Tuesday, 07 September, 2010  

I know I make it easy on myself with posting using the new download page everytime I add one. Hey, its simply busy and loads of work bringing all this ‘Should Be Forgotten’ music to you. And yep! Limbabwe’s first release is added to the download section. Tomorrow a real post again.  

VLAAIKOTS (Limbabwe 1) 1982  

Limbabwe started with 2 compilations. First the vinyl LP ‘Alle Honden Blaffen’ (All Dogs Bark) in cooperation with the MK (Music collective) Venlo (Available as download later). Second the cassette tape ‘Vlaaikots’ (Cake-puke) you can download here.  



I think it was this way around. Difficult to remember what came first, LP or tape. Fact is I like this cassette tape much more than the LP. Vlaaikots is a very dynamic, rough and wild document of the Venlo music scene in 1982. Most bands contributed with tracks recorded by themselves. This brings a nice variation of recording quality. Some bands sound studio–clean, others delivered over-distorted raw rehearsal tapes. Few bands where recorded by Ger and me. We registered them with a big Philips stereo reel to reel tape recorded and two microphones (read the Pandemonium download page).  

Vlaai is kinda cake, specialty from the area around Venlo and famous all over The Netherlands. The cake was not high raised. Its flat and round, thin crust filled with fruit. Little bit comparable with pizza. The cake came in a box similar to pizza box. The tape was packed in a printed cake box. Besides cassette a booklet was included.
I bought the cheapest cassettes at V & D (sort of Dutch Wall-Mart) made from their home-brand Vendex. Despite the questionable quality, these tapes hold until today. While writing this I play Vlaaikots from original Vendex cassette. After almost 30 years it still sounds great. As I mentioned so often on these pages, cassettes tapes are the best ‘conserving’ sound carriers ever made so far.  



Vlaaikots got some attention in Dutch press and sold out, quickly turning into collectors item. Somewhere in the mid-eighties the original Vlaaikots in box with booklet was worth 15 x more than sale-price. For a week the release was no.1 in the list of most ‘expensive’ collectors items, above PIL’s metal box ‘Second Edition’. The only charge position Limbabwe ever had.  

The tape starts with a very clean song from ‘A Live Detail’ followed by Dutch poet ‘Koos van de Kerkhof’. Non-Dutch might be a bit bored in the first 10 minutes. Personally I am not so impressed by ‘A Live Detail’s’ contribution. Koos raps in Dutch, you will not understand what he says. Side A starts to get good when Zanzibars Twist kicks their chaotic noise-rock. I like the 2 live tracks from Zoo. They were one of my favorite bands in that time. On their first track Ger (van de Beuken – guitar) amplifier breaks down. You hear him yelling during the song ‘Fuck, the amp is broken’. The songs I like the most on this tape is from Coolcast. The name is very original funny word-game; a refrigerator on Dutch is called ‘koelkast’ pronounced as ‘coolcast’. They were a Cool Cast from Arcen, village nearby. Their two tracks are so wild and rough it makes the heaviest Stooges bootleg sound like a sweet Britney Spears recording.
To download this release for free go to ‘Downloads’ in the Main Menu.

Monday, 06 September, 2010  

Thought I would never get to a post today, but anyway here is one. Music Again.
1972! Ry Cooder came in this year with the two best records he ever made; ‘Into The Purple Valley’ and ‘Boomers Story’. His second and third solo record.
Cooder is a brilliant top musician. An absolute ‘virtuoso’ on every string instrument you can think of. Already in those early days. Before Ry started to make solo records he played with many artists and joint in loads of recording sessions. Ry is the guitarist on Captain Beefhearts legendary ‘Safe As Milk’ album and also appears at recordings of The Rolling Stones, Randy Newman and Taj Mahal.
On the two records ‘Valley’ and ‘Boomers’ Cooder performs a selection of legendary or forgotten American traditionals. Mix of blues, texmex, gospel, folk, calypso performed in his own typical style. In the 70ties most records from Cooder where filled with lost songs, often folk tunes concerning American lifestyle of the poor working class.
I bought these two records when released in the 70ties and still play them regularly. The records are not only outstanding for the music but also covers. On his first 4 albums Ry had a strange way of picturing himself. First in the desert leaning against a silver mobile home from the 30ties. The second he drives in a convertible while it rains (open roof) with a woman (girlfriend?). On Boomers he waves happily to the camera.


The fourth (Paradise and Lunch) camera close up wearing big cowboy hat and red shawl. After that covers change more to ‘normal’ although his 5th record (Chicken Skin) shows a drawing of a woman getting laid by a skeleton.
‘Into The Purple Valley’ is one of the best record covers ever made. The complete cover is drawn in typical ‘50ty – style’ colors. The scenes suppose to be in an environment around that time. The front shows Ry with girlfriend (?) driving in the rain looking bewildered. On the back they are happy for the sun shines again. If you open the cover they stopped in a town, posing for a ‘camera’ in front of the car. Pity what you do not see clearly in this picture is that they have a flat tire.



