Program

Fake Mistress Olivia Pils and Czentrifuga's Gabba Reifenstihl perform live

Live: Czentrifuga All Stars (Berlin)- performance live printing, music and costume

featuring Gogo Trash, Fake Mistress, Beat me X, Gabba Reifenstihl, Damien Tran, Coost Lardy Cake

Czentrifuga
Wir sind ene Siebdruckwerktstatt, ein Audio-Videolabor, Laden, Galerie und Zentrale eines internationalen Künstler-Netzwerks und seit 2 Jahren hier am Mariannenplatz ansässig. Davor hatten wir 7 Jahre lang die "Fleischerei" am Rosenthaler Platz in Mitte.

Wir sind auch Teil von "Unterdruck.e.V. - Kultur von der Strasse", ein Verein, der benachteiligten Menschen Hilfe zur Selbsthilfe gibt.

Hier wird "Rohkultur" in Form von Postern und Büchern in limitierten, handgemachten Auflagen, unabhängige Werbegraphik, Mode, Musik und Filme produziert.

Wir geben einzelnen Künstlern den Raum in größerem Zusammenhang zu arbeiten: gemeinsame Ausstellungen zu konzipieren, Projekte in eigenen Räumen durchzuführen, Siebdrucktechniken zu erlernen, Praktikas abzuschließen. Übergreifende Kontakte zu knüpfen, zu Galerien, Künstlern und Auftraggebern.

Wir erledigen Siebdruckauftragsarbeiten, machen Workshops und bieten die Möglichkeit, nach anfänglicher Einweisung, selbständig in unseren Räumen zu drucken .

Yximallo (JP)

Yximalloo is Naofumi Ishimaru alone, but he drafts a loose ensemble of players, including the core of Shigeo Ootake and Takashi Korgo (who appear on all discs), as collaborator-executors. All of his releases are on his own label, and none have seen a distributor yet (which is why you very rarely find his CDs in stores). Mr. Ishimaru recently visited Other Music, and left us with (very limited!) quantities of his entire catalog. Ishimaru works like a Japanese Jandek without the angst, like the Boredoms minus the bombast. Spiritual kin to early artpunk and especially the LAFMS, he revels in mock-ethnic music and nonsense. Lo-fi, sweet and primitive, he uses ancient drum machines, hand percussion, and electronic droplet noises, sometimes set to melodies gathered from some imaginary South Sea island where the traditional instrument is seemingly an old '80s synth. Handclaps and chanting abound, but Yximalloo has also been painted as a Japanese Half Japanese -- Jad Fair himself has collaborated with Ishimaru and draws the covers for every release here (gorgeous dayglo and glow-in-the-dark covers in iridescent plastic cases). Recording since 1973 (!), he still has but one Yximalloo release in the States, last year's retrospective LP on Old Gold. Most CDs are around 70 minutes and usually contain over 30 tracks. Just listen to a few of the RealAudio samples to get a glimpse into his strange sound-world.-Other Music RE-

"Going much deeper, stronger, and innovative, Japanese electronic performance artist Yximalloo shrugs off any semblance of conventional rock, pop ,or even 21st century modern composition to create a retrograde landscape of tape samples, keyboard, vocal and percussion sounds produced on two- and four-track analog format micro-cassette recorded machinery." - Michael G. Nastos, All Music Guide

"Here ESP-Disk returns to the insanity side of releases. Beats, found sounds, quirky electronics and seemingly unfinished tracks plus artwork by Jad Fair; what more could you ask for?"

• Chuck Bettis, Downtown Music Gallery

Interview:

