Current members : Léo, Laszlo P.S., Sofia E.R. & D.B.P.I.U.Current line-up: Laszlo P.S., Sofia E.R., Léo (Niedowierzanie)

WERMUT was founded in 2001 in Hamburg, Germany, by Laszlo P.S. and Sofia E.R..
Laszlo and Sofia had already been partners in crime for a couple of years under the moniker ANENCEPHALIC CRETINISTS, and were involved in various musical ventures within the virtual universe of gigabrother.com. The idea behind WERMUT was to use cold, modern electronic sounds, mixed here and there with antique instruments, to explore themes of a romantic, nostalgic and esoteric nature. An attempt for the duo to come to terms with the crisis of our modern times and express the increasing bitterness they felt in a sickly-sweet, overly self-satisfied world.

WERMUT’s music has been said to escape any easy or strict genre-labelling, always balancing between 80s–style minimal-electro and post-industrial. In recent years, their sound has seen a marked evolution towards a more progressive approach, acknowledging such influences as Berlin School, Kraut-Rock, guitar-drones and Cascadian Post-BM… Moving insidiously from post-apocalyptic minimal-wave to psychedelic prog-electro, WERMUT still claim Tradition in general and the works of French metaphysician René Guénon in particular as their main and ever-growing source of inspiration.

Their works so far have been released on OLD EUROPA CAFÉ, KERNKRACH, ENFANT TERRIBLE and PUNCH RECORDS, as well as on their own (T)REUE UM (T)REUE label, and include collaborations with NOVY SVET, HIS DIVINE GRACE, ECHO WEST, FIENDISH FIB, Ô PARADIS and AIT!

In 2008, Laszlo and Sofia have been joined by multi-instrumentalist Leo from the experimental project NIEDOWIERZANIE. Other occasional members include Falko Grau on drums, Formalhaut B on saxophone and D.B.P.I.U. (Die Bekannten Post-Industriellen Urpferde) on additional vocals.

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"Wermut is one of those bands that when you finally encounter their music you are left wondering how it took so long for their music and your ears to be introduced. You see Wermut exists in that ever diminishing domain of the music industry that remains a haven for outsider artists who follow no prescribed genre. This endangered musical domain still shelters artists making music out of deep seated artistic passion as opposed to profit. Wermut exemplifies those outsider artists that remain just on the edge of obscurity were artistic freedom and integrity remain the core value."

Heathen Harvest

 


 

Wermut

Interview with NONPOP about Tradition and Traditionalism (January 2009)

(…) You are both eager GUÉNON readers and followers. Now, the current state of research on this subject here in Germany is unfortunately very poor and superficial. Few of the actual writings have been translated, and secondary literature is virtually inexistent. Your own access to GUÉNON however is from a French perspective, so maybe you can provide some insight on GUÉNON’s reception (i.e. secondary literature, seminars etc.) in contemporary France (as opposed to Germany for instance)?

RENÉ GUÉNON’s work and testimony remain unique in the Western world and hitherto unchallenged. He had the gift to expose the different doctrines and religions with a breath-taking clarity and a power of persuasion that no other author matched. For many of his readers, the discovery of this testimony is the major event in their life. Many have learnt to distance themselves more than ever before from the illusions of modern progress, others have found back to their religion, freemasons have come to understand the deeper meaning of their symbolism, and as far as our humble selves are concerned, we cannot imagine how we could start to understand, let alone bear, the world we live in without Guénon’s message to help us on the way.

Although the work has originally been written in French, the situation regarding Traditionalism in France is not substantially better than in Germany. The most important books by Guénon are certainly reissued regularly, partly by prominent publishers; but there are also many others that have been out of print for decades and have become virtually untraceable. Also worth mentioning are some authors who, deeply influenced by Guénon’s legacy, have been working almost continuously over the years to pursue his work, such as his (usually forgotten, although essential) disciple JEAN REYOR. The noise-artist JEAN-MARC VIVENZA, well-known among the Industrial fans, has also committed himself to Traditionalism and delivered two noteworthy secondary literature works about Guénon. But the question is, who reads all this? Where are the people who buy the new editions of Guénon’s books? We do not have the faintest idea. We hardly know anybody with whom to talk about Tradition or Traditionalism. It seems that we have indeed reached a stage of the Iron Age where the darkness is almost complete and the sheep are hopelessly scattered across the land – to use a biblical image. But those people are out there, somewhere, we’re quite sure of that!