Somehow showing you these pictures doesn’t give the right impression. Go to a vinyl store and have a look at the cover. Don’t know about later prints but the original prints are not printed on glossy shiny cardboard. The covers feel soft, it makes the pictures look a bit dull. This increases the effect of ‘comfortable good old times’. The designer of ‘Into The Purple Valley’ is nowhere credited, therefore unknown.
In the early seventies I was in my last Highschool years. The music teacher orientated his lessons on classical music (ofcourse). He allowed in the last class of the year students to bring their own records. Quickly he got bored by Led Zeppelin, Pink Floyd or Slade most people came with, and threw them of the player after few minutes. I took these two Cooder records. The music teacher was highly impressed by the outstanding music, and played few songs until the end.
As I read in a review 25 years ago, these records are for people who like plain good music! If you never heard it, its about time you take an effort.

Sunday, 05 September, 2010

Just a few lines. I have been staring at this screen too much last days. Gotto stare at something else for a while. Meanwhile have fun with the Pandemonium download page.
This week more downloads follow. Tomorrow a ‘normal’ post again.


Saturday, 04 September, 2010  

My regular posting suffers under the other activities I do for this site. I am sorry about that. Sure you find piles of new text I added this week on this site under the ‘Downloads’ link in the Main Menu. Read also the ‘Introduction’ page. Setting this all up takes much time. I write so much that there is no more text left in my mind creating a new post (Matski without text? Wow this is a memorable day!). But the start of the new download section is there. I will change some text or add more memories. New download pages will be added 2 or 3 times a week until the complete catalogue is available. With these pages the Limbabwe history finally will be written down in details. I just finished the Pandemonium page today. Here the introduction story. If you visit the page you find much more tales under the download intro’s. Don’t worry, I will keep on writing my regular posts.

Pandemonium was a band from what we called ‘the second generation’. When they came De Martinusstraat, Bauplatz and Limbabwe already existed (if you are new here go to the ‘Limbabwe History’ in Main Menu to understand). For Pandemonium the bed was made, they could rumble and rouse on the fundaments we built. Nothing wrong with that. As it always goes new generations don’t understand nor care about values the original fundaments were created for. In this case I talk about De Martinusstraat. Ofcourse youngsters like to do their own thing. Problem is that main instigators claiming the history of De Martinusstraat nowadays is the second (Pandemonium) scene, although they where just a passing thing in the middle. Not starting anything and are probably partly responsible for the collapse.

We all thought (the Venlo scene at that moment) that Pandemonium was funny, but good in a certain way. Sure in the beginning they sounded like any other shaky punk rock band (their start was inspired by a UK Subs gig) but they threw out lots of energy. It was amusing to see these 3 kids that just past the primary highschool-class rockin’ the stage wearing latest ‘middle-class’ fashion pubertal clothes purchased by their moms. For sure this very ‘normal’ look contributed to the band popularity a few years later. Although small they stick out inbetween the heavy leather / Mohawk hair cuts of the other bands in the line-up on gig nights. Danny (guitar) was 13 years old at that moment.
In that same period (1981/82) local notables decided that the city needed a new cultural concert building (not rock). Finishing the fundaments and name announcement was reason for a party. Artist where invited and we (the ‘rock’ scene) also requested for contribution. At a meeting we came to the conclusion nobody wanted to support this kinda party. Someone dropped the idea that it would be funny to send that new punkrock band Pandemonium as kinda ‘fuck you’ to the money wasting gathering. I wonder if Pandemonium members realize till today what they where used for. The gig was funny. Here a picture:



Der Peter (bas/vocals) did a lot for the band. He was very active making contacts. I had my connections hanging a bit longer in the bizznix. Therefore Pandemonium got gigs. Jack had a car. Don’t remember the make but it was one of these typical ‘you’re first car wrecks’ like Opel or Ford. With only the guitars, cymbals, foot pedal and snare drum in the hood, we drove to gigs (often in weekends). On most of these nights more bands where programmed. Only one (local) band brought amplifiers and full drumkit. This made it financially possible for the organizer to put more bands on the bill.
I came along to all shows as tourmanager/soundengineer.
In the beginning we mainly performed nearby in the area, which included Germany, our base was a border town. Quickly the territory expanded and we drove to Amsterdam and Belgium followed by trips to Spain and Yugoslavia.
The Pandemonium members were very young. Too young for alcohol. I got many drink tickets or the dressing room was loaded with beer. The modest Pandemoniums consumed no more than few cokes. Jack had to drive. It became a sport for me trading all drink tickets left into beer. Wouldn’t be a waste leaving all that free alcohol? Often I was totally loaded on our drive back home.
With every band there is always one who is always late. An absolute world record in this had Rowdy (drums). To avoid unnecessary waiting we picked him up. Ringing the doorbell at 4 PM (agreed and pre-announced pick up time) he often opened the door with sleepy eyes still in his underwear saying “uhhhhh I first have to take a shower”.  