Naofumi Ishimaru A.K.A. Yximalloo recorded "Half Alien" which includes naive and unique campfire songs of 90's under the name of JADANDNAO when Jad Fair of Half Japanese visited Japan last summer. Is it fair Japaneses don't know about Yximalloo so much even though he is some famous in foreign countries in spite of he collaborated with costes too? We had the interview with him to ask why he started to make such a unique music and what music for him. We wanted to know the secret and the core of his charm. The interview took 6 hours long,but we have to cut the many parts for the capacity of this magazine-Dartie-. sorry,but w really hope the interview can help to open the ears of many Japaneses. We could have the chance to listen to "Half alien" which will release very soon. We could feel enough their desire to try to communicate with listners. it is sure "Half Alien" could go over "Half Robot" which got No.1 on WFMU which is the best co;;ege station in U.S.A. music It's nice and quiet village,isn't it? How did you find the house? Nao I've ever lived in the small apartment in Yokohama. It was hard to find the space to sleep with a lot of equipments. One day I had the claim by the neighbor. She said the sounds were so far from from what she's ever heard and started to worry hwat was good or bad to justify in the very stereo-typed Japan. The owner already loved my music and said you should keep on. But I was shy and decided to say good bye to the city. Then many surfers moved to Minami-Izu to catch a bigger wave. The one of my friends adviced me to move to Minami-izu and I could find the house which I've ever seen in my dream before. Was there any changes about your music? Nao I think there was no changes. Then I worked as the manager in Tin pan Alley,so I could escape from the influence of Haruomi Hosono. Now slowly and gradually I could do it. If i still live in Yokohama,I couldn't control too many informations. Finally I can work for the music which I made in 70's. I wanted to put the title Captain Nemo and I did call you to ask how the French spell is(Ha!). I put all titles for the music is the name of geros when I was a kid. How do you put the titles for the music? Nao I don't like poet,but I'm very interested in the words. So I always to try to write down the words when I had the feelings. At first I decide the whole theme and select the words from the huge files to fits with. Do you decide the theme first or the music first? Nao Absolutely the music first! I believe a music mus be music itself. I hate and don't believe any lirics at all. My music sometimes needs vocalings,so there is no means. Many musicans who love poems and believe lyrics should be paperback writers. What kind of opinion do you have about Happy End which Haruomi Hosono whom you ever had the influence played bass? Takashi Matsumoto wrote the great lyrics which make us possible to feel the atmospheres of 60's. Nao I like Hosono but Matsumoto. If I have to have the lyrics on my music,I prefer Eastend and Yuri. I much prefer Eichi Ootaki than Matsumoto. I'm against a message or poet. Which parts do you realize your music locates in if there is the steam of Japanese music? Nao For example Boredoms came out of those steams at all. I feel my music is still out of te streams which Boredoms start to make now. I can feel enough te fast paced changes these days. People in foreign countries less care about a fashion or a trend than Japanese do. They have their own opinion even though all Japanese never listen to my music. Which do you care about Japanese music or foreign music? Nao I loved Beatles when I was a kid and couldn't speak any English. So I can't say Japanese music or Israelite music. Music goes over the nationality. How do you recognize about your music? Nao I say by one word,rock. It's not jazz. I sometimes play noise,but it's only the one part of many elements. If I have to say,I prefer to do experimental music. I'm always boring about everythings. I always try to be free from making too much display my originality and keep to have the questions for everythings. Do you insist about analog? Nao I also used MIDI and sampler a decade ago. Then new machine came out every month. New machine-not musican-made new music. I felt the trap of the instruments company and started to show we can make the new music without the new machine. By the toys and original instruments in this studio? Nao I just love the sounds of those instruments. No,using those instruments doesn't mean I'm against the technologies. I loved the happenings on the digital recordings and mostly took the funny take with happenings. I just hate everybody can make the same sound by pushing thE button. Jad and me used the analog synthe on "Half Alien". We could set between 1 and 2 as 1.2 or 1.5. How do you make music? I guess every musican might have their own style. Nao I always have the micro cassette recorder and record the motif of melody or rhythm when I had it. I can't have enough money by my music,so I have to work in a factory. There is always the sound of machines and it's stupid and simple work as I can do it without any consciousness. I'm in natural high,then suddenly it comes. Does it mean the music was born by the environment? No? Nao Then Kraftwerk and Y.M.O. conquered the world. I felt the sound of factory machines is cooler than the one of synthesizers. I recognized Mark Pauline in S.F. was the best musican not robot artist then. So,what is the difference between sounds and music for you? Nao I go too far in saying that the sound-knocking the table-could