Segunda Edição.
Edição especial em capa dura, assinada pelo autor e com gifts (uma caneta da Korm Plastyics + já não me lembro)
A primeira tinha saído uns meses antes, nas mesmas condições (versão capa dura... e versão paperback)
Excelente livro, de um colecionador suis-generis (ver
índice abaixo), que agora edita em livro alguns dos seus artigos, liner notes e
recensões, elaboradas ao longo de mais de 30 anos para várias publicações. A
selecção feita não podia ser melhor, permitindo a descoberta não só de
excelentes discos, músicos e bandas. E quando digo excelentes pode ser pela
música, pela bizarria e estranheza, pela raridade e obscuridade. O autor
pretende sobretudo apresentar a história por detrás de cada disco que
conseguiu, e as histórias também são fabulosas e muito bem escritas, mas acaba
por nos desvendar, em simultâneo os nomes que avidamente, depois, vamos
procurar na internet e consumir/ouvir com, quase sempre, enorme prazer.
A meia dúzia de artigos de fundo (ver índice de novo) são
também de uma riqueza de escrita, informação e conteúdo informativo, quase
esgotando, apesar da sua concisão, tudo aquilo que precisamos de saber sobre os
assuntos abordados: Noise, Música Industrial, Coem Organisation, …
Este livro é um dos melhores que tenho sobre música… e já
lá vão mais de uma centena deles.
Imprescindível.
PS: As palavras que escrevo valem pouco. Mais vale ler,
abaixo, as introduções de Edward Ka-Spel (amigo íntimo do autor), do próprio, a
excelente entrevista que deu sobre como se comporta como colecionador,
respondendo a todas as perguntas importantes que devem ser feitas (e foram) a
um colecionador, para além do índice do livro, claro.
(Mas atenção, não façam confusão. O melhor é mesmo o
miolo do livro, impossível de colocar aqui.)
Depois é navegar, pesquisar, investigar, comprar e ouvir,
e maravilhar-se. Têm tarefa para muito, muito tempo… de prazer da descoberta e
da audição.
Podem adquirir o livro através da editora, a Korm Plastics,
de Frans de Waard, outra luminária da música desde os anos 80 e que mantém,
agora online, desde os anos 80, o fanzine Vital, de que tenho o livro
compilando todos os números e também mais de metade dos números originais, em
papel (era assinante nos anos 80), e que já aqui fui postando.
Why you
should read this book
Combining
the words wonder and sound into a new one not yet documented in the Oxford
Dictionary, Wondersound is about being amazed, challenged, bedazzled and
caressed by music. Wondrous music.
Documenting
obscure records, artist records, unloved albums, vanity pressings, the underdog
artist, ‘real people’, remarkable artwork and more, covering avant-garde,
noise, ambient, lounge and experimental music – and much in between and beyond
– this book aims to inspire, explore and experience.
Freek
Kinkelaar is a Dutch writer, artist, musician and composer. Wondersound
compiles thirty years of his columns, articles, liner notes and sound musings.
Wondersound
Discovering
weird, wild and wonderful music
By Freek Kinkelaar
Edição Especial - Capa Dura
Autografado e carimbado pelo autor
Korm Plastics
Introdução 1
Wondersound
on a pink couch
By
Edward Ka-Spel
The
doorbell rings on a sunny Spring morning in a small, untidy flat on the second
floor of a flat on the outskirts of the Dutch city of Nijmegen. It’s a shade
too early for the occupants, one of whom groans over his toast and marmite and
suggests that if everyone stays silent, the unexpected debt collector, public
official or representative of some obscure religious cult might simply ‘go
away’. However, a swift glance through the window reveals that it´s actually a
friend at the entrance, so we duly press the buzzer and allow him to enter the
Bohemian enclave that is Flat 68.
The
friend is Freek, an early follower of The Legendary Pink Dots, who had moved
their headquarters to said flat in 1988. We’re especially pleased to see him as
he is an art student with an inquisitive, pliable mind that’s ripe for twisting
– using the musical treasures stored in our album racks, fresh from Ikea.