Although the band had a certain status and reputation in that time, I have the feeling they are more ‘famous’ now with their ‘legendary’ status. In those days we never made any money. Played often for expenses and the albums never had reprints after sold out. Pandemonium was active for only a few years not taking their basement rehearsing period before first show in consideration. It all happened between 1982 and 1985. When the band played their last show in 1986 they where already finished and hadn’t performed for 8 months. In 1988 Pandemonium performed one more time on a support show for the local club (OOC-Bauplatz) that was under threat to be closed. I estimate they performed approximately 40 gigs ever. Might be lesser, for sure not more.

Pandemonium was a dynamic band. Re-hearing the recordings I have to admit they where good, especially in the end. From ‘Affaire’ until last LP you hear them musically growing. Their interpretation of hardcore-punkrock is interesting, original and unique until today. But there is more. Its that unexplainable ‘magic’ on all their recordings. The feel, the drive, the energy was the main reason for us (first generation) to adapt them in our ‘scene’. They had the right touch. All 3 knew eachother for years before starting the band. Being neighbors and attending same primary school they where best friends from ‘kindergarten’ on. This creates a strong bond, an energy in which lots of creativity can happen without rational explanations. How strong this bond was you could clearly experience during live performances. Often the bandmembers got into arguments inbetween songs in front of audience. They quarreled about one being to fast or set-list diversions. These arguments could escalate (to the amusement of audience) in throwing serious accusations to eachother. Especially between the two brothers Rowdy and Danny. Once at a gig in ‘De Boerderij’ Geleen (town in The Netherlands), the internal argument escalated so extreme that Danny threw his guitar on the floor and walked of. Rowdy reacted furious, kicked his drums following Danny leaving Der Peter behind on stage, embarrassed. The gig had an early end. In the dressing room the fight went on for long time. Next weekend, next gig everything was the same like always. Their bond couldn’t break…………….. but didn’t last forever.

Through time we all grew apart and moved separated ways. I lost contact with Rowdy after moving from De Martinusstraat. Danny started the band Gore. We crossed pads travelling same roads (music bizznix) so we stayed in contact. After some time Danny got disappointed with the fucked up scenes in music (right he was) and quitted. He found a job selling porno mags and vids in a sexshop, yep, in the famous red light district of Amsterdam. I visited him a few times when gigging the town, but lost track after he got out of this shop. With Der Peter I lost track early nineties but for reasons I can’t remember nor explain we saw eachother again sometimes in the last 6/7 years. This contact broke one year ago for reasons good readers can find on other pages here.
Although often mentioned as (4th) member of the band, I never considered myself part of Pandemonium. Obvious, I was not a playing member neither participating the ‘bond’.  
For more go to ‘Downloads’ in the Main Menu and click on ‘Pandemonium’

Friday, September 2 2010

Pandemonium download page is added but incomplete. Still have to add 5 downloads. Do that tomorrow. This took me all day, my back hurts and anyway, gotto go. Check 'downloads' in the Main Menu. More tomorrow!

Thursday, 02 September, 2010  

Problems are solved you can download. The visual design is not what I prefer. Will change that in the near future, but you can start downloading. Until today what was already available on this site. From tomorrow on the dusty tapes from my archive will be slowly added to the download section. Here the text of the two pages I added today:

DALLAS KINGSTON KOLLECTOR  

This is a new solo project from me on Limbabwe. Already since the early 80ties I create unconventional sound-collages. Like to work analogue with tapes.
Track 1, 8 and 10 on Limbabwe release The System ‘The Wheel’ are also DKK compositions.
DKK has a page on this site where you can find more information http://www.limbabwe.com/page.php?25

DALLAS KINGSTON KOLLECTOR – 60 FLIGHTS (Limbabwe 47) 2010  


The title comes from wrong interpretated Slovene language. The word ‘let’ related to ‘letiti’ (flying) and ‘leto’ (year) confused me wondering what that ‘50 let’ (I read as 50 flights) meant on an advertising commercial. Asking explanation got answered by amusing smiles. That was 10 years ago.

The recording is analogue without use of samplers, synthesizers or other digital machines. All works of DKK are created that way. How I do it I keep secret. No cook gives all tricks away in a recipe.