Guénon has left an extensive body of work especially in the field of oriental studies. Although aiming at universal validity, his traditional doctrine is almost exclusively influenced by the eastern traditions. We live today in a time where the material differences between the eastern and western hemispheres have receded somehow, whilst the spiritual discrepancies and misunderstandings between East and West are more obvious than ever. Which fears and which hopes does the strengthening of the spiritual East suggest in the light of Guénon’s work?

First of all, there was no love lost between RENÉ GUÉNON and the world of oriental studies: the vast majority of orientalist scholars approached the eastern doctrines with a perfectly western mindset (most of them still do) and in so doing caused more damage than they perhaps intended themselves. Secondly, it is not „his “ traditional doctrine that Guénon worked so hard to expose all those years, but “THE” Traditional doctrine, in which there is no room for individual opinion.

To come back to your question: the differences between East and West are indeed not as obvious any more as they were 70 years ago, as the East has been following in the steps of the Western world with disturbing speed. But the East, contrary to the West and in spite of the advancing secularisation, still retains an intact esotericism. At this point, it is very important to note that, contrary to what many people think (including die-hard Guénon readers), Guénon’s intent never was to convert anyone to another doctrine or religion, different than the one they were born to. On the contrary, his aim in using the eastern traditions was, on the one hand, to show the westerners how all regular traditions have the same origin, and on the other hand, to allow them to re-discover their own traditional form - in our case, Christianity. It has therefore nothing to do with converting to Islam or Buddhism, except maybe for those who, like Guénon, feel it is their calling to act as a link between different traditions.

Traditionalism / integral Tradition belong by now to the standard topics among the newer Neofolk-generations. Most invoke the authority of EVOLA and SCHUON - either by dedicating their records or filling them with appropriate quotations. Why does the more “serious” GUÉNON appear to be less interesting for the average Neofolker (apart from few exceptions, namely LONSAÏ MAIKOV and A.C.T.U.S.)? Which brings me to another question: how do you generally view the reception of Traditionalism within the Neofolk and post-Industrial scene?

It is significant that a majority of the post-industrial scene should turn to JULIUS EVOLA: someone who blends Traditionalism with such temporal issues as politics can hardly pass as a true advocate of tradition. Especially considering his hostility towards Christianity and his Roman pride, which are just as dubious. As far as FRITHJOF SCHUON is concerned, he may have written very good articles in the heyday of the ETUDES TRADITIONNELLES, but his present activities are nevertheless somewhat astonishing and the few writings we’ve read from him unfortunately left more questions than answers.

We have the unpleasant feeling that many self-appointed traditionalists of the said scene chose Traditionalism only out of a desire for exclusiveness. They parade with clever quotations, provoke with unfashionable statements, but there’s not much behind the façade… It is of course welcome that the post-Industrial and Neofolk fan is aware of the perversions of modernity, but it is not enough to call oneself a Traditionalist. No matter how good their intentions, these people make themselves the unwilling outriders of anti-tradition. We often notice, not without fright, how “Tradition” is being mentioned in the same breath with “philosophy” or “politics”, and how Guénon is put in a big occultist lump together with buffoons like CROWLEY and BLAVATSKY. Many do not seem to understand either that he does not represent yet another „philosophical speculation“ or „opinion “.

GUÉNON’s lack of popularity in some circles probably comes from the fact that he is no agitator who stirs up passions in flamboyant fashion, like EVOLA does so well, but slowly leads his readers towards the world’s biggest secrets with transcendental calm, mathematical accuracy, a dash of humour and most of all, with unshakable certainty. A further reason is the radicalism with which RENÉ GUÉNON refutes the entire philosophical, psychological and occult literature of the latest centuries, so that none of the books falling in those categories longer hold any interest for the convinced Guénon reader. In addition to this comes the fact that GUÉNON writes about things that are not suitable for everyone, because they stand in complete contrast with modern mentality. Indeed, his work already provoked very violent reactions at the time of publication, from the Theosophists and from representatives of the catholic church alike, and Jean Reyor, as editor of les ETUDES TRADITIONNELLES, never ceased to wonder about the many hateful, uncomprehending letters he would receive. If the reception was already so critical then, how can it be any better today?

Something that strikes me in many of your releases is the absolute self-containment of each work. Something on the record, either music or content, comes full circle, even from the outside, for instance through the arrangement of the titles, the use of intro / outro brackets which encompass the album, etc. Moreover, I notice that your projects WERMUT and IWIK have been using a part of the logo of the Berlin-based Techno-club TRESOR lately: the circle dotted in the centre. In „Symbolism Of The Cross“ and „Symbols of Sacred Science “, GUÉNON associates this symbol, fundamental for him, with the „heart of the world “, which is vessel and Holy Grail at the same time. Perhaps you would like to briefly summarize what GUÉNON means by it and how this symbol fits into the Wermut-cosmos?

