STAAL TAPE OOX
A
Recorded live at V2
12 November 1988
in Den Bosch
by Motion Rotation Tapes
Sound: KEITH SHERRY
B
Recorded live
10 February 1990
de Vlerk Rotterdam
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Mostrar mensagens com a etiqueta Label - Staalplaat. Mostrar todas as mensagens
Laibach - Ein Schauspieler MC (Staalplaat, 1985)
STAAL TAPE OOJ
"Staalplaat and AMBASSADE organise performances of groups in The Netherlands Staaltape made recordings of these performances and released them as a special ediction, the documentation series."
kant A: IV PERSONEN NL Centrum (3-28-'85)
a1 Nova Akropola
a2 Vade Retro
a3 Die Liebe
a4 Ti Ki Izzivas
kant B: Posthoorn Kerk (16-2-'85)
b1 Nova Akropola
b2 Vade Retro
b3 Organo Fonija
b4 (Ti Ki Izzivas)
ST 00J
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 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 Interview01 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
Z'EV - Opus 3 (Staalplaat, Helmholtz Theater, 1990)
Recorded at the church De Duif, Amsterdam, April 20, 1990
Recording engineer Dick Lucas
Producer Van Lagestein
1990 Helmholtz Theater
ST-CD 010/HT1
.
01 ACT ONE - Kliks
02 ACT ONE - Containers
03 ACT ONE - Base Drums
04 ACT ONE - Bon Po Bells
05 ACT TWO - Shakedrum
06 ACT TWO - Sideshield
07 ACT TWO - Venushell
08 ACT TWO - Meg'o'lith
09 ACT THREE - Drumsuperballed
10 ACT THREE - Gongs
11 ACT THREE - 3 Allys
12 ACT THREE - New Titans
13 ACT FOUR - Bracelets
14 ACT FOUR - Marshell
15 ACT FOUR - Circlescrape
16 ACT FOUR - Wayang
17 ACT FIVE - Fallen Titans
18 ACT FIVE - Thameshell
19 ACT FIVE - Titans
20 ACT FIVE - Drumonkycymbal
[The User] - Symphony #1 For Dot Matrix Printers (Staalplaat, 1999)
Formed one morning over breakfast, [The User] inhabits the trailing edge of technology. This vantage point affords an excellent view of technology from behind. Exploring the more prosaic side of the human condition, [The User] has chosen ambient noise, the by-product of existence, as the subject of its current work. Sifting a few pertinent grains from the beach of noise is [The User]'s self-imposed and inexplicable task.
[The User] takes its name from a term employed by our technocratic society, especially in design-related fields such as engineering, architecture and software development. The term 'user' objectifies and reduces individuality to an abstract and generic ideal. This reduction is employed wherever abstract rational methodology is applied to situations involving real people. Once this reduction is made, it becomes much easier to treat the faceless, formless 'user' in an inhuman fashion. In our society we employ the impersonal term 'user' to justify the infliction of neon lighting, plastic cutlery and Muzak on a huge majority of our population.
[The User] is an artists' collective formed of two members: architect Thomas McIntosh and composer Emmanuel Madan.
[The User] takes its name from a term employed by our technocratic society, especially in design-related fields such as engineering, architecture and software development. The term 'user' objectifies and reduces individuality to an abstract and generic ideal. This reduction is employed wherever abstract rational methodology is applied to situations involving real people. Once this reduction is made, it becomes much easier to treat the faceless, formless 'user' in an inhuman fashion. In our society we employ the impersonal term 'user' to justify the infliction of neon lighting, plastic cutlery and Muzak on a huge majority of our population.
[The User] is an artists' collective formed of two members: architect Thomas McIntosh and composer Emmanuel Madan.
01 login
02 first brazilian interlude
03 fucking neophyte
04 second brazilan interlude
05 control to surveillance
06 surveillance to control
07 third brazilian interlude
08 new existential clause
09 fourth...
10 control to efficiency
11 fifth
12 efficiency
13 ethernaut (a homage)
14 random telecom
15 final brazilian interlude
16 dance of the downsized
[The User] Web Sit
Muslimgauze - Drugsherpa mCD (Staalplaat, 1994)
Written/played by Muslimgauze
Recorded, mixed at the Abraham Mosque Manchester
Engineered by John Delf.
01 Drugsherpa
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