Recordings performed/created/engineered/produced/mixed/mastered by Matski.
Contributions from Zoran (vocals) and Jan (guitar)
Tracklist: 1 track of about 58 minutes – ’60 Flights’
You can download ’60 flights’ here:
http://www.limbabwe.com/e107_files/Music/Dallas Kingston Kollector 60 Flights.zip

JAN  

This download is not a Limbabwe release. Jan is the former guitar player from The System. He recorded and released this cd independently made and distributed a few copy’s among friends. He wanted to leave this recording somewhere online and asked me to put it on the Limbabwe site. After listening I thought the recording is interesting enough that more people have access.
Please do not overwhelm me now with music to download from my site. I am very critical in what I accept. Expect a no without exception.  

JAN – RELAXING  


Jan recorded this cd all alone. Its funny, dramatic and dynamic. The cover was an orange A4 sheet folded to ‘cd-cover’ size. On the front it shows a whale, the back the song titles. The cd label was blanc.


Recordings performed/created/engineered/produced/mixed/mastered by Jan.
Tracklist:
1) Partizanen!
2) Cannibal Dinner
3) Bursting Mellow Melody
4) Inflation Field
5) Fractal Surgery
6) Make This Stupid Guitar Go Away
7) Relaxing In Deep Sea Water
8) Hangover In The Jungle
9) Sunny Day
10) Resolution 4  
You can download RELAXING here:
http://www.limbabwe.com/e107_files/Music/Jan Relaxing.zip

Problems with downloads or broken links? Please report: email

Wednesday, 01 September, 2010  

The first download page is on. Its only The System. Lesser than I promised yesterday. There is too much work today, you have to do it with this. Its not only the time intensive work getting it all done, but also modern digital technology seems to be against me. Regularly today this site blanked out (disappeared from the web for some moments) while I was working on it. It can’t be the few extra bites I uploaded here. There are zillions of bites racing the web right now. I blame the shitty servers One.Com, e107 or Siol. They promise a lot. I do pay but get bad product delivered. I know I have to be careful here. My site is visual tanx to these 3 companies, but hey….tanx? I pay for it! Check it out in the navigation on the left so you get an idea how it works. Ofcourse I am getting routined in uploading, activating links and designing new pages. The adding of new downloads will go faster in the near future. The rest of this post is a copy from The System Downloads page. Tomorrow more downloads.
(Sorry there are still difficulties, more tomorrow)

THE SYSTEM  

This was the latest band on Limbabwe. Started in 2001 and definitely stopped in 2009. The band changed direction and line up drastically in their existence. Most consistence member was the singer Zoran. Together with Matski they formed The System. Matski was in these 8 years closely involved, but in the middle period not as active musician. I keep it short. The System has a page on this site (see navigation or http://www.limbabwe.com/page.php?13 ) with detailed information and song lyrics.

The System released 4 cd’s on Limbabwe.  

THE SYSTEM - NOT OWNED BY THE MUSIC INDUSTRY (Limbabwe 43) 2002  


This cd was recorded analogue on a cassette recorder. Released as a free product, everybody was (and still is) allowed to copy, duplicate and spread as long no commercial intentions are involved. The music is hard industrial noise, aggressive drum computer and Balkan riffs played on bas guitar. In my opinion a great cd and one of the better releases on Limbabwe.
Band line up on this cd: Zoran-vocals + drum computer/Slavko-bass/Matski-matski
Recordings engineered/produced/mixed by Matski. Digital Mastering Peter Gantar.
The cd contains 7 songs plus intro lasting about 21 minutes and got released as (on purpose) 1 ID. Your player will only recognize 1 song.
Tracklist (1 track):
Intro/Hitlers Dream/Empty Subculture/No Link/The System/Rock ‘n’ Roll is Bullshit/Virus.
You can download ‘Not Owned By The Music Industry here:
http://www.limbabwe.com/e107_files/Music/The System Not Owned By The Music Industry.zip

THE SYSTEM – DIESEL HAJDUKS (Limbabwe 44) 2004  


This cd was recorded analogue on a Teac ½ inch 8-track recorder. released in a digipack. The cover folded open showed the former Yugoslavian flag. At this stage The System was a full band (drums/bas/guitar/vox). The music is a mix of Balkan and rock but different than what is known ‘Balkanrock’. Some songs from the first cd got re-recorded in a total different version. In the intro of 'No Link' you hear samples from the movies 'Rane' and 'Ko To Tamo Peva'
Band line up: Zoran Zelenovic–Vocals/Jan Pivk–Guitar/Jernej Kobal-bas/Rok Kovacic (Fish)-drums/Matski-matski
Recordings engineered/produced/mixed by Matski. Digital Mastering Peter Gantar.
Tracklist:
1) No Link
2) Cobanica
3) Ta-Na-Sa
4) Rather On Cocaine
5) Christian Fascistic P.C.
6) Empty Subculture
7) Music Or Death
8) Operation Amerikani Freedom
9) Ciganska Pesma
The download file also contains the two video’s ‘Cobanica’ and ‘Ciganska Pesma’ You can download ‘Diesel Hajduks’ here:
http://www.limbabwe.com/e107_files/Music/The System Diesel Hajduks.zip

