“We never been really interested in experimental music, music came to us”
I made this interview just before Lithuanian postindustrial music festival SPEIGAS, and every time, when I tried to tell anybody how great the upcoming event will be, I found myself struggling when spelling one project’s name. “Feine something and something daheim”, — I used say to that person. “The title has something to do with fellows who like to drink and does not behave themselves at fancy homes”, — I try to continue with a slightly British-sounding accent. People would look at me strangely, then say they left their bags somewhere and start to go away backwards, then run away. In a way it was disturbingBut fellow concert-goers shouldn’t be disturbed, at least not in this way. That’s why I asked Jürgen Eberhard some questions which picks the mind of a man, who for the last 20 years stand behind Feine Trinkers bei Pinkels Daheim project.
F.T.B.T.D. is around for quite a long time, and it is not easy to say what exactly changed in those years — possibly everything. But if you look into your carrier from a perspective — what would you say to younger version of yourself, the one who just started the project? Would you change anything if you had a possibility?
Ha, yes, of course. We used to stay together with my band boys at bars and did not have any plans to start a carrier with a band in this kind of music. I am not joking! We started our project Feine Trinkers bei Pinkels Daheim in the Blackforest 1989. And before we did it seriously, with 5 friends we had an idea to be a band in kind of wave and punk music. But nobody couldn’t play any instrument, so we were a band without guitars, drums etc. After some time Oswin and I bought a bass guitar and a synthesizer, but the sounds we created were really horrible.
But in this time the tape scene with networking existed. This scene was very interesting and opened our mind for other kind of music from all around the world. At that time, nobody had internet or email. So it was very great to get a small package from Japan or the USA with a letter and a tape. It was hard to get even a little bit popular. I think nowadays it is easier to find people who organize concerts and other stuff. At that time it was very important to have a history and avoid having many different projects.
From this comes obvious question — how else from your point of view industrial scene changed in the last 20 years?
I think, at the beginning of industrial, the scene was a kind of secret society ;-), it was very special and most people couldn‘t understand the main reason to do this sound or performances etc. It was more provocative, but it was in the end of the punk era. You haven’t had to wear swastika or uniforms to be a nazi. Nowadays the scene has split to different styles, such as rythmic industrial (for me it’s party industrial, it should be played only in tourist areas like St. Tropez, Honoloulu and Zermatt.). Then there is industrial for the academic nerds with big glasses (mostly played in very small galleries, where all people are sitting on hard chairs), military industrial and neofolk (this stupid sound is for losers, which one of you boys have the hipster uniform?). So in fact, we should go to the roots, but in modern way.
Do you see any really good new projects around?
Not really, because in the past I stopped listening to music intensively. And I think it is difficult to play live as a new group. Most of organizers haven‘t got enough money to pay them. So it is more a hobby for most of the projects.
At the beginning it was “Industrial music for industrial people”, and now what? “Slightly rythmic music for cat video lovers?”
Electric Saturday Night Fever on Speed.
Back to the F.T. B.T. D. — how did the project evolved, and where is it heading now?
The situation is different, because we started as a duo and at the moment I’m the only member, so it is easy to say F.T.B.T.D. does different things now. Sometimes it plays in concerts like Maschinenfest and after that in galleries or Universities of Art. One of the main ideas is to create sound with interesting material, which was never done before in this way.
How did you come up with a name which is so hard to promote when telling people how interesting the upcoming event will be? I red that you like when people try to interpret this German wordplay. Do you have your favourite version?
As we started our project, many industrial projects had evil names and they provoked with the band titles and outfits. It was a little bit ridiculous for us. We wanted our name to be very atypical for an industrial project. And we had some problems with it, particularly in Germany. Nobody wanted to see a performance of a stupid band with this fucking name. So in this way most people were very boring and conservative. The favorite version is “Elegant Drinkers at Snob’s Home”.