be music for me. Many people might be against the opinion but why not. If I could feel something on the one sound,it's music for me. When you make the one sound,you can feel the sound is music for you. Is the reason why you could have the feeling you could get closer to your image which you intended? Nao Yes or no. I sometimes don't have the idea and start to make the music. Or even I had the motif,suddenly the one sound brings the another image and I prefer the new image. If you say every sound can be music for you,is it possible you call a sound of street or bugs to be putted as your music? Nao I've ever edited a sound of street and bugs as my collections. I didn't call those as my music then. So,is it the music which was made by your play-even knocking-to feel something in? Nao I can't say exactly. Maybe. How do you feel about club music? Can we separate the music to dance and one tp listen to? Nao People separate. I like techno music. The music for body and the one for head. My music might be for head,but I hope people listen to my music loudly as possible. But I feel your music-"Live"-is for body. My body can dance with it like The Pop Group. Nao This is the C.D. we recorded in 1981 and could release finally last year. I did like the image of The Pop Group,but their sound was too jazzy for me. Then U.S. rough trade distributed te cassettes in U.S.A. I don't get $200 yet. I can feel the influence from the black music. Do you have any favorite musicans? Nao Not special one. I like Don Cherry. When I stayed in S.F.,I went to his party. I could feel the sympathy he joined to the compilation of Shimmy disc and he is very open and free for every genre. Which part of a day do the listners should listen to your music? Nao I have no idea about morning or night. But I'm very serious about season. I hope people listen to my music in summer season. Half Alien How many days did you spend for the recording? Nao It took from JUN. till the beginning of AUG. 1995. It's over a month. Jad and Gilles stayed at tis studio after the tour. We recorded Half Robot at Jad's house in MD. His wife was good at cooking. But Jad had to buy the freezed pizza at a super market in Minami-Izu. How was the process of the recording? Nao I played the tape which I used to record by the micro recorder two decades ago to Jad and we discussed to play each other for half of "Half Alien". We made 5 songs for a day. So we have enough songs to release as two C.D.s. Do you listen to other musican during the recording? Nao We played Beck,Disney,Fishbone,Krack House and XTC on the way to a super market. Jad said Beck visited Half Japanese when they hwd the gig in L.A. Why does it takes a time to release "Half Alien" even though you finished the recording last year? Nao Jad gets too nervous about the indistinct noises which we can listen or not. And we can't communicate well with Jason who works as the mixer. Which label does release it in foreign countries? Nao He might has a headache about this. It's not easy to find the good label to release even for Half Japanese. Duophonic? Doug retired CMJ and started the label. But it's Jad's work. I trust him. We don't finish to select the songs for "Half Alien". He wants to release as two C.D.s,but I prefer to select more seriously for one C.D. I have the right to release it in Japan,and Jad has the right for foreign countries. Meldac offers us,but I can get only $3,000 by it. It's too bad. I think I'll release by Sakura wechords which I organize by myself. Which parts of your music does Jad like? Nao We don't talk about this. Maybe nothing? I could see how he loved or not the song when he mixed it seriously or not. We selected the songs from "Half Robot" for the tour last year. He mostly loved the simple songs and the campfire songs which even kids can sing. Costes He cancelled the love call from Boredoms and chose to collaborate with you. How was that? Nao He didn't like their music but Seiji Yamamoto's video. I too had the strong shock about Costes and it was enough to feel the better possibility than Boredoms have. And we both organize the label and we both record the music by home mmade style. And Im 42 now. Costes and Jad are same 42-Frank of A Certain Frank too-. We grew up the same generation.
Which parts of Costes's music-?-do you like most?
Nao His attitude for his music. He ever had the piano lesson when he was a boy. But his music is......Anyway I was knocked down when I listened for a second. I believe he is genius. ThoughJad didn't like Costes(Ha!). I have the plan to have the recording with Jad from U.S.A.,Costes from France,Frank from Germany and me when we get 100 years old. Anyway Costes is out-not lack-of common sense.
How is Costes doing now?
Nao He had the many hopes for Japanese market and now he is disappointed very much about the gap. He has interested in films and I helped to edit the video of Japan tour. I've heard Pent House-Frence-had 4 pages for Costes recently.
Future Activities
How are your plan in future?
Nao Well,I'll release "Half Alien" till next spring. I released 40 cassettes for this decade. And now I'm making C.D. to select the tunes seriously from 40 cassettes. So I'm enough busy to have idea about playing live. I hate to categolized to the one genre. Yximalloo isn't noise,Low-fi nor Techno.
And more?
Nao When I finish to release more 2 or 3 C.D.s,I'll start from 0 again maybe in other country not in Japan. I like this Photec. I'll try to repeat a decade old style again? Well,I'm enough busy to have no time to think about my future. -D'artie Yossey-