THE SYSTEM – DIESEL HAJDUKS ALTER EGO (Limbabwe 45) 2006


This cd got released when The System was no longer a full band. These recordings are the outtakes of the Diesel Hajduks session. The cd was released in a soft cardboard cd sleeve. The intro tune used to be the old Yugoslavian national anthem. The cover drawing is an interpretation of an old Serbian symbol.
Band line up: Zoran Zelenovic–Vocals/Jan Pivk–Guitar/Jernej Kobal-bas/Rok Kovacic (Fish)-drums/Matski-matski
Recordings engineered/produced/mixed by Matski. Digital Mastering Peter Gantar.
Tracklist:
1. Intro
2. Diesel Hajduk
3. Rock’n’roll is bullshit
4. Fake protest
5. Machine technology
6. The System
7. Jelena
8. Virus
You can download ‘Diesel Hajduks Alter Ego’ here:
http://www.limbabwe.com/e107_files/Music/The System Diesel Hajduks Alter Ego.zip

THE SYSTEM – THE WHEEL (Limbabwe 46) 2009  


This was the last The System release. The band broke up definitely after this. Here The System was mainly Zoran and Matski, Jan incidentally contributed. The recording was only available on cassette and as free download. All 3 members perform their contributions individually. Track 11 is recorded fully digital. Track 10 is recorded anologue on a cassette. All other tracks are recorded analogue on a Teac 8-track.
Recordings engineered/produced/mixed by Matski. Digital Mastering Peter Gantar.
Track 11 was recorded/produced/mixed by Jan
Tracklist:
1) Sime showed me the northern star shining through the apple yard
2) I fight battles with god
3) Artist
4) Only war can save us now
5) Waga koi Gita
6) Love kills men
7) Sssh
8) Excerpt from 60 flights
9) Steve albini's guest list
10) The door
11) Cigomigo
You can download ‘The Wheel’ here:
http://www.limbabwe.com/e107_files/Music/The System The Wheel.zip

Tuesday, 31 August, 2010  

Ok, I am there. Tomorrow it starts. Adding downloads from all Limbabwe releases. The complete history. People you have no idea how much work this was. Sorting out all material and ofcourse technically, how to make this work for you. Uploading zip files on the site-server goes slow and takes ages. Meanwhile I notice uploading slows down the site-admin works. I can only post if I stop uploading. Its not the computer, have two, with one I upload, the other write this post.
The link is there, in the navigation on your left. You will find only this, what I post here today. Tomorrow (towards the evening) you will find the first downloads.  

FREE DOWNLOADS  

Here you find free Limbabwe downloads. It was a job sorting out the Limbabwe archive. Old tapes, pictures, stories, articles. Somehow I am done. You can now download music released by Limbabwe (and more) from here, for so far I uploaded on this site (not everything is here yet). I start tomorrow (September 1, 2010) with the music that was already accessible from this site, The System, Jan and Dallas Kingston Kollector. Next will be the complete works of Pandemonium!
The files come in zip. Every release (LP/CD/Cassette/7”/12”) has a separated zip file that also includes images from the covers, inlay sheets, booklets and whatever more came with the original release plus what I thought is relevant to add. Not all pictures will be brilliant or perfect. I am limited with the means to my disposal. If I manage to create better images of lesser ones, I will replace them.  