In live performances you use various kinds of instruments and gadgets. What kind of things you usually use, what do you prefer? Which instrument/thing you could call the weirdest sound source you ever tried? Why do you prefer performing this way? What do you think about everlasting “battle” (laptop vs. gadgets) in experimental music?
There are really many of them, for example, an old record player to create analog loops, wooden sticks, stones, bathing powder for children, guitars, harps, contact microphones and other things. For the last concert I kind of formed a small big band with insects. From the stage you could hear loud chirping of crickets, it was very intensive natural sound.
I chose to do it because I don‘t like the idea to use laptops on stage, it is sometimes OK for some musicians to compose with it, but it should be forbidden on stage.
Together with B°TONG and 1000SCHOEN you are in the Secret Society. Could you tell something more about the concept of it? Or would it be breaking some kind of Secret Society rules? How did you start to play together in NID with Chris Sigdell and Oswin Czerwinski? Overall, do you recall when and how did you become interested in experimental sounds?
Chris and I had the idea to found the Secret Society. If you want be a member of the Secret Society, you never use laptop or computer on stage! And after mysterious examinations in our black forest center, one can become our new member.
Some questions before I told that Oswin and I are the main members of F.T.P.D, but some years later we meet Chris in Basel. So Oswin knew him from a record shop in this town. Chris knew our tape NOSH released on Audiofile Tapes, USA and he was also interested to play with us. After this we had our first gig as NID in a water tank in the underground.
We never been really interested in experimental music, the music come to us.
Thanks for your answers!
.F.T.B.P.D.: rythmic industrial galima groti tik kurortuose
Prieš trečiąjį, vasario 10-11 dienomis, Kaune ir Vilniuje vyksiantį, ambient / post-industrial muzikos festivalį SPEIGAS, kviečiame susipažinti su abiejuose miestuose grosiančiu svečiu iš Bremeno, Jurgen’u ir jo projektu Feine Trinkers bei Pinkels Daheim.
F.T.B.P.D. postindustrial scenoje sukasi jau gana ilgai, ir greičiausiai sudėtinga pasakyti, kas konkrečiai keitėsi per tuos metus. Bet jeigu pažvelgtum į savo karjerą iš perspektyvos, ar keistum ką nors, jei turėtum tam galimybę?
Haha, taip, žinoma, kad keisčiau. Pačioje pradžioje su grupės nariais mes dažnai sėdėdavom baruose ir neturėjom net minties pradėti karjerą tokios muzikos srityje. Nejuokauju! 1989 metais Blackforeste mes pradėjom savo projektą Feine Trinkers bei Pinkels Daheim. Tačiau prieš tai, su 5 draugais turėjom idėją sukurti grupę, kuri grotų wave ir punk muziką. Žinoma, nei vienas iš mūsų nemokėjo groti jokiu instrumentu, taigi, mes buvom grupė be gitaros ar būgnų. Po kurio laiko Oswin ir aš nusipirkom bosinę gitarą ir sintezatorių, bet garsų, kuriuos mes kūrėm, buvo neįmanoma klausytis.
Mes nebuvom susidomėję eksperimentine muzika kaip tokia, ši muzika atėjo kažkaip savaime. Tuo metu egzistavo kasečių kultūra. Ši scena buvo labai įdomi ir atvėrė mūsų įvairiai kitokiai muzikai iš viso pasaulio.Tuo metu niekas neturėjo interneto ar el. pašto. Būdavo nuostabu gauti siuntinį iš Japonijos ar JAV, kuriame rasdavom laišką ir kasetę. Tad sudėtinga buvo tapti bent kažkiek labiau žinomu. Manau, kad dabar yra daug lengviau rasti žmonių, kurie užsiima koncertų organizavimu ir pan. Tuo metu buvo labai svarbu turėti savo istoriją ir vardą, vengti groti begalėje skirtingų projektų.
Iš to iškyla gana akivaizdus klausimas – kaip tavo nuomone keitėsi industrial scena per paskutiniuosius 20 metų?
