Sep 152016

European contact for: Psychic TV/PTV3
More info:

World wide contact for: AIKULA
More info:

23/24/25 September, Schienefest, Stuttgart, Germany
Program is HERE


Monday October 24; Greece, Athens, Modu
Wednesday October 26; Republic of Georgia, Tbilisi, Bassiani Concert Hall
friday October 28: Russia, Moscow, RED club
Sunday October 30: Russia, St. Petersburg, Zal Ojidaniya
Tuesday November 1: Israel, Tel Aviv, The Zone
Thursday November 3: Ukraine, Kiev, Sentrum
Saturday November 5: Poland, Wroclaw, WIF festival
Monday November 7: UK, London, Shepherds Bush Empire
Wednesday November 9: UK, Leeds, wardrope

Contact if you look for: FOH technician, tour manager, tour production, budget van rental

contact page:

On this site you find:
-The Limbabwe Archive. Check navigation
-Including free mp3 download of every Limbabwe release (
-Limbabwe related topics/activities. Check navigation
-Posts, latests on front page. Archived by year

Almost no contents has been removed since this site exists.

And don’t forget:

Aug 252016

Now, 2016, where rock stars are old or pass away reaching respectable, normal live-expecting age, I wonder which was the lie:

– Drugs are bad for your health


– Rockstars use lots of drugs


Aug 172016


Stuttgart1 in Stuttgart, go to the Nordbahnhof

Jul 182016

Alan-VegaAlan Vega, June 23 1938 – July 16 2016

Usually I don’t comment on musicians passing. Other media fulfill this request sufficient. I make an exception with Alan Vega assuming that his underground status doesn’t make media explode. Still, Alan Vega was a pioneer and one of the most influential musicians of my generation (and my generation still influences generations till today).

Alan Vega got 78 years old. A respectable age. Here a vid performing ‘Dream Baby Dream’.

Jun 282016

An article of Simon Shackleton published 3 days ago:

I began using Facebook over 9 years ago now when they took over the reigns from MySpace as the go-to hub for online community-building and marketing. They quickly began to feel like the mothership, a huge, vast, global sponge that absorbed everything in it’s path. Aside from their lack of music player implementation, what appealed as a user was their sleek and easy-to-use interface and the under-one roof nature of their site. I also loved (and continue to love) the Messenger feature, and still spend large chunks of each day talking to friends, working up leads for possible work opportunities and forming new connections with people I’ve never met, and perhaps never will.
It’s been an awesome tool during this time and I’ve given as much as I’ve taken from it in consistently being one of the 1% of the population who are actual content-creators (9% are interactors and 90% are passive consumers). During this time I have worked hard at building a sense of community around my Simon Shackleton Artist Page (previously the Elite Force page), continuing to reach out with content, conversation & community at the heart of my efforts.
In the past two or three years, the goalposts have changed pretty markedly. Facebook has abandoned its community-spiritedness and its own goals have shifted radically to a much more hostile, corporate model, with it’s primary raison d’etre becoming monetization. With all of the additional content that comes from over 1 & a half BILLION users, the fight to appear on people’s precious Newsfeeds has become a brutal one, and has resulted in a race to the bottom when it comes to tactical posting. I have lost count of the number of musicians changing tack and re-appropriating tabloid TV Video snippets and the crassest of images to leverage more likes, to massage their egos and inflate their sense of popularity. However in the venn diagram there’s a huge subset of followers that love ‘TV’s Funniest Bloopers’, but virtually none of them are relevant to their music, and will never hear it or engage with it.
It. All. Means. Nothing.
The sad thing is that these posts lower the bar. They encourage lowest common denominator interactions and they reduce the chances of their music being heard in the future, not to mention that of other artists who perhaps don’t play those gutter games.
Facebook Page posts are now verging on *completely* pointless unless you have bottomless cash reserves to pay to gain reach. I have seen brand new musical and visual content of mine not just fall below the radar recently, but disappear from it completely. When you get to the point where less than 1% of your fanbase (who have chosen to Like your page after all) see your posts without Facebook extorting money from you from boosting them, it has truly become an empty vessel. Outside of personal pages, Facebook is now a hugely expensive, un-engaging, non-community based red herring. It has spawned a massive industry dedicated only to marketing tweaks and tips, and it’s easy to get drawn into that world in the desperation to be heard by your own friends and fans.
I’m. Not. Playing.
I’m done with playing that game. I have a beautiful hub right here ( that I am investing more of my time and energy in these days. It looks better, sounds better, has more integrity, is more personal, completely customisable … and you know what? It may not have the reach or functionality of Facebook, but I don’t care. It’s where I live.
It has soul, honesty and passion. And that is enough for me.
Tell your friends, and bookmark for regular visits :