Most cassettes and records of the Limbabwe catalogue where recorded in the first half of the eighties. The majority of these recordings are not perfect. Lucky, especially the original initiators of the Bauplatz/Limbabwe/Martinusstraat scene (1979 – 1982) understood that it’s the energy, drive, and creativity that counts, not technical perfection. Re-hearing all material I come to the conclusion that those recordings done with lesser technical attention ‘rock’ the most. Anyway, we simply didn’t have the equipment or space to make decent recordings.
In the basement of Bauplatz was a rehearsal space. Large room with very low sealing (1.90 meter). Not very suitable for recordings. This basement was bordered by a second narrow but long room. Before we (Bauplatz/Limbabwe) came in this space someone built a window in that wall (by studio example) and double door inbetween. We had no more equipment than one creepy old mixer from the PA (live sound equipment) and few rusty microphones from the venue upstairs. With an old TEAC 4 track reel to reel recorder most recordings were made but often we also experimented with stereo tape and cassette recorders. Play-back was done over the stage-monitors, we carried downstairs. No side-rack equipment available. It was a very rough direct way of registering. But it is honest what you hear. Often we mastered on cassette tape. Have many of them still here in perfect condition. In the Limbabwe space on the Martinusstraat I had 5 cassette recorders linked together. There I copied (multiplied) the limbabwe releases. Especially for the first releases Rob (Zanzibars Twist/Gore) silk-printed the covers. Some cassettes came in a different package than the original box.
The rehearsal space was also recording room. The little mixer for vocal microphones was an old early 70ties Peavey. Good quality, unbreakable. The mixer had a reverb build in. This was before digital times, the reverb was an actual spring that vibrates with the sound. Ofcourse you could regulate with knobs what would go into the reverb and what not. But we, the experimental generation, found another interesting use. If you banged on the mixer or dropt it on the floor, the reverb created a loud Bwwwwweeeeeeeaaaanggg sound. You will hear this on a few downloads. Funny that after many years, until late eighties, the mixer was still in use (quality equipment).
Another interesting feature used by several bands/recordings were the ashtrays in this rehearsal space. Yep, those easy days that nobody got fucked up about smoking. Since playing music is accompanied by loads of drugs, alcohol and cigarettes, the floor was always covered by cigarette/joint stumps and black burned spots. Walter, the housekeeper (great person, deserves an honorful picture on this site, but pity I have non) welded a few steel ashtrays. They where big 40cm by 40cm and about 15cm high. These big brown steel objects attracted our curiosity. Turning them upside down created nice drums with high pitchy sounds.
More stories you can read soon on the (to be added) download pages. If you are new here and don't understand time/location, go to the 'history' link on this site. 

Slowly through time more and more old Limbabwe releases will be added until the collection is complete. This will go randomly, what I have ready, appears. Lucky a few releases are already available as free download elsewhere. I ‘stole’ these files and use them here. Saved me some time. Uhhhh, stealing? I just take my own material back! Again: I do not mind others offering free downloads from Limbabwe music. I will take action if I notice mafia asholes taking commercial advantages of this. I am in this bizznix for 30 years. Got my contacts. I will find you. Downloader: do not pay for Limbabwe music!  

Every download gets an introduction page linked in the download section menu. On this page you find the tracklist, information about the release and band plus the link to the file. Since this is my site, expect a personal touch, memories and stories. You will get a nice feel of that time along with the music you download. Ignore the other sites and articles about Limbabwe and that period. Especially from people like Johan Hauser or Der Peter. They weren’t even there that time or only partly involved. Their pages are full with wrong information and lies. Here is the direct source, Limbabwe itself with the real story and original music.
Bands/artists who published more than one product on Limbabwe will have all downloads together on one page. Plus for the ‘greedy – I wanna have it all’ one file that contains their complete Limbabwe catalogue. (yes people, soon here a download containing the (over) complete collection of Pandemonium in one file!)  

This site is constantly in move. I keep on changing and adding more and more. The upcoming weeks it will grow massively. To make it easy on you I will mention latest changes on the home (front)-page except my almost daily posting.  

If you have problems downloading or find broken links please report: email  Ofcourse you can always contact me about whatever: email or leave a message in the guestbook.  

Sorting out my archive resulted in a pile of Limbabwe releases I do not want anymore and will offer for sale. I am aware of the ‘collectors value’ of some items and will charge that price. The items are original and have historical value. When offered for sale (not yet) you will find them in the link ‘Available Limbabwe Products’: http://www.limbabwe.com/page.php?6

Somehow I feel relieved having it all behind me. A weight drops of my shoulder. Please do not bother me about the past anymore. Now or soon you find it all here. Life moves on, and so do I.

Monday, 30 August, 2010  

Again this is going to be a short post. I run try outs for the new ‘download’ section on this site. This is not visual for visitors. So far there are a few complications. Its unbelievable how time flies working on this. Meanwhile I have other obligations that need attention too, like the Šina festival, booking PTV3, Sensational, Karyn Kuhl, Metal Nomad, Hungry March Band (the what?), Dallas Kingston Kollector and Jan gigs. Soon announced on this website + editing new video for the front page. Besides endlessly answering emails, jamming some sounds (preparing for my live-performances) and all above I like to enjoy some exercise cycling few times a week. So, as you can figure out: ‘I have loads of time left and am getting bored by doing nothing. That’s why I spend much time on these extended long posts I write every day’. Here a picture of digitalizing the Limbabwe tapes:



Sunday, 29 August, 2010  

Ok, here we go:
For sale: Unique MONO (Japanese band) collection.
The collection contains Mono vinyl, cd’s and more……
Vinyl:
- Mono/Pelican. Vinyl split LP Temporary Residence 2003. 12” Tracks: Mono ‘Yearning’, Pelican ‘Ran Amber’ & ‘Angel Tears’
- One Step More And You Die. Vinyl LP Virgin Japan 2004 (Japanese print)
- Walking Cloud and Deep Red Sky,…. Vinyl double LP Virgin Japan 2004 (Japanese print)
- Mono & Worlds End Girlfriend, Vinyl double LP ‘Palmless Prayer/Mass Murder Refrain’ Temporary Residence 2006 (transparant vinyl)
- Memorie Dal Futuro, Vinyl 10” , Vinyl Films 2006 (white vinyl)
- You Are There, Vinyl double LP Temporary Residence 2006 (Green & Blue colored vinyl).
- Gone, Vinyl 3-LP Temporary Residence 2007. Compilation with Mono tracks from Ep’s and other compilations.  

- Under The Pipal Tree, CD Tzadik 2001. First Mono release.
- Left - IF Could Stand In Here, CD Forty-4, 2005. Solo CD from Taka, bandleader Mono.  

CD versions of:
- One More Step And You Die (Ryko disc – promo copy)
- Walking Cloud…….(Ryko disc)
- Palmless Prayer/Mass Murder Refrain (Human Highway – Japanese print)
- You Are There (Human Highway – Japanese print)  

- The Sky Remains The Same As Ever, DVD Human Highway 2007 (Japanese print)  


Extra: Live registration of the concert in the Garage, London UK June 2004 on MD. Be aware Mono compositions are protected by copyright laws. This MD is for private use only. Reproduction violates the law.

All vinyl is still in plastic wrapping with stickers but are opened. All inlay-sheets and such still in the cover.
The records are Mint or Near Mint. Never or only once played.  
Everything is real and authentic. Regular visitors of this site know that I worked with Mono for years. You will find my name on many cover-credits.
Price for the complete collection Euro 200,-- excluding shipment, including the unique live-recording. I have PayPal. Drop me a mail: email   
Prefer to sell the collection in one go, but if you are interested in single items or like to know more, drop me a mail. email 
These items are not offered exclusively on this site, I sell also at other locations.

Saturday, 28 August, 2010  

Because download section in still ‘work in progress’ I spend another post on that great great supergreat festival in Idrija overwhelming announced on this page. Below short info about all six artists performing. Program and such is mentioned above, under the video. Leaves me directions: Here a picture of the centre of Idrija. If you come from the main state road (Ljubljana-Tolmin) at Idrija turn into town at the sign ‘centre’, after couple of hundreds meter you drive into this picture on the road you see in the right-down corner. The festival is in the big building marked with the Sina in yellow letters on the roof. See ya there!  


DALLAS KINGSTON KOLLECTOR  

Please do not ask me where I am from. This is irrelevant. If you do ask, expect the answer: ‘From My Mom”.
The evolution of hygiene in mankind reached trough the 20the century an explosion developing machines sterilizing sound. Dallas Kingston Kollector’s music stirs through the garbage bins of these sound factories. While rehabilitating dumped wave signals influences from direct surroundings and events are added.
Dallas Kingston Kollector creates mainly with the use of analogue tapes.
Dallas Kingston Kollector had its start in 2009 and is a new project by Matski.
Few previous recordings where published in cooperation with The System on their last release ‘The Wheel’ (Limbabwe 46).
Dallas Kinston Kollector debuts with the first release ’60 Flights’ on Limbabwe (Limbabwe 47).  

JAN

Acording to probability law,  there must exist a universe in wich guitar playing is banned and punished with the death penalty. But we dont’t live in that one. Fortunately, because Otherwise we wouldn’t be hearing much of Jan, the tireless explorer of the great musical vastness, his head cut down like a  bareheaded chicken already when first grabbing the guitar (homemade piece of plywood with detuned strings on it) at the age of 12. From that time on, the story has been told a million times; rehearsals, bands of countless permutations, blisters, concerts and sometimes substances of suspicious origin. Damn, Suzy’s semish shoes, Jejck, The System, Electrix, Jacuzzy are just some of the bands known to Idrian and Slovenian listeners. Years, passsion and openmindedness have aditionally contributed and expanded his repertouar, the little personal toolshed of expression.
This time he brings something new. With guitar being replaced by computer and electronics he creates organised introspectic landscapes of harmonies, chaos and fractals. Subtile sonic patchwork for midnight meditations or just lucid introspection about the living of whales.  

ZEBRA (FRANS DE WAARD – ROEL MEELKOP) 

FRANS DE WAARD  

Probably most known from his ongoing work with Kapotte Muziek (a group that fully concentrates on recycling through musique concrete) and as one half of ambient sound-artists Beequeen. As well as writing the informative and acclaimed weekly newsletter “Vital Weekly”, Frans De Waard also founded the Korm Plastics label in 1984, initally only offering cassettes, but since 1992 offering an ever-growing catalogue of CDs and vinyl of contemporary experimental music.  

