Reviews
(Gravedigger/Lurking Fear page):
KRAUTROCK VOL.
1 (GRAVEDIGGER VIDEO)
A
home-video collection of bizarre moments in the history
of German television, curated by Schenctady, NY resident
and underground culture entrepreneur Robert Plante.
I have to admit I was a little disappointed when I
saw the full track listing at the Gravedigger website,
after I'd ordered and before it arrived. Passport?
Eberhard Schoener? Wolfgang Dauner/EtCetera? And,
of the three Can clips, one of them is the great "Paperhouse"
from Beat Club, but the other two are post-Soon
Over Babaluma, Damo long gone, the band at their
most intentionally ridiculous, lip-syncing in front
of go-go dancers for the tape opener "I Want
More." As far as camp 70s euro-kitsch goes, it's
pretty fun, but it's not the deep psychedelic mystic
side of krautrock I was hoping for. Still, "Paperhouse"
alone has nearly enough of that to make this tape
a keeper, and there are some other promising names
on the track listing too, such as Popol Vuh and Amon
Duul 2.
However, they
both come late in the tape, and there's plenty more
camp before that. The second offering is a nearly
10-minute promotional cartoon for one of the campiest
of all krautrock tracks, Kraftwerk's "Autobahn."
It's also one of the subtly greatest of all krautrock
tracks, but the visuals, featuring the lugubrious
hallucinations of a cheesy alien cyborg character,
were not holding my interest. I'd rather watch the
movie Heavy Metal, and that's not saying much.
A couple moments deliver a roughly Fantasia-derived
psychedelia that might look good in a Mountain Dew
commercial, but as a ten-minute narrative? Forget
it.
The next track
is "Can Can" by Can, a ridiculous novelty
number performed with a full corps of costumed dancers.
It has to be seen to be believed, not that you should
want to believe it. After that, another Kraftwerk
video, this one for "The Robots" in 1978.
Still campy, but this time it's better, a television
performance with automated mannequins taking center
stage while the real bandmembers sit ominously off
to the side in front of computer terminals, ostensibly
'performing' the music.
It's good to
have "Viva" by La Dusseldorf on here, simply
because it's one of the weirdest krautrock and
punkrock songs of all time, and this gives me more
of an opportunity to try and figure it out. I'm still
not as taken by it as I am by Neu!, Harmonia, Kraftwerk,
Cluster, et al, but this crude, decent video (band
shown playing on fake frozen landscape, waving flags,
lounging at a picnic, all with camera tricks that
are cheesy but refreshingly disdainful of lipsyncing)
helps me peg them as some strange mixture of contempo-Bowie
glam pout, proto-Clash anthem rock, and the same kind
of marching "rock soldiers" vibe that finally
peaked later with mutant strains of hardcore and metal
like Oi! and the band Manowar. The look of La Dusseldorf
alone gives them staying power, with Klaus Dinger,
his chiselled face wearing sunglasses, coming on like
some stern inscrutable star you'll never quite put
a name to, his brother Thomas playing the younger
and apparently more innocent glam-rock Adonis (the
Andy Gibb to Klaus Dinger's Robin?), and Hans Lampe
on drums, looking absolutely nothing like either of
them, thin and pale with cropped hair, even more proto-New
Wave than Dinger.
Eberhard
Schoener is one of the ones I was worried about. His
piece is "Bali Gung", a live performance
from 1976, as broadcast on German television. It's
hard not to be impressed at first, by a fully decked-out
Balinese gamelan orchestra performing in a TV studio.
I've heard plenty of gamelan records, but oddly enough
this video is the first place I've ever seen gamelan
while hearing it. This was initially fascinating,
seeing real people performing all the familiar bell
rhythms, the weird stops and starts, not to mention
the monkey chant, costumed dancers and even a shadow
puppet show. The catch is, Schoener and his prog-fusion
band set up and play along with them, and however
noble their intentions as curators of great world
culture, a feeling of crass Las Vegas-style commercial
exotica quickly overtakes the piece. It ends up being
unbearable, a group of pony-tailed musos taking an
ancient tradition of beautiful, hushed, and intricate
music and mostly drowning it out by playing proto-Miami
Vice MIDI licks over the top. East meets West? Nope,
East drowned out by West's proto-Miami Vice jazz-fusion
licks.
The
Michael Rother short is decent. It's from the 80s,
the music consisting of nice, electronic pulses, better
than your average New Age by a long shot but nowhere
near the past heights of Neu! and Harmonia. Accompanying
footage is cute toy car animations; also decent, kinda
cool, but also sorta the same vibe as the "Autobahn"
cartoon.
With
the next clip I finally get what I came for. It's
"Truckstop Gondolero" by Kraftwerk, but
this is a far cry from the electro-camp Kraftwerk
seen in their two previous clips. This is another
1971 vintage Beat Club clip, the only known recording,
audio or video, of Neu!-era Kraftwerk; that is, the
brief time when Michael Rother and Klaus Dinger, who
became the duo called Neu!, played with Florian Schneider
in a Ralf-less trio lineup of Kraftwerk. The music
comes on like the Kraftwerk of the first albums (s/t
and 2), and even more so, the previous album
Ralf and Florian recorded (with others) under the
name Organisation. In other words, not electro-dance
music, but rather raw electro-acoustic psychedelic
rock, utilizing electric guitars and drumkits along
with all the percussion and electronics. On the TV
soundstage, the trio sets up in a semi-circle, each
member sitting down behind their respective equipment.
The blue-and-red pop-art road-cones that adorned their
first two albums sit in the center of the stage and
semicircle. The trio begins easing into their piece,
playing hardcore space improv, very abstract for the
first few minutes, with Dinger not playing at all
as low-end psychedelic guitar and atonal electronics
rub and blend together. Then Rother starts outlining
a chordal drone on his guitar, Florian switches from
electronics to blending flute melodies, and the piece
eases from space abstraction to a more melodic/modal
focus. Some TV producer decides to cover the televised
image with bullshit 'trippy' video effects, probably
feeling it will justify the uncompromising abstractness
of the music to the perenially clueless TV audience.
These effects, which really just look like bad TV
reception, are tellingly reduced once Dinger kicks
in with the proto-motorik backbeat. ("It's got
a backbeat, you can't lose it," the producers
seem to be thinking for their audience.) Still, Dinger's
drumming isn't yet the tight trance-inducing ur-statement
that was right around the corner of his career. Rather,
he plays crude caveman jazz, heavy on the cymbal washes
and tom-driven tribalisms. A cool clip.
Next is
the aforementioned "Paperhouse," which is
indeed stunning. Unlike the other Can clips, the song
is performed live and has a more stripped-down garage-rock
feel than the version we all know from Tago Mago.
The sight of the band locking down for the long double-time
outro while Damo kick-boxes in the background is one
for the annals.
Passport
is a Canterbury-ish Soft Machine-ish prog-jazz type
band with lots of horn parts and sax solos. I just
couldn't get into their clip here, although I might
be able to handle listening to 'em on record. Something
about seeing these funny looking guys, sorta stocky,
with glasses and big sideburns and hair pulled back
into a super-tight little ponytail (call it the Irmin
Schmidt look) huff and puff on these horns from multiple
angles with superfluous 'video effects' going on...well,
we're back to camp, huh?
Just two
clips later we have another rather terrible number
featuring prog-jazz played by more Irmin Schmidt lookalikes,
one of them wearing a vest without a shirt on underneath
it! The band is spread out on a 'eerily' lit soundstage
with small risers. The guy up and in back, stage right,
has wild hair and glasses -- almost a Eugene Chadbourne
look -- and the way he spazzes while playing some
sort of sitar-type instrument has a near Muppet
Show vibe. In between these two prog-jazz-ponytail
numbers is one of the would-be highlights of the tape,
a short Popol Vuh clip from 1970 or 1971. Unfortunately,
I don't remember much of it, except that it was pretty
confusing to watch due to all the 'psychedelic' video
effects going on. (I am pretty sure I caught a glimpse
of Florian Fricke's fur vest somewhere in the proceedings,
so of course that alone is worth it.)
The
longest clip on here is another Popol Vuh effort,
this time an honest-to-goodness short film made to
accompany "Sei Still, Weiss Ich Bin." This
piece of work is about a half-hour long, and also
known as "Sinai Desert," because that's
where it was actually filmed. Florian Fricke is so
mystical in this one that he's more less playing Jesus,
and he's even filming it on location at the desert
next to the Dead Sea for good measure. The visuals
might make you think of Jodorowksy, but they are much
more understated. (What wouldn't be?) I don't quite
know what to make of this film; it's long, it's slow,
it's weird, and not a little spooky, but it's also
got this seething devotional power, and in that sense,
it's a worthy accompaniment to Popol Vuh's music.
I screened this at a party with the sound off and
it was quite a trip to glance at the screen every
few minutes mid-conversations and see how little the
mystic/desert visuals had changed.
After
"Sinai Desert," the vid ends with another
killer from the vaults: Amon Duul 2 live on Beat Club
in 1971, playing two tracks from Yeti. They
weren't the biggest showmen in the world, more of
the 'stand there and bash it out' school, but when
what you're bashing out is "Eye Shaking King"
that's just fine. Karrer howls and jams, John Wienzerl
wails acid leads while hiding behind his huge mop
of hair, the drummer and bass player lumber and groove,
and someone sits off to the side and beautifully plays
synth patches and electronic noises. Renate doesn't
appear, which is too bad -- I'd LOVE to see some clips
of her performing with this band -- but it's freakin'
great anyway.
Full
track listing: 'A solid 2 hours of rare German '70s
rock; complete listing: 1. Can: "I Want More," German
TV, 1976; 2. Kraftwerk: "Autobahn," promo film, 1974;
3. Can: "Can Can," German TV, 1976; 4. Kraftwerk:
"The Robots," promo film, 1978; 5. La Dusseldorf:
"Viva," German TV, 1976; 6. Eberhard Schoener: "Bali
Gung," German TV, 1976; 7. Michael Rother: "Gluck
Im Spiel," promo video, early '80s?; 8. Kraftwerk:
"Truckstop Gondolero," Beat Club, 1971 (notable for
being the only recording of the trio lineup with Rother
and Dinger from NEU!); 9. Can: "Paperhouse," Beat
Club, 1971; 10. Passport: [unknown track], Beat Club,
1971; 11. Popol Vuh: "Bettina," Beat Club, 1970 or
'71; 12. Wolfgang Dauner/EtCetera: [unknown track],
Beat Club, 1971; 13. Popol Vuh: Sei Still, Weiss Ich
Bin film, 1980 (aka Sinai Desert); 14. Amon Duul II:
"Eye Shaking King," Beat Club, 1971?. (2:00, C)'
HEAVY METAL VOMIT
PARTY VOL. 1 CS (LURKING FEAR)
This
is an important archaeological document, a 90-minute
collage made up of excerpts from 80s metal concerts.
Although I recognize some snippets from Ozzy Osbourne's
Tribute, perhaps the last gatefold double vinyl
live hard rock LP, most of the sources seem to be
audience bootlegs. After all, the only liner notes/credits
on the tape say "Thanx Angela Sawyer and all
those '80s tape traders." The fun part is that
the excerpts don't come from songs, they come from
the moments between the songs, when one of a few different
things is happening: the guitar player is playing
an unaccompanied hot licks guitar solo, the drummer
is playing a typically endless unaccompanied hot licks
drum solo, or the singer is shouting something ridiculous
and "rocking" to the audience. To top it
off, there are several extremely drawn out song endings
in the mix as well, usually featuring a hot solo,
wild drum fills, and an over-exerting singer.
All
of these things are consistently met with roaring
herd mentality approval. For one long section, featuring
a band I cannot place, an 'eerie' intro plays from
the stage, filled with piped-in 'scary' organ music,
an atmosphere so thick you can practically see the
smoke machines working and the giant mechanical demon-mascot's
eyes twinkling from the darkened stage. All around,
people roar their approval, some so close to the bootlegger's
recorder that you can practically hear their conversations,
and their "woo!"s and "YEEAAHHH!"s
sound strangely weak and insubstantial when separated
from the dull roar of the masses.
One
unforgettable section has Ozzy leading a vast crowd
in a game in which Tommy Aldridge plays a steady beat
on his bass drum, and Ozzy, after much fanfare and
orientation, counts off "One...two...THREE!!!"
to which the audience is instructed to respond with
yet another dull roar. This is repeated enough times
to bore a kindergartner. I know, I know, you had to
be there, but I can't help but think that Mr. Plante,
intentionally or not, has given us a wakeup call with
this tape, an expose of what a certain cross-section
of us was doing in the '80s. The message, to me, seems
to be: sure, everyone requires a little dumb fun now
and then, but what we do for our dumb fun can still
be chosen wisely. Going to '80s metal concerts just
no longer seems to be the wise choice for dumb fun
that it once did.
Ah,
but listening to this tape is a choice way
to have dumb fun. At 90 minutes long, it's as endless
as a Tommy Aldridge drum solo, but strangely addictive.
Part of the reason is that most excerpts are only
a few seconds long, and the knowledge that something
new is just around the corner keeps my hand off the
fast-forward button. Highlights are some European
metal singer saying, in his scariest voice, "Do
you want some heavy music?!!! Yeah? Well, we'll give
you some!! We'll give you a LOT!!!!" And where
would this tape be without James Hetfield, who is
pictured on the cover and appears here more than anyone
else. I'm guessing there are two reasons for this:
one, Plante, like me and so many others, was probably
a big Metallica fan in the '80s, and two, because
Hetfield can't seem to open his mouth in between songs
without saying something hilariously doofoid. (I love
the call and response "Are you morbid?!!"
"Yeah!!" "Are you morbid?!!" "Yeah!!"
"Are you raging morbid?!!" "Yeah!!",
but my single favorite Hetfield quote is probably
"It's cool if you throw shit, but don't hit our
beers. It's our fuel, man." And let's not forget
"METAL UP YOUR ASS!!!") Robert Plante spent
hours upon days putting this together, and the result
is something you can snicker at, sure, but it's also
a serious purging, an exorcism of all of the various
80s metal demons that may or may not haunt you. As
someone who used to think that Dokken was really hot
shit, I know they haunt me, so this tape is a helpful
thing. Thanx Bob.
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