Lydia Lunch & Philippe Petit
( new york, USA / marseille, france )

Twist of Fate

Lydia Lunch, die Grande Dame der New Yorker Gegenkultur, Vorläuferin aller Riot Grrrls weltweit, kommt mit Philippe Petit auf die Stubnitz. Schon 2 Tage später sind die Beiden in der Volksbühne, Berlin zu sehen.

A provocative journey into the dark groove of endless night where possibility, mystery and mania entwine the listener into a deep cocoon of sound and voice �

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Seit mehr als dreißig Jahren ist die New Yorkerin Lydia Lunch unermüdlich als Musikerin, Performerin, Schauspielerin, Fotografin und Dichterin unterwegs. Die Liste ihrer Bands und Kooperationen ist lang: 8 Eyed Spy, Teenage Jesus & The Jerks, The Birthday Party, Die Haut, Sonic Youth, Gallon Drunk, Foetus�

Kürzlich präsentierte die Grande Dame des Underground ihr neuestes Projekt Twist Of Fate mit dem französischen Experimentalelektroniker Philippe Petit: ein ebenso schöner wie düsterer Songzyklus, getragen von der Wortakrobatik Lydia Lunchs, die live auch die Visuals beisteuert. [ via VOLKSBÜHNE Berlin ]

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Aus dem Tagebuch eines Raubtiers

Anna-Bianca Krause für die FAZ

Spoken-Word-Performance statt No-Wave-Gesang: Lydia Lunch liest

Lydia Lunch sieht aus wie eine Kreuzung aus einem Kobold und einem New-Wave-Star der achtziger Jahre. Und sie überfällt ihr Publikum mit einer Offenheit, die auch abgebrühten Verbalerotikern die Schamröte ins Gesicht treibt. Ihre Waffen sind Worte: gezischt, geraunt, geknurrt oder Buchstabe um Buchstabe genüßlich gelutscht und dann erst freigelassen. Jedes Mittel ist ihr recht, um jene Geschichten zu erzählen, die ihr das Leben auf die Haut und in die Seele brannte. �Seit ich elf war, habe ich jede Beziehung als psychologischen Test von Stärke, Willen, Macht, Kontrolle und Schmerz betrachtet�, behauptet sie. Die extremsten Erfahrungen hat sie kreativ verarbeitet: in Liedern, Drehbüchern, Texten, Fotografien, Körperskulpturen und Performance-Rollen.

Schon mit sechzehn schrie sie sich, Tochter eines Verkäufers von Bibeln, in der New Yorker Punkband �Teenage Jesus and the Jerks� ihre Wut aus dem vom Vater mißbrauchten Leib und schrubbte dazu die Elektrogitarre. Die musikalische Kampfansage war so radikal und eigenwillig, daß die Kritiker sich genötigt fühlten, eine neue Schublade zu öffnen � und etikettierten sie mit dem Begriff �No Wave�. Das war Ende der siebziger Jahre.

Lydia Lunch war schrill, hoffnungslos und versengte alles, was ihr zu nahe kam. Ein rasender Teenager, der noch nicht wußte, wen die geballte Ladung Aggression treffen soll und wo, eroberte für einen Augenblick das Musikbusiness. Fünfundzwanzig Jahre später sucht die Frau, die heute zu den Ikonen des Punk gezählt wird, die Öffentlichkeit mit Texten. Sie schreibt Bücher � und liest daraus vor. Spoken-Word-Performances heißen diese Lesungen, in denen sie die Konfrontation mit dem Publikum provoziert.

Philippe Petit (marseille/FR)

ist auch ein Hochseiltänzer, aber anders als sein berühmter Namensvetter bleibt er bei allen Verrenkungen am Boden. Petits Homebase ist Marseille, wo er als Radio-DJ arbeitete, diverse Labels gründete und mittlerweile zum Angelpunkt der experimentellen Musik zwischen Rock, HipHop und Electronica geworden ist. In jüngerer Zeit hat Petit mit diversen Acts live zusammengearbeitet, unter anderen mit Strings Of Consciousness und Lydia Lunch. [ via Dampfzentrale Bern ]

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http://harburg-magazin.netsamurai.de/

freak jazz outta b-tropolis

was Ed n' Ed ...n' Ed, etc. Two monstrous aliens, lost in the nether regions of transcendent acid trips in the mother's temple of exotic curry recipes. Various trios appear here. All recordings are improvised. Post-production is minimal. Have fun. We did.