Manau, kad pačioje industrial pradžioje, scena priminė slaptą organizaciją;-) , tai buvo labai specifinė bendruomenė, ir daugelis žmonių už jos ribų nelabai suprato, kodėl reiktų kurti tokio tipo garsą, performansus etc. Tai labai provokatyvi scena, susikūrusi pačioje punk eros pabaigoje. Tau nereikėjo dėvėti svastikos ar uniformos, kad būtum vadinamas naciu. Šiandieninė scena pasidalinusi į skirtingus stilius, tokius kaip rythmic industrial (aš tai vadinu „party industrial“, manau, tokį stilių galima groti tik kurortuose, tarkim, Sen Tropeze, Honolulu ar Zermate). Taip pat egzistuoja industrinė muzika dideliais akiniais pasidabinusiems akademiniams nerdams (ji dažniausiai atliekama mažose galerijose, kur visi tvarkingai sėdi ant kėdučių), military industrial ir neofolk (šitas bukas garsas skiriamas nevykėliams. Pakelkit rankas tiek, kas turi nusipirkęs hipsterio uniformą?). Apskritai manau, kad mes labiau turėtume žiūrėti į industrial šaknis, bet tam pasirinkti modernų būdą.
Ar pastaruoju metu girdėjai kokių naujų įdomių projektų?
Iš tiesų, nelabai, nes jau prieš kurį laiką nustojau intensyviai klausytis muzikos. Taip pat manau, kad šiuo metu sunku būti nauja live grupe – daugelis organizatorių tiesiog neturi pakankamai pinigų, kad joms galėtų sumokėti. Taigi, daugeliui muzikos kūrimas yra tiesiog hobis.
Pradžioje buvo „Industrial music for industrial people“, o dabar kas?
Electric Saturday Night Fever on Speed.
Grįžtant prie F.T.B.P.D. - kaip projektas vystėsi, kur planuoja eiti toliau?
Situacija keitėsi, nes mes pradėjom kaip duetas, o šiuo metu esu vienas, taigi, nesunku pasakyti, kad F.T.B.P.D. dabar užsiima kitais dalykais. Kartais projektas pasirodo tokiuose koncertuose kaip Maschinenfest, po to – galerijose ar menų universitetuose. Viena iš pagrindinių idėjų yra išgauti garsą iš neįprastų medžiagų, daryti tai, kuo nebuvo užsiimta anksčiau.
Kaip gimė toks neįprastas projekto pavadinimas? Girdėjau, kad tau patinka, kai žmonės mėgina interpretuoti šį vokišką žodžių žaismą. Ar turi savo mėgstamiausią versiją?
Kai pradėjom F.T.B.P.D., daugelis industrial projektų turėjo labai jau piktus pavadinimus ir mėgo provokuoti savo įvaizdžiu. Mums tai atrodė šiek tiek absurdiška. Norėjom, kad mūsų pavadinimas būtų labai netipiškas. Kartais dėl jo turėdavom problemų, ypač Vokietijoje – niekas nenorėjo stebėti kažkokio projekto su tokiu idiotišku vardu. Šiuo atžvilgiu daugelis žmonių būdavo labai nuobodūs ir konservatyvūs. Mano mėgstamiausia versija yra „Elegantiški girtuokliai snobo namuose“ (“Elegant Drinkers at Snob’s Home”).
Pasirodymų metu tu naudoji labai daug skirtingų instrumentų ir prietaisų. Ką dažniausiai naudoji, ką labiausiai mėgsti? Kokį išbandytą garso šaltinį vadintum keisčiausiu? Ką manai apie „laptopas vs. analogas“ priešpriešas eksperimentinės muzikos koncertuose?