Happily,
we all have somewhere to sit too, and that is thanks to Freek. Three
Anglo-German freaks who recently were squatting in a caravan – and then,
briefly, a barn – were not just strapped for cash. They also didn’t have much
furniture to speak of, and those racks had blown the budget. Freek had donated
his huge pink 1950s couch which now proudly had a central placed in the living
room in order to provide the perfect listening experience.
On
Freek’s first visits, we’d try and shock him. Magma was always a good
initiation – especially that part on Mekanik Destruktiw Kommandöh where the
choir starts to scream as if they’d just imbibed poison. Then there was that
song on the first Guernica album with an early drum machine, a cheesy organ and
Jun Togawa yodeling in Japanese. As the visits continued, we’d pull out albums
by Brainticket, Can Ash Ra Tempel… all of which had caused our own jaws to drop
years before.
The
music would be played loud, too. We needed to drown out the organ player in the
flat below who felt the need to twist the dial up to eleven.
Probably
in order to drown out the homicidal screams of his partner.
Indeed
we live in a cyclical universe.
Of
course, there will be plenty of conversation, too – but that would be away in
the kitchen, as to blabber over beautiful music is an act of sacrilege, period.
Some of these scenes planted the seeds of this book, and others are scattered
Throughout.
There’s
wonder in those grooves; that oxide, those ones and zeroes.
Drink it
down. Laugh with it. Cry with it.
Just
don’t stroke your chin.
Introdução 2
What Is
It About Wondersound
By Freek
Kinkelaar
I love
wonder. I love sound. Right now, I am listening to Kan Mikami’s debut album.
Mikami is a Japanese folk singer and I have bought this 1971 record on impulse,
tempted by its wondrous cover, with no idea of what it actually has to over
sound-wise. Some would consider such an action money ill-spent, but, to me,
such purchases, or rather “encounters”, embody the beauty of wondersound: a
chance meeting of sound and wonder that makes me – and hopefully you, dear
reader – marvel at its content, context, maker, the medium and, indeed, the
message.
I love
stringing words into sentences, giving them meaning and, should the opportunity
arise, leave a Da Vinci Code or two to be deciphered by like-minded souls. When
I studied the arts, I realized language was an artistic medium as valid and
beautiful as paint – only cheaper and slightly less messy. To me, language is
vital in order to shape and express my thoughts about the amalgamation of art
and life. My first book, self-published in an edition of one, dates back to
1986 and contains some pretty awful teenage poetry. Its title, The Vision
Apocalypse, says it all, really.
Sound is
vital to my world: be it the sound of walking in the snow, the sound of
thunder, snatches of unintelligible conversation, a creaky floorboard or,
indeed, the sound of music. In the late 1970s, my interest in music was
awakened by watching the Dutch music TV show TopPop – joining my sister on the
sofa, clad in our pyjamas. Born a few years too late for punk, I caught the ska
revival in full force instead, buying Madness’ Absolutely which, being my first
and for me long time my only album, was played until it literally fell apart.
My pocket money, supplemented by the meager income from washing my parents’
car, was spent on records by The Specials, The Beat and The Selecter.
The
early 1980s brought us the New Romantics, when wearing your sister’s make-up seemed
the perfect antidote to drab politics and the worldwide economic crisis. Via
the New Romantics I discovered punk, and via punk, experimental and avant-garde
music, soon realizing that, to me, music and sound embody the same values and
gratification.
For the
life of me, I cannot remember my first writings on music. I do recall writing
reviews on live music for a local magazine in around 1982. The first solid
evidence, however, can be found in the pages of Nivo Stilo, ‘New Style’, a
self-published magazine on art. Lasting from 1984 to 1986, copies of this
photocopied magazine found their way to friends and family. I also managed to
sneak a few into Ding Dong, our local independent record and cassette shop, who
also run the eponymus label and distribution for experimental music. The
store’s owner, Ignit van Kasteren, presented Spleen, an experimental music show
on Dutch national radio, which proved a valued education. All of my Saturdays
were spent at Ding Dong, listening to weird sounds blasting from the speakers
and buying cassettes that were in the sales bin. A time fondly remembered.