ROEL MEELKOP

Roel Meelkop (1963) studied visual arts and art theory at the Willem de Kooning Academy in Rotterdam, The Netherlands. During a post-graduate course at the same academy he decided to dedicate his work to sound and music. His musical activities date back to the early eighties when he started THU20, together with Jac van Bussel, Peter Duimelinks, Jos Smolders and Guido Doesborg. THU20 have released several tapes and CD’s and performed regularly in Europe. The working method of THU20 included many discussions about how to compose and why. This period was crucial in forming his ideas and concepts about sound and how to organise it, but it was not until the mid nineties that he was able to fully realise these ideas. The purchase of a sampler and later a computer radically changed his possibilities of working with sound, offering infinitely more control and freedom.
Since then he has worked steadily on a body of work, most of which was recieved enthusiastically in the small but dedicated world of sound art. His other activities include working with Kapotte Muziek and GOEM, together with Frans de Waard and Peter Duimelinks, and organising sound events, mostly in Rotterdam. Aside from releases, Meelkop also creates site-specific sound installations and performance pieces in collaboration with other artists.
In the last couple of years, Meelkop has focussed on solo works in composition and installation work. A new project with Frans de Waard called Zèbra has also taken up some well spent time.  

HORDA GRDIH  

“The Horde of the Ugly” is a changing experiment, which follows the traces of folk bands from various parts of the world and transcendence into the abstract sounds created by voice, instruments and other sound emitting things. It is all about a horde of voices and a blurred line between pretty and ugly, which is supported by the strange voices passing over to sensual melody of singing. The Horde of the Ugly has been reached by calling to the streets and bridges of Ljubljana by Samo Kutin with a Hungarian instrument Hurdy gurdy. At the experiment in Idrija on 17. September, Samo will perform a solo. Alongside hurdy gurdy, we can expect n’goni, sarangi and kalimbe head performing the horde, as well as other sources of voices composed by strings, wood, pumpkins, iron, glass and garbage. Not even the horde itself knows how they are going to sound, so we shall be surprised.  

ROR  

The title of sound event = OFF
Duration time: 40 min

Different sound objects (2 light sensitive oscillators, a computer http://puredata.info/ , Dronelab, Thigama 2, Therovox= Teremin, Doepfer = Dark Enrrgy, Cacophonator, Noise generator, field shots … ) are composing an audio set and joining into an activity. The start warming is decomposing in time with the decay of modularity (the composition is not a definition any more). That’s how the links are revealed. Those are dis burdened in the non articulated sound bulks at the entrance: entrance = exit. During the activity, differences are made which create possible dialogues through processes, entrance is not an exit = happening. Reestablished is a field of happening with the gap in which the event is possible; exit = event. Because of the nature of the event, which is nonlinear, unpredictable and escapable there is usually no exit, so the situation rounds up to the weariness into extinguishment; paradoxically, in some way, the event = extinguishment (OFF)!
psss: There is a possibility of a visual detection (webcam, computer, wanted movers). It is grasping at the space of change and is returning them back to the sound of the movers eye.  

TOMAZ GROM  

Contrabass player Tomaz Grom has performed in a variety of musical roles. He has also toured and made appearances at several festivals throughout Europe and Canada. He has created music for numerous theatrical, dance and puppet performances. He is also classified to the musical miles that draw their expression from acoustic and digitally processed sounds. Playing with the groups TILT, CPG IMPRO, GROM – MURAYAMA and also as a SOLOIST, he dedicates much time to exploring expanded techniques for playing the contrabass in combination with electronics; he quite deftly steers between free improvisation and predetermined structures. As an improviser he cooperated with: Dough Hammond, Sonny Simmons, Evan Tate, Tao G. Vrhovec Sambolec, Will Guthrie, The Same Girl (Gilles Aubry, Nicolas Field), Sebi Tramontana, Zlatko Kaučič, Sabine Vogel, Jean Phillipe Gross, Marjan Stanić, Ignaz Schick, Michele Spanghero, Ugo Boscain, Diego Chamy, Klaus Filip, Pascal Battus, Jean-Luc Guionnet, Seijiro Murayama, Seymour Wright, Christine Sehnaoui, Jonas Kocher, Michel Doneda, Tim Blechmann, Noid… In the year 2007 he received an award Zlata ptica (for innovative creativity) from LIBERALNA AKADEMIJA.  



Previous posts of this year here:  http://limbabwe.com/page.php?22 2009: http://limbabwe.com/page.php?21 2008: http://limbabwe.com/page.php?12