving up, like a comic tiger the tongue hanging out and the eyes twisted, hardly reaching the shore, running away.