Tanx Simon, I am lucky sticking to my little personal soulful corner of the world-wideweb:

Apr 242016

This text is borrowed from an article written last year by Terry Matthew after an issue with copyrights on the social-medium page ‘Soundcloud’. You can find the original here: .
The article is briefly related to a remark I made more than 10 years ago, on tour, in the early days when all this started. A musician told (and explained) me how his ‘MySpace’ page works, and that he had already ‘400’ friends. What I (cynical) commented ‘I rather have 4 real friends than 400 cyber’. Over a decade further social pages became common part of our lives including all complications users have to deal with. Especially in music industry it seems indispensable.
To make the remarks in Matthews article more universal (lesser specific about Soundcloud), I edited it a bit. Reading the original gave me the impression he talks general about the phenomenon ‘social media’ anyway.
The article goes a bit deeper than my blunt remark years ago, still, in basics, it comes down to the same…   

It’s your fanbase – that number that appears everywhere and makes artists either frustrated or gives them an unwarranted sense of self-importance. It should be rather easy to contact them all and tell them you’re moving on and you’ll all meet up on or mixcloud, right?…….Right! And that’s why most artists aren’t going anywhere, as long as their account is still active. Their fanbase ain’t going with them.

It’s been said that we live in an era of “access” – a kind of golden age of artist communications and marketing. Rather than rely upon the faulty medium of the journalist or the tabloid, artists can now talk “directly” to their fans without any intermediary. Well, except for SoundCloud, or Twitter, or Facebook, or…

The reality is that you don’t own your fanbase. You just “access” them. You rent them in exchange for your data. And when the moment comes you want to end your lease and move to another block, it becomes incredibly clear what the distinction is.

When a site implodes or homepages are taken down without much recourse, the artist is confronted once again with having to build an audience from zero. If you have a million followers it’s a bit easier, of course, but most artists don’t have a million followers. They may have a few thousand followers, accumulated over the course of years. A “follower” is a person who (with some exceptions, obviously) has indicated that they like you and want to receive updates from you. And now you’re a dead link or a gap on that follower’s dashboard, and that’s all.

The important thing to realize is that these barriers between fan and artist are entirely artificial. There’s really no reason why they need to exist, other than to obstruct you from leaving the page.

It would be incredibly simple to ask people on sign-up if they want to share their email address, and allow any customer at any time to export the data for whatever reason. Most of us sign up to receive email updates by artists (in fact, we should be doing it more, considering it’s the only means to have any kind of “ownership” over your fanbase now). The days are long gone when an email address was some kind of a secret gateway to our identities.

It’s not a shocking revelation to state this. Holy shit you mean the corporations that dominate 21st century communication want control?! But it is depressing how rarely this is addressed, or how little artists or their advisors and managers think about this sort of thing.

Most will not leave social media pages because nobody else is leaving. Pages will not go down because there is too large of a user base and too much venture capital already burned. Many artists who hate it will continue using it because they loathe having to build their fanbase all over again. Some will go elsewhere, but have to realize that they just renting fans there, too.

Matthew tells us that; if joined, we all are used by the social media companies, artists/fans/admin/followers… He advices to ask every follower/fan for an email address. Your fanbase is than direct accessible, free from s(h)ite-producers decisions.