It is really quite curious that when it comes to symbols, people always deduce the most recent use first. The Swastika, for instance, is first interpreted as a national socialist symbol; then, for some people, it will be some kind of sun wheel; and only in the rarest cases will it be recognised as a traditional symbol, that of the connection between principle and manifestation. Things are not different with the „heart the world “, and we’ve already been asked several times why we had “stolen” the logo of the Berlin TRESOR. The New Age clan, on the other hand, probably believes that we use the astrological sign of the sun. There are probably those who think that we are sun worshipers. Be that as it may, traditional symbolism is not really on the agenda of today's world, and a certain way of thinking has apparently been completely lost. This is yet another unmistakable sign of our times.

„The heart of the world “or „centre of the world “ is the oldest of all the symbols known to man. Just like the Swastika, it symbolizes the absolute dependence of the moving material manifestation on the motionless and unalterable engine, the Principle. The centre in this case stands for the origin, the beginning of all things, a point without form and without dimension. It is the original, indivisible One. The space it fills with its radiance (the Fiat Lux of the Genesis) and which only exists because of this radiance, is the world, the sum of all existences. That’s why it would be wrong to see in it a symbol of the sun, because the sun too is part of the material manifestation. In truth (and all ancient traditions confirm this) it is the sun that is a further symbol for the actual „heart of the world “, for the divine principle.

The connection between the Principle and the world is obviously symbolically strengthened when one draws four rays (or more) from the centre of the circle to the circumference, as is the case in the figure of the sun wheel. The four resulting quarters can then symbolize the moon phases, the four seasons or the four ages of mankind. However, it is the Swastika, in all its conceivable variations, which best represents the rotation around the immovable axis, the unchangeable fixed point. The centre is the engine of all movement, and since movement means life, the Swastika, like the cross, is a symbol of life, or more precisely, of the vital influence of the Principle within the cosmic order.

All three symbols thus represent one and the same thing, from different perspectives.

These considerations are the core of traditional metaphysics and not (as many believe) of a thought developed by RENÉ GUÉNON. He is only the messenger of truths that have been handed down from far away. There would be much more to tell on the subject, but it would probably exceed the limits of this interview. Those interested in this topic can check out the afore mentioned book by René Guénon „ Symbols of Sacred Science“, in which everything is exposed in details. (…)

(translated extract of a longer interview conducted in German by Roy Liebscher for NONPOP)

 


 

Wermut at Punch Records Festival

INTERVIEW with APOSTAZJA MAGAZINE after the PUNCH RECORDS FESTIVAL (Leipzig - 20.01.2007)

Hello, at first I would like to ask you about your impressions after festival in Leipzig. I guess positive, right? You gave a great concert, full of stillness, reflection and melancholic atmosphere. Can you tell me why didn't you play your tracks in minimal-electro climate?

Sofia & Laszlo: The thing which impressed us most in Leipzig was the fantastic atmosphere in the crowd, so enthusiastic, warm and reactive. It was a pleasure to play in front of such an audience, especially when you knew that some of these people had driven miles across Europe and even flown across the Atlantic especially to be there. And of course being there was an opportunity for us to meet again with friends and to see fantastic bands whom we love but never had had the chance to see live before… It is not every day that you see such a gathering of original and talented bands on one festival! As to our own performance, we decided not to play the minimal-electro tracks for two reasons: first because they don't correspond to the music we released on Punch and second because we wanted to do something different, a conceptual performance, with a very precise thematic and atmosphere, in order to create a mood, a feeling which would suit the place and occasion.

I'd like to ask you about your name. Why exactly WERMUT? It is the name of a well known alcohol, but it also means "wormwood" in German. So?

S. & L.: Actually the name of our band doesn't have anything to do with the alcohol brand "Vermouth", at least not directly. It does mean "wormwood", and "Wermut" or "Wormwood" is the name of the star which, in "The Revelation of St John", falls to Earth and makes all the waters bitter. It refers to our bitterness towards the modern world, a bitterness which must be overcome one day… Making music with WERMUT is a way to try and go beyond that bitterness. But it doesn't mean we don't enjoy a glass of Vermouth from time to time, quite the contrary! We've even made it our custom to drink a glass of Vermouth or Martini before each performance!