I have
been writing lyrics, or rather, short stories, for my own songs for over forty
years. The process of shaping these wonderings into lyrics is a magical one,
which I dearly love. As is writing reviews, articles, liner notes and essays
for various national and international publications. A selection of which, as
well as some new and previously unpublished ones, find their home in this book.
That’s over thirty years of writing about being amazed, challenged, bedazzled
and caressed by sound. Wondersound is about all those chance meetings where
sound and wonder somehow add up to something miraculous. And, in my mother
tongue, ‘wonder’ means ‘miracle’. Isn’t that just perfect?
Just as
perfect as the Kan Mikami album turn out to be.
Entrevista
Freek
Kinkelaar, The Collector
Interview
published in 2005 about record collecting, slightly updated
What do
you collect, and why?
On 2
February 1981, Dutch television aired a thirty-second clip of the single
Antmusic by Adam And The Ants. I was fourteen at the time, an impressionable
age, and this was the kind of music I had been waiting for: exciting,
off-kilter and colourful! Buying the single a day later was the start of a
sizeable Ants-collection.
On 5
July 1986, I saw The Legendary Pink Dots live, by chance, which made an
everlasting impression and further fed my interest in adventurous and
experimental music. Incidentally, the girl who I had taken to the concert, a
tentative ‘date’, hated our night out. I blame the band.
Since
the 1980s, my musical taste has extended from punk and new wave to experimental
and industrial music, the avant-garde, soundtracks, outsider and artist
records, conceptual projects and the downright weird and wonderful. Sound-wise,
I am as interested in a subliminal drone as a catchy melody.
How big
is your collection?
I am
told size does not matter, but my guess would be a few hundred compact discs
and over 1.500 vinyl records. I also have around a hundred independently released
cassettes from the 1980s. Ideally, the size of my collection would be dictated
by the number of hours in a day and the size of my shelves – all killers, no
fillers…
What do
you think it is worth?
I have
been collecting music for over forty years and I have always seen my collection
as a fluctuating echo of me as a person. It is hard to put a monetary value on
it. It’s me – on record.
Where to
you store it?
All my records
and cassettes are for playing purposes. Most of my collection is at hand in our
living room and thus also on permanent display. I love the aesthetic value of
records and cassettes. I also quite like the way some of them feel and smell –
like memories passing by.
What is
the rarest thing you have?
Technically
speaking, the rarest would be test pressings or acetates of records that were
never released, such as the 12-inch version of Diana Riggs Sings on Harkit.
There might only be one surviving copy of the acetate of Scars’ Author! Author!
Album, the soundtrack to my youth. Karel Appel’s Musique Barbare including the
signed lithograph is also very hard to locate. Industrial music, such as
original Nurse With Wound, Maurizio Bianchi and Throbbing Gristle records, too.
The Anna Blumme / Die Sonate In Urlauten album featuring German Dadaist Kurt
Schwitters reciting his poetry took me years to find. Or the Ja Ja Ja Nee Nee
Nee album by Joseph Beuys. Some rare Gerogerigegege releases like the Ai Jin
flexi or the Piano River cassette – of which only ten handmade copies exist. I
have a very weak spot for unique packaging, which to me was an important
feature of the 1980s DIY-scene. 78 rpm discs, such as the one that has Errol
Flynn singing Lily Of Laguna or an HMV-disc featuring Christopher Robin, son of
Winnie-the-Pooh’s author. A. A. Milne, reciting and singing. Or the 1939 Snow
White And The Seven Dwarfs soundtrack on a beautifully packed double 78 rpm
disc – the first ever released of a soundtrack on record. I also treasure my
original copy of the Only Dreaming cassette by The Legendary Pink Dots.