Esu naudojęs begalę skirtingų dalykų, pavyzdžiui, seni įrašų grotuvai analoginiam kilpinimui, mediniai pagaliukai, akmenys, pudra vaikams, gitaros, arfos, kontaktiniai mikrofonai ir taip toliau. Paskutiniame koncerte, galima sakyti, suformavau nedidelį big bendą su vabzdžiais. Nuo scenos sklido gardus svirplių čirpimas, tai buvo labai intensyvus gamtos garsas. Pasirinkau tokį atlikimo būdą, nes man nepriimtina ant scenos matyti laptopus. Kartais galima jais komponuoti, tačiau, manau, kad jie turėtų būti uždrausti gyvuose pasirodymuose.
Kartu su B°TONG ir 1000SCHOEN tu priklausai Secret Society. Gali apie ją papasakoti šiek tiek daugiau?
Kartu su Chris turėjom idėją įkurti Secret Society. Norėdamas tapti jos nariu, tu niekados ant scenos negali naudoti laptopo arba kompiuterio! Po begalės mįslingų išbandymų mūsų Black Forest centre, naujokas gali tapti nauju Secret Society nariu.
Kaip pradėjai groti NID kartu su Chris Sigdell ir Oswin Czerwinski?
Kiek anksčiau minėjau, kad kartu su Oswin mes buvom pagrindiniai F.T.B.P.D. nariai, po kurio laiko Bazelyje susipažinom su Chris. Oswin buvo girdėjęs apie jį dėka vienos įrašų parduotuvės, o Chris žinojo apie mūsų NOSH kasetę, išleistą Audiofile Tapes (JAV). Visiems buvo įdomu kartu pagroti. Pirmas mūsų, kaip NID bendras koncertas, vyko požeminėje vandens talpykloje.
Ar turi kokių nors specialių planų SPEIGUI? Ko galima tikėtis?
Sunku pasakyti, aš niekados nesirepetuoju namuose. Jei turėsiu galimybę, atvyksiu su būsiu mažųjų garso kūrėjų, bet gal tegul tai lieka staigmena. Galbūt aš dainuosiu Elvio dainas, pasipuošęs savo baltu elektriniu smokingu!
Die Legende vom Heiligen Trinker, CD Silken Tofu Belgium
We volgen de Duitse gekte van FTBPD al sinds de jaren 1990, maar het duo blijft ons verrassen. Ooit brachten ze een dubbele cdsingle uit verpaktin een driedimensonale kartonnen insectenkooi, maar dit keer volstaat de medeling dat hun digipack duizendmaal mooier is dan een plastic cddoosje. Ook muzikal schuift FTBPD een beetje meer op in de richting van aanvaardbaarheid. Natuurlijk wordt er nog steeds druk geexperimenteerd en wordt een bonte veelheid van objecten als klankbron gebruikt, maar de elektronica verovert nu een plaats op de voorgrond. Bovendien worden we in een verhaal van Joseph Roth gezogen door de vrouwenstemmen van ene Larisa Ruslanova en Miss Polyester ( Na-Dha). Enig huisljk geweld priemt door de composities heen, en een titel als " Meine Frau versteht mich nicht !" maakt het mool af. Wie houdt van Nurse with Wound of the atmosferische kant van H.N.A.S.
Ursprünglich kommt J. Eberhard aus dem äußersten Südwesten der Republik, Lörrach. Ins Exil nach Bremen kam er, nachdem ihm die Stadtväter unter dem Vorwurf, ein badischer Unabomber zu sein, eine Bannmeile um seine alte Heimat zogen. Kerosin, Rohre, Metall, Schrauben wurden gefunden. Ein Höllengerät machte ohrenbetäubenden Krach. Das reichte aus. Was die Ordnungshüter nicht glauben wollten, war, dass es sich um Musikgeräte der Feinen Trinkers Bei Pinkels Daheim handelte. Lange sind die Trinkers nun schon in Bremen und kommen alle paar Jahre mal wieder aus dunklen Souterrain-Wohnungen ohne Fenster mit Lebenszeichen in Form von CDs und Schallplatten mit klangvollen Titel wie »Hungerhakens Speckrolle«, »Apfelmost und Essig« und (unser derzeitiger Favorit) »Wellen falscher Blondinen« hervor. Allesamt eine Wucht, Handwerker-Drone und Selfmade-Noise. Das Kerosin wurde konfisziert, der Heimwerker- und DIY-Hometaper-Ethos bleibt.