Your debut MLP "Les cinq-a-sept post-néoistes" is a great album, where the aesthetics of NOVY SVET is felt very strongly. Why did you decide to change that style on the next publications? Both MLP "Hoffnung" and LP "Anna" are totally different from debut album and also different from each other. Is constant development your priority?

S. & L.: No, not really… we don't think about such things. We never "decided" to change style consciously, actually we didn't even really change: originally "Les cinq-a-sept post-néoistes" was a longer album, it included electro songs which we then took out and decided to release on a 7" because we thought it was better to do a stylistically more homogenous album… So the different tendencies were always there. As to the NOVY SVET aesthetics of the first album, it is of course a big compliment, but we're not sure if it is true… Maybe it comes from the fact that Jürgen sings on two tracks…

Why did you decide to create the project ICH WOLLTE, ICH KÖNNTE? What kind of emotions, that are missing in WERMUT, do you want to express through this band?

S. & L.: Originally ICH WOLLTE, ICH KÖNNTE was called into existence especially for the French electro label "Invasion Planete". Now "Invasion Planete" is dead but its children live on, and so IWIK has acquired its own musical identity, independently from WERMUT. Apart from the fact that it is more Laszlo's personal project (even if Sofia is also involved) IWIK's music and inspiration is much more melancholic and nostalgic, and stylistically darker than WERMUT, and contrary to WERMUT almost 100% electronic. In the future, IWIK will very much stay this way. It is WERMUT which we consider our ever-evolving field of experimentation.

You have your own company record Treue um Treue, and you release various, but always original bands. Can you tell me in few words, what is the aim of that part of your activity? Which publication do you consider as your biggest success? Why some albums are available only as vinyls?

S. & L.: We started a label because we were aware of a lot of great music which we would have liked to see released, but couldn't think of any existing label susceptible to do it. Being artists and record lovers, creating our own label was the logical next step to take. Our aim was not only to release music, but to produce special artefacts which would ally sound, artwork and idea. That's why the vinyl format has always been at the centre of our concept. There is a feeling to the vinyl record, a ritual associated to it which makes it more appropriate for what we want to achieve than the digital format. CDs tend to represent expandable entertainment music for the masses, vinyl records remain something special for special people. And of course the bigger format offers more graphic possibilities. But we also do CDs, simply because sometimes you don't have a choice, and we don't want to set ourselves such material limits… As to our biggest success, we have no idea… It 's a bit like asking a parent which child they prefer, isn't it?

What's your opinion about industrial/martial/neo folk scene? Don't you think there is still too little originality and freshness in that music? Do you believe there is a chance for progress on that scene and if so, what direction could it go into?

S. & L.: We have the feeling that today a lot of projects inside the so-called industrial underground tend more and more towards "mainstream music". They call themselves underground but it is clear in their music and attitude that the only thing they really want is to get out of it and make it to the top. This attitude is reflected by many industrial labels whose politics are hardly any different from that of majors. All of this works against originality and freshness, of course. If there is a chance for progress it is probably in eastern Europe. The scene seems to thrive there as it used to here many years ago, and a lot of fascinating stuff is being produced there.

You work together with Jurgen Weber from NOVY SVET, who is very universal and creative musician, and very nice man too. I understand, that this cooperation goes well? Do you have any plans for releasing together album in the near future?

S. & L.: Jürgen and Ulla are very close friends, so we are always happy to collaborate with them. Friendship and music are a good combination! We have no plan about releasing an album together yet, but there is a smaller collaboration on the way, which could see the light of day at the end of this year… But it is much too early for details!

It's time for a very classic question, namely, what are your music/film preferences? Where do you get your inspiration from? Could you recommend anything to our magazine readers? Something that, in your opinion, is worth checking out.

S. & L.: We are movie freaks, we can watch up to four films a day so of course it is hard to state preferences… At the place of honour in our cinematographic Walhalla there is for sure Ingmar Bergman, R.W. Fassbinder, Ken Russell, Mario Bava, Luis Bunuel, H.G. Clouzot, P.P. Pasolini, John Carpenter, Jean Cocteau, H.G. Lewis… and many others. As far as music is concerned, the list would be even longer… Let's say that at the moment we listen to a lot of Krautrock, Berliner Schule and 80s new wave and industrial from the tape-labels era. But our inspiration doesn't only come from music and films, we are also very much influenced by things we read, people around us etc.

Do you know in what direction WERMUT will go? What are your plans, intentions? I believe you are full of energy and you will release next fantastic albums. Will you still record under the name ICH WOLLTE, ICH KÖNNTE?

S. & L.: There are a lot of things planned for WERMUT. A split 10" