V/A - Flight Information - An Introduction To Recent Releases - Promo MC (Touch, 1990)

 

A 40 minute promotional tape for radio and press.

01 Strafe Für Rebellion - New Musicsister

02 Stefan Weisser (Aka Z’Ev) - Book Of Love Being Written As They Touched 1975 (Excerpt)

03 The Hafler Trio - Kuklos

04 Shostakovitch - Waltz For ''The Bedbug''

05 Contact - Trajectory

06 Dragoslaw Aksentijevic Pavle - Come All Ye Sons Of The Earth

07 Karlheinz Stockhausen - Excerpt

08 Étant Donnes - Aurore (Selection)

09 Eli Fara And Luiza Miça - Mule-Driver Of Grebene

10 Mother Tongue - Words

11 Soliman Gamil - Supplication

12 The Hafler Trio - Crucible

Touch Bandcamp

Strafe Für Rebellion - Sulphur Spring (Klanggalerie, 2014)

All recordings were made at St. Stephanus church in Düsseldorf (GER) between 1993 and 2013.

Additional recordings were made at the STRAFE studio.

01 Tomato
02 Maize
03 Black Powder
04 Potato
05 Tobacco
06 Silver
07 Caoutchouc
08 Cacao
09 Sulphur
10 Quicksilver
11 Nitrous Earth
12 Animali

gg190
klanggalerie.com

V/A - Realidade Virtual LP (Fast Forward, 1991)

All tracks were written, produced and prepared specifically for this record by the artists / projects involved.

a1 Somewhere In Europe - To Cross The Bridge At Dusk
a2 Strafe Für Rebellion - Campos De Arroz Cantantes
a3 Popper W2 - Auschwitz Popcorn
a4 Margaret Freeman - Afrikaner's Streets
a5 Hesskhé Yadalanah - Memory Discerning Disarray Provokes Amnesic Dislocations
b1 Zone - Adremin
b2 Miguel A. Ruiz - Profilaxis II
b3 Rafael Toral - Soft Energy II
b4 God Speed My Aeroplane - Jesus Will Burn My Body Over Tunisia
b5 Nuno Rebelo - Meet Mit
b6 Adolfo Luxúria Canibal & Humpty Dumpty - Introdução Ao Ritmo Do Camartelo E Da Betoneira
b7 Matrix Run - Deep Sky
b8 Pornosect - Segregation (Minimal Radio Interference Edit)

FF001
Fast Forward

Strafe F.R. ‎- Öchsle (Bad People Have No Songs) (Staalplaat, Soleilmoon Recordings, 1992)

Strafe's next release, Öchsle, was a more lyrical project, illustrative of Strafe's continuing interest in language. "In Öchsle we used words that we 'translated' from an original Hamar (Ethiopian) chant into German in an onomatopoeic way - but the choice of words was not incidental ... We have also developed our own peculiar Strafe language according to our own special way of working. There is also the natural human (vocal) language and the musical language. That is why we have created several radio plays using our music as a soundtrack." The lyrics, composed of these 'translated' words, are left as a chant, and form the major element in several tracks, but several others are solely instrumental, exploring Strafe's usual wide choice of instrumentation and textures.  Strafe FR Interview

All recordings (1991-1992) Strafe F.R. Mixed at Grundfunk Studio Düsseldorf in March 1992.

01 Hamar

02 Rotation

03 Generals Of Harmony

04 Orgeltier

05 Fine Food

06 Arbeit

07  Bronze Bells

08 Öchsle

09 Airportfrogs

STCD 022

Strafe FR - Lufthunger (Touch, Soleilmoon Recordings, 1991)

1991's Lufthunger succeeded in combining several concepts into a coherent whole. Ostensibly, it is a 10-part symphony stretching from the Cambrian period of 530 million years ago through to the most recent 2 million years of the Quaternary period, describing and mirroring geological and ecological evolution. On a more musical level, it explores themes of gradual and catastrophic change, the sleeve notes pointing both to how human perception of prehistory is affected to a great extent by our negative view of catastrophes, and also to how in the much briefer history of music, sudden new developments have also been viewed negatively. Strafe FR suggest a third important influence: "Lufthunger could only be created in the year 1990. That is why it does not only deal with the pre-history! At that time the Gulf War ('Desert Storm') took place, which certainly influenced us emotionally and in terms of general atmosphere." Strafe FR Interview

All noises, instruments and recordings by Strafe F.R. Mixed during Dec-Jan 1991 at Merz Studios, Düsseldorf.

No electronic instruments were used.

01 Cambrian: Upper And Middle - 530 to 495 Million Years Ago

02 Ordovician: Upper - 430 To 420 Million Years Ago

03 Devonian: Upper - 375 To 360 Million Years Ago

04 Permian: Upper - 258 To 245 Million Years Ago 

05 Triassic: Upper - 229 To 205 Million Years Ago 

06 Jurassic: Lower And Upper - 205 To 130 Million Years Ago

07 Cretaceous: Upper - 95 To 65 Million Years Ago 

08 Tertiary: Oligocene And Eocene - 58 To 23 Million Years Ago 

09 Quaternary: Pleistocene - 2.3 To 0.01 Million Years Ago

10 Quaternary: Holocene - 0.01 Million Years Ago

TO:19

Strafe F.R. - Moor (Staalplaat, 1993)

"If you take Moor as a landscape, it offers a lot of possibilities; either to drown, or to get marshy, or to get bogged down, or to get blinded by beauty. You watch a rare animal or plant and the next step there is muddy soil. There is a good smell of heather, but also millions of summer-gnats and the black grouse. A moor also has its unique acoustic. In the musical Moor there are some contact mines to be found; there are sloughs, poison snakes and slow-worms to be found in the world of pop music. After a short time big parts of pop music disappear inside of mud holes where they rot and decay. Occasionally some of this rises again as a moor corpse - these revived corpses appear in pop museums but they have historical relevance only, they are spent and past. The contact mines in the pop music can cause destructive explosions which give birth to new possibilities, or just create new holes in the ground." Strafe FR Interview

01 Bog Bay
02 Datooga
03 Pace
04 Stradivarius
05 Humor Indio
06 Run To Seed
07 Big Hun Losses
08 Culo En Tierra
09 St. Anthony's Balsam
10 Ahrweiler
11 A Gobbled Up Fish
12 Schoolmaster I
13 Red Cloud
14 Persian Carpet
15 Guinea Fowl
16 Schoolmaster II
17 Bronce Eel
18 Mamvu
19 Schoolmaster III
20 Mountain Love

STRAFE 15

Strafe F.R. ‎- Pianoguitar (Staalplaat, 1995)

Over the course of several albums, Strafe Für Rebellion developed a personal style of abstract instrumental music that owed a lot to their use of home-made instruments, found objects and field recordings.
They dissolved quietly in the mid 90s, after releasing the "Pianoguitar" album.

01 Contract And Poetics
02 Professionally Known
03 Yours Faithfully
04 Jointly And Severally
05 Please Indicate Your Acceptance
06 Which Purport To Deal
07 Within Seven Days Of Signing
08 Those Amounts
09 You Agree To Pay Us 50 %
10 Throughout The World
11 Non-Exclusive Mechanical Licence
12 We Hereby Grant
13 Promptly Amended
14 In A Form Approved By Us
15 Thirty Days
16 Initial Amount
17 For Commercial Release
18 Share Of The Copyright
19 We Agree
20 Of Our Musical Performance
21 Comprising Recording
22 As Tenants In Common
23 You Hereby Acknowledge
24 Out In Schedule
25 Tracks In Progress
26 Publishing Agreement

STCD 073
Staalplaat

Strafe Für Rebellion - Vögel (Touch, 1989)

"Music is more than an acoustic phenomenon. The perception of music is dependent on the ability (and capacity) of the human ear - how the ear functions technically and how the brain is able to work out those informations, knit them together with the information from the other senses, your thoughts and your individual experiences." Strafe FR

Recorded at Grundfunk and Strafe FR Studios, Düsseldorf
Material recorded between 1981 and 1989.

Track 11 from 1981
Track 5 from 1983
Track 10 from 1985
Tracks 3,6,9 from 1986
Tracks 12,14 from 1987
Tracks 2,4,7,8,13 from 1988
Tracks 1,15 from 1989

01 Taste
02 Rising Sun
03 In Egypt In The Month Of May
04 New Musicsister
05 Soundless Message
06 For Mao Folk And Religion
07 Boston
08 Love Bees
09 Long March
10 Kamerun
11 Portuguese People
12 Toryance
13 Windhuk
14 Mastino
15 Abendhimmel

Strafe Für Rebellion Interview
TO:12
Touch

Strafe Für Rebellion ‎- Der Säemann LP (UN, 1987) + 5 12'' (UN, Touch, 1988)

"As you probably know we do not use any electronic music instruments. We do not condemn electronic music instruments at all, it is just not our approach. One central aspect of our work is the use of field recordings, either wild or domesticated animals, machines and all kinds of noises that we think are peculiar in some way. We go searching for sounds during trips, we occasionally find them or we consciously go looking for special sounds (visiting a zoo, for example). When we do field recordings already some compositional elements come into being - they go beyond the pure documentary sounds and beyond the quality of our normal archive. We also use 'normal' music instruments and 'prepare' them, there are also self-made music instruments or noise machines. But we never use anyone else's pre-recorded sounds; we have never used samplers nor rhythm machines." Strafe FR Interview

Recorded at Mutterfunkstudio 1984-87.

Mixed at Grundfunkstudio Düsseldorf.

Comes with poster insert.

A Der Säemann I
B Der Säemann II

UN 04

Recorded at SFR-Studio in February 1988 
Mixed at Atatak-Studio, Düsseldorf 

A1 Musicsister
A2 Wiegenlied
B1 Toryance
B2 Mastino

UN 06