Twisted Knister
Eine Splitproduktion, deren Cover heißer Anwärter für den Augenweite-Award 2006 sein dürfte, herausgekommen bei einem Label, das bisher hauptsächlich Jack or Jive Stoff publizierte. Die Käfer Seite wird bestritten von Feine Trinkers Bei Pinkels Daheim, dem Noise-Art-Duo von Oswin Czerwinski & Jürgen Eberhard, das seit 1989 mit einer Reihe von Veröffentlichungen einen zwischen Flora und Fauna schaukelnden Humor unter Beweis stellt. Oder für was sonst stehen Titel wie Yoked Oxen (1996), Apfelmost und Essig (1999), Hungerhackens Speckrolle (2001) oder Omafish (2005)? Aber wie anlässlich ihrer 96er Drone-Ep Froschdosis in BA29 schon festgestellt wurde, bringt F.T.B.P.D. an deutschen Humor ganz eigene Seiten zum Schwingen. I Tunes tauft Ihren gut 22-minütigen Track „Klabusterbeeren der Todestrinker“ zwar wieder mal eigenmächtig um in „do not play“. Aber da würde mir etwas entgehen. Eine ambiente Dröhnsee brandet mit aufschießender Gischt an postindustriale Marmorklippen. Wie mit Händen greifbar, dass es zu spät geworden ist. Gregorianische Chorfetzen und eine zittrig verwehte romantische Melodie tönen die Nachtluft. Bläsertristesse vertieft den Mollton. Dunkles Grummeln ist vollgesaugt mit Wehmut wie ein Mahlersches Adagietto. Der Chor aaahlt & lallt aus der Tiefe, bis plötzlich das Arvo-Pärtsche De profundis metal mäßig aufgemischt wird zum ostinatem Gehämmer, das Baby zum Blärren bringt. Ein starkes Stück , das, wenn nicht die Verhältnisse zum Tanzen, so doch den todestrunkenen Käfer in uns aus der Rückenlage wieder auf die sechs Füße stellt, damit er sich in diesem Sauwetter ins Trockene bringen kann.
Aus Bad Alchemy 51, Rigobert Dittmann , F.T.B.P.D/D.B.P.T Toads & Bugs (White Rabbit Records)
At this year's maschinenfest, j. eberhard's f.t.b.p.d. opened the sunday line-up with a set of experimental electronics and noise. Full of experimentation and improvisation, he moved along his red current of electronic and acoustic sounds and noises, distortions and delays; his ebb and flow of noise currents of found objects and of found sounds or noises. His ethos lies with tape trading, punk an DIY. His heart, so it seems, bears connection to for example: einstürzende neubauten. His art is pure craft, by hand; by going out, looking for, finding, putting together, ripping apart, letting loose and re-assembling. Controlled anarchy? Music-concrete having one of its finest moments? Punk in the electronic-noise-industrial genre? Since 1994 releases have been far and few in between. Live shows have been aplenty. The release titles might be somewhat 'strange'. same goes for the band name or a record sleeve made out of paper soaked in urine. Nonetheless, with live skills honed in many years of touring and proudly bearing the mark of 'one of the most special maschinenfest 2009 live performances' on his sleeve, j. eberhard will delight noise central festival with an eclectic yet totally engaging live set. It's quite a mouthful, but, having witnessed this set, you'll be hard-pressed to ever again, forget the name: feine trinkers bei pinkels daheim .
Noise Central Festival, Utrecht Netherlands
Back in London again. Two gigs in 6 days, two gigs in London in 6 days...what is this - the 1970's! I have now used up my 2010 quotient for London giggery.
This time it was to watch the excellent Fiene Trinkers Bei Pinkels Daheim. (It translates as good drinkers in a piss house...I think....the computer translator didn't like it)! I am really glad I went to see the show as the previous Friday nights Nurse With Wound / Current 93 gig left me feeling a little bit cheated. The show at the HMV Kentish Town Forum was OK, but nothing more than that. Simply OK I have commented to friends that it was like watching somebody do painting by numbers, and at the moment I am sticking to that. But now 6 days later I am in a sweltering hot London again to see Feine Trinkers Bei Pinkels Daheim do their first gig in the UK in a room above a snooker hall in Stoke Newington....or Stamford Hill...depending on which direction you came from. The evening was hosted by London Internet streamers ILL FM. (www.illfm.net) and free!
I became aware of Feine Trinkers Bei Pinkels Daheim about 12 years ago when I shared a house in Lincoln with Outsider Records boss Mick McDaid. He had some CDrs and cassettes and a Drone Records 7", and the sound was fresh and interesting....Also hard to come by. I have only 1 Feine Trinkers release in Hartop Towers and that was got on the evening. So I travel to London to see a band of whom I own nought but love dearly. There was also other reasons for having to be there. I wanted to meet Till of Gerechtigkeits Liga who was guesting with Feine Trinkers, I also wanted to check out the venue, and meet the folk / person behind ILL FM and I wanted to see if the venue was decent enough for putting on an IBF gig in 2011. But Feine Trinkers were top o' the list....
The venue, The Others, is a true find. A tad remote, with travellers having to know the London bus system or walk from some overground stations as it is not on a tube line. But it is not as remote as The Ivy House in Nunhead. Like I said it is above a snooker hall and next to a Hasidic hat shop (that was doing a roaring trade at 10 in the evening) and is just one big room. Small makeshift bar in the corner - bottled beer - a DJ booth, and a large performance area at one end. Floor was scattered with leather armchairs and sofas found in skips or squats. Excellent feel, and slightly European. It reminded me of The Zoro in Leipzig. After the "corporate" feel of the HMV Forum with its' heavy stewards and slightly over priced Tuborg it was a breath of fresh air and great to be in a "real" venue again.
I caught a little of the first two performances. Momento Mori (I think) kicked off the evening a guy with an Eighties synth did stuff whilst a guy rubbed a bowed saw over an oil drum. Interesting, but I was in meet and greet mode....next came a duo whose name would have been German, but I was told were from England. (What a crazy idea, eh)? Huge cinema size pojections of East German Post War Propaganda played behind them whilst they stared at a single laptop. Interesting sound (They were like a Tesco Org. house band) but I soon lost interest. Laptoppery, that is the problem.
Feine Trinkers Bei Pinkels Daheim is one chap, I think called Jurgen. Could be wrong, and tonight he was being assisted by Till Bruggemann of Gerechtigkeits Liga whom are one of my all time favourites. Luckily, no laptop in sight. They created this landscape of sonic majesty from looping and manipulating sound created through contact mic's. It all began with a contact mic' (or 2) stuck to a 3 inch roll of sellotape, the tape was stretched and torn - and there we had the spine to begin with....Contact mic's were then sruck to "wind-up" toys, items of clothing, balloons, inside a jug in to which water was poured. It was a magickal sound and a great spectacle. Genius at work time. Till manipulated the sounds that were being created and added some voice. Like seeing Aaron Dilloway for the first time - this re-affirmed my faith in LIVE performances. I now want to see Feine Trinkers Bei Pinkels Daheim live again.
The "merch'" stall was OK too. Jurgen (could be wrong) had brought some old cassettes to sell (probably for beer money? This was a free gig) so I managed to get tapes by Para Noise Terminal, Architects Office and "i" by Contrastate (on Direction Music) before they were snaffled and the stunningly beautiful "Toads And Bugs" package by Feine Trinkers......
The evening probably went on, but I had to leave - the problems of such an "out of town" venue.
The following day I had to head back to Devon + Hartop Towers. I walked to Paddington Station in the same sweltering heat, stopping by Hyde Park to have a sunbathe sandwich. On the train I found myself seated next to a lady who (after chatting about London) turned out to be Nanette Greenblatt of ...& The Native Hipsters. Why did I have lager for lunch??? I then bored the poor lady with my recollections of her band, and I was getting the song titles wrong, and forgetting names etc (I would be no good on "Mastermind" - I crack under pressure y'know - anyone remember my appearance on "15 To 1" quiz show on TV back in 1993? No? Good). But I spent three hours chatting to the woman from ....& The Native Hipsters. Apparently still active and recording with Andy Allen (of The Professionals fame - the band not the TV series from the 1970's) and Tony Visconti (of Thin Lizzy fame). William, the other member is a stand-up comedian called Woody Bop Muddy and Tom Fawcett is running a club in London. Fascinating stuff....although I may have come across as a tired, slightly "stella'ed", old fan boy.....but never mind. It's not every day you meet one of your "heroes" is it?
Lesson:
Give Feine Trinkers Bei Pinkels Daheim your attention, and stay sober ... you never know who'll you meet on a train to Devon!
FEINE TRINKERS BEI PINKELS DAHEIM ist die 1990 gegründete Industrial-Ambient-Experimental One-Man-Band von J. Eberhard aus Bremen, die im Umfeld des Drone Records Labels zur imposanten Live-Institution heranreifte. Vielschichtige Soundabgründe ziehen konkrete Tonerzeuger von Knallbrause bis Tauchsieder in einen Bann aus bassigen Delays, wobei Eberhard wie der alleinige Sieger eines entrückten Jugend-forscht-Wettbewerbs mit dem Schwerpunkt ‘Geräusche’ seine Musikbaukästen öffnet. FTBPD spielten zur Eröffnung der Ausstellung “Freitag der 13” im Flieseneck.
Galerie Flieseneck Bremen
Ja, Kruzitürken! Da erwartet man anständige Saufmucke wegen des oberbeknackten Bandnamens, und was bekommt man geboten: Geräuschmusik! Und die ist gar nicht mal überl. Auf zunächst simplen Frequenzellen türmen sich mit fortschreitender Zeit gar seltsame Klänge auf, herrlich mysteriöse, sanfte Übersteureungen und Samplings. Doch auch eher harschnoisiges findet sich auf diesem Tape. ( verzerrte Stimmen und Blasmusik), sowie intelligent gemachte, subtile ambient noises, die kein Schwein wirklich beschreiben kann, die man einfach HÖREN mus!! Für Abwechslung ist jedenfalls gesorgt, und so kann man nur von einer äußerst positiven Überraschung sprechen. Leider gibt es keine Titelangaben auf dem Innencover, aber das gehört vielleicht zum Konzept. Selten war die Diskrepanz zwischen einem Bandnamen und der dargebrachten Musik so groß wie bei Feine Trinkers bei Pinkels Daheim. Aber alleine schon wegen des Bandnamens sollte der durchschnittliche Birefront-Drogi aufhorchen , nachdenken und in sich kehren.
Bierfront 1993 , C 60
A collection of eccentric sound experiments from 1990 to 1994 ( with the exception of an inclusion of a " song for childrens originally recorded in 1970") that range from sub-aquatic atmospheres to extended droney textrures to improvisational noise doodles. At its best during the quieter momenst, when things seem to be a bit more stable, not so disheveled or random. As far as instrumentation and effects go it`s fairly disguised-Sounds like some guitar and vocal processing. Tape manipulations ( backward effect loops, etc) some handmade or found material, and a bit of keyboard. Depending on the track, this can go from sounding like some Maeror Tri`s more subtle momenst, to beeing outwardly demented and noisy ( you favorite Japanese noise bands here.)
Audio Drudge Nr.6 1995, Baltimore USA, Nosh C 60 Audiofile Tapes New York, USA