What’s
given the biggest thrill?
Icelandic
singer Sigrun Hardardottir sending me a signed copy of her 1976 album Shadow
Lady after I had spent years looking for it. Finding a copy of Adam And The
Ants’ 1978 bootleg La Belle Image, of which only fifty copies were made. Joel
Vandroogenbroeck signing my copy of Brainticket’s Celestial Ocean. Edward
Ka-Spel giving me a copy of the original cassette release of Premonition.
Records given to me by friends from their own collection because they know I am
looking for a copy. Special records found for next to nothing in bargain bins.
That sort of thing.
What’s
that elusive missing gem you’re still looking for?
High on
the list is the Young Parizians single by Adam And The Ants. It is quite a
common single, but intensily elusive as a South African pressing on Decca. I
used to have a copy but sold it in a moment of madness. Or an original copy of
The Girl Who Was… Death by Devil Doll on Jugoton. The Dream(s) / Soul Travel
single by Gary Wilson or a copy of the Gerogerigegege’s Live At Tokyo Gay
Center – but, according to legend, only ten copies were made of that one.
Chance are slim, but not impossible.
How do
you track down stuff – fairs, auctions, dealers, internet, magazines?
Collecting
records is a time-consuming hobby and one that I quite enjoy. Prior to the
internet, I spent hours contacting dealers and shops, sending out want lists
via post and negotiating purchases. These days the internet is very helpful. It
still takes time, though – rare records don’t come knocking on your door by
themselves.
How
often do you paly stuff in your collection?
My
collection is played on a regular basis, even idf the records or cassettes are
fragile, rare or valuable. Records don’t have to be in pristine condition – I
do not mind playing a beaten-up copy if I cannot afford or find a mint one.
When records are no longer played, they run the risk of being given away, sold
or traded. This keeps my collection down to a playable and enjoyable size.
When the
time comes, how will you dispose of your collection?
The
market for records and cassettes is constantly shifting and there might come a
time when people are, quite understandable, no longer willing to spend hundreds
of euros on a record. I like the idea of simply giving them away one per
person, perhaps at a record fair. That would be quite the scene.
Índice
Wandering
Through Wondersound
|
Introduction
|
Wondersound
on a pink couch by Edward Ka-Spel
|
9
|
|
Introduction
|
What
is it about Wondersound by Freek Kinkelaaar
|
11
|
|
Interview
|
Freek Kinkelaar,
the collector
|
13
|
|
Column
|
Absinthe: La Folie Verte by Blood
Axis and Les Joyaux De La Princesse
|
16
|
|
Column
|
Absolute
Beginners, soundtrack by various artists
|
17
|
|
Column
|
Absolutely
by Madness
|
19
|
|
Column
|
Adult/ery
/ Horrorshow by Scars
|
21
|
|
Column
|
Alice
In Wonderland by Randy Grief
|
22
|
|
Column
|
Anita
by The First International Sex Opera Band
|
24
|
|
Liner
Notes
|
Music
for a future age! Lines notes for Antmusic For Sexpeople by Adam And The Ants
|
26
|
|
Article
|
The
sound of art: a brief history of Artists records
|
29
|
|
Column
|
Battle
Axe by Billion Dollar Babies
|
39
|
|
Column
|
Blue
by Derek Jarman
|
41
|
|
Column
|
Boyd
Rice
|
43
|
|
Article
|
Celestial
Ocean, The Music of Brainticket
|
44
|
|
Column
|
Byrd’s
World by Donald Byrd
|
50
|
|
Column
|
Canzone
4711 by Boudewijn De Groot
|
52
|
|
Column
|
Chelmsford County High School Folk
Group
|
53
|
|
Article
|
Come
are coming to get you! A brief history of the Come Organisation record label
1979-1985
|
54
|
|
Column
|
Cops
Play Old New by Cops Ltd.
|
61
|
|
Column
|
Cowboy
Favorites by Clint Eastwood
|
63
|
|
Column
|
Debon
by Brast Burn
|
64
|
|
Article
|
Teenage
head in my refrigerator, the story of the Deep Freeze Mice
|
66
|
|
Article
|
The
art of illusion, the story of Devil Doll
|
71
|
|
Column
|
Dream
House 78’17” by La Monte Young
|
77
|
|
Column
|
Echigo
No Goze Uta by various artists
|
78
|
|
Column
|
Eddie,
Old Bob, Dick And Gary by Tenpole Tudor
|
80
|
|
Article
|
Michi
Aoyama and the hardship of enka
|
82
|
|
Column
|
Evil
by Konrad
|
89
|
|
Column
|
Front
De L’Est by Déficit Des Années Antérieures
|
91
|
|
Article
|
You
think you realy know me, the music of Gary Wilson
|
92
|
|
Column
|
Gelesen
Und Vertont by Adolf Wölfli
|
99
|
|
Article
|
Gerogerigegege:
Omako Dynamite!
|
100
|
|
Column
|
Gulliver’s
Travels, soundtrack by various artists
|
108
|
|
Column
|
Harvest
Of Dreams by Bobb Trimble
|
110
|
|
Liner
Notes
|
Ta-ra-ra
boom-de-ay, it’s the lovely Linda! Lines notes for Here I Am by Linda Thorson
|
112
|
|
Column
|
Here Is My Spoon by Edward Barton
|
114
|
|
Column
|
Herstory
by Princess Tinymeat
|
115
|
|
Column
|
Hot
Romance by Rick Grossman
|
117
|
|
Column
|
Hotondo
Kiki Torenai by The Hafler Trio
|
119
|
|
Column
|
I
Don’t Remember Now / I Don’t Want To Talk About It by John Bender
|
121
|
|
Liner
Notes
|
I like
God’s style, Liner notes for I like God’s Style by Isabel Baker
|
123
|
|
Column
|
If At
First… by Frunk
|
126
|
|
Article
|
The
Art Of Persuasion, The Industrial Records story 1977-1981
|
128
|
|
Column
|
Ja Ja
Ja Nee Nee by Joseph Beuys
|
137
|
|
Column
|
Jihishinchou
Ga Basabasa To Hone No Hane O Hirogetekuru by Tatsumi Hijikata
|
153
|
|
Column
|
João
Gilberto
|
155
|
|
Column
|
Ligeliahorn
by Metgumbnerbone
|
157
|
|
Column
|
Lord
Sutch And Heavy Friends
|
159
|
|
Column
|
Mais
Alors!!?... Cést A L’Envers by Nef
|
161
|
|
Column
|
McCartney
by Paul McCartney
|
163
|
|
Liner
Notes
|
Meditation
Volume 1, Liner notes for Meditation Volume 1 by Korla Pandit
|
165
|
|
Liner
Notes
|
‘Why
can’t I be different and unusual like everybody else?’, Liner notes for Men
Opening Umbrella’s Ahead by Vivian Stanshall
|
167
|
|
Column
|
Musique
Barbare by Karel Appel
|
170
|
|
Column
|
My
Beauty by Kevin Rowland
|
172
|
|
Column
|
Nature
Intended by Steve Drake Band
|
174
|
|
Column
|
Nightbird
by The Kaplan Brothers
|
176
|
|
Column
|
94Diskont
by Oval
|
178
|
|
Article
|
What a
beautiful noise! The history of noise music
|
179
|
|
Column
|
Now We
Are Six by Master Christopher Robin
|
190
|
|
Column
|
Old
MacDonald Had A Farm / Little White Duck by The Red Raven Orchestra
|
191
|
|
Column
|
On The
Move by Bauer
|
193
|
|
Column
|
Op. 50
Requiem Of Art (Aus “Celtic”) Fluxorum Organum II by Henning Christiansen
|
195
|
|
Column
|
Opera
“From The Works Of Tandanori Yokoo” by Toshi Ichiyanagi
|
197
|
|
Column
|
Paradise
Of Replica by After Dinner
|
199
|
|
Column
|
Peter
Wyngarde
|
201
|
|
Column
|
Popular
Soviet Songs And Youth Music by Zoviet France
|
203
|
|
Column
|
Prayer
For Aradia by The Legendary Pink Dots
|
204
|
|
Column
|
Prélude
Au Sommeil by Jean-Jaques Perrey
|
206
|
|
Column
|
Que
Sera, Sera by The High Keyes
|
209
|
|
Column
|
Rear
Window by Franz Waxman and various artists
|
211
|
|
Column
|
Revival
by Al Basim
|
213
|
|
Column
|
Robbie
The Werewolf At The Waleback by Robbie The Werewolf
|
214
|
|
Column
|
Rockey’s
Style by Rockey Palmer
|
215
|
|
Article
|
Catastrophe
ballet: the life and works of Rozz Williams
|
217
|
|
Column
|
Salon
de Musique by Su Tissue
|
222
|
|
Column
|
See-Saw/Chambermusik
by SoliPsik
|
224
|
|
Column
|
Sexy
Poem by Sandra Julien
|
226
|
|
Column
|
Shadow
Lady by Sigrún Haroardóttir
|
228
|
|
Column
|
Shaving
My Neck by Gene Loves Jezebel
|
229
|
|
Column
|
She
And She As One by Anton Heyboer
|
231
|
|
Column
|
Skaggerak
by Werkbund
|
233
|
|
Column
|
Slush
by Neil Innes
|
234
|
|
Column
|
Solfège
De L’Objet Sonore by Pierre Schaeffer and Guy Reibel
|
235
|
|
Column
|
Soundtracks
For The Blind by Swans
|
237
|
|
Column
|
Souvenirs
Aus Tokio by The Peanuts
|
239
|
|
Column
|
Special
Forces by Alice Cooper
|
240
|
|
Column
|
Squeeze
by Velvet Underground
|
242
|
|
Column
|
Tenno
by Noise
|
244
|
|
Column
|
Terminal
Love by Peter Peter Ivers Band
|
245
|
|
Column
|
The
Cool Voice Of Rita Reys by Rita Reys
|
247
|
|
Essay
|
The
day I met The Residents, well, A Resident, and, in the end, became one…
|
249
|
|
Column
|
The
Girl In The Bikini by Jean Yatove
|
251
|
|
Column
|
The
Hastings Archives / The World As Power by Aleister Crowley
|
252
|
|
Column
|
The
Residents Play The Beatles And The Beatles Play The Residents by The
Residents
|
253
|
|
Liner
Notes
|
The
Safari years – The Electric Chairs Liner notes for The Safari Years by The
Electric Chairs
|
254
|
|
Column
|
The
Series Of Music For Young Adults: Iranian Folk Songs by Pari Zangeneh
|
259
|
|
Column
|
The
Wicker Man by Paul Giovanni and Magnet
|
261
|
|
Column
|
Thrillington
|
263
|
|
Column
|
Truly
A Miracle Of God by The Handless Organist
|
265
|
|
Column
|
Twin
Peaks: Fire Walk With Me by Angelo Badalamenti
|
266
|
|
Column
|
Umerumonoizen
by Ai Aso
|
267
|
|
Column
|
United
Aliens by Ian Arnüll
|
267
|
|
Article
|
Vagina
Dentata Organ – the most fanatical band in the world
|
270
|
|
Column
|
Volume
III – A Child’s Guide To Good And Evil & Part 4 Where’s My Daddy? By The
West Coast Pop Art Experimental Band
|
274
|
|
Column
|
West
Side Story (Original Sound Track Recording) by Leonard Bernstein
|
276
|
|
Essay
|
Why I
don’t read lyrics or, the beauty of mishearing lyrics
|
278
|
|
Column
|
Your
Cassette Pet by Bow Wow Wow
|
280
|
|
Column
|
Zeer
Oude Klanken En Heel Nieuwe Geluiden by Surprieze
|
282
|
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