Erz story for wahwah records FROM Ver.XXix 26.11.2013 Chapter 2: What is this karma about?
My family had a wonderful oldtimer automobile, type FORD EIFEL, a dark blue cabrio with the open roof, what could be totally open in sunny weather. My father as a motor nerd put the machine into pieces and screwed this together again.
He was so proud when the motor ran again instantly, so he could start with electric ignition, and must not put the iron drill into the front to start the machine. When he let me sit in front and we had a longer trip like to the North sea or East Sea - both approximately in a nearly same distance from Hamburg - and we came back by night, he used to click on the far distance lights, and a very deep impression was the blue control lamp on the front panel: this special blue follows me, until it came back in my guitar control pads and my computers. What a wonderful mystique color! This gets me my first psychedelic ideas.
Preparing what I called my EARTH DRAWINGS.
I invented a special EARTH WRITER* for this task. The form allowed me to hold it with a smooth grip and one round end in my palm, while the writing end was thin and hard to make many sketches on the earth. Sometimes our whole yard was full of my sketches, until my grandfather took his rake and building in his rake’s progress a complete new structure all over the yard. So on the weekends our yard looked like a japanese ZEN GARDEN. Another art work made silence over drawings.
A (枯山水 karesansui) or "dry landscape" garden around our house.
Drawing ideas and plans for my world of machines on the yard of my grandparents I was singing and grew plans for a big opera: one day I want to write THE LAND OF MACHINES, and it is still not forgotten. Now there are many sketches and scores in lost suitcases of mine, a surprise of intention, if the world not goes into a rubble to dissolve.
*= notice that I did not speak English that time. EARTH WRITER is a good name for my tool, but my German term was ERDSCHREIBER, what is the same and not different.
So this endless knot came back, my action, my work, my deed and later I did my sanskrit. :कर्म, of course.
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.
German writer Sigrid Bernstein, who appears as "Top Secret" in many lectures, held one audition yesterday night in the Café Lühmann, Hamburg Blankenese, with guests from the Musikkreis. Her Novel "Untergrundrauschen" was prepared for a next theater play performed by members from the Musikkreis. S.B. held a reading from another novel, titled "der Parasit" from Michel Serres. Serres has his own thesis, unlike other authors about this theme. Wolf O.T. asked S.B., how this exploiting thesis from "der Parasit" must connect to her novel "Untergrundrauschen". After few provocations it came out, that another female author, her name is Ginka Steinwachs, associated "Untergrundrauschen" with "der Parasit" from Michel Serres and reasoned that artists do their work, but the talking about these works by people without any sense of humor or imagination will be destructible to these works. These people are the "parasit". Thereafter Wolf O.T. analyzed the brute form of language of authors in the 1950ties. If Marlowe or others, the Germans has these brute force of communication too. Wolf O.T. said, that it can be reviewed in the Analysis "die Sprache des Nationalsozialismus" from Victor Klemperer (LTI). In "Untergrundrauschen" S.B. formed personalities like Kreon - a modern and selfish investor, who blame and press people. She then claimed that Wolves occupied the sources, and they like to blame the sheep, who only able to drink the water far away from the source for still contaminating the water.
Photo made by Wolf g.u.i.t.a.r gang O.T. with FX GIMP’s illusion.
We can surely be courious how this new theater play will be developed at the next meeting from musikkreis on the 25th of November in the Stiftungs project "das Reh", starting at 6pm. W.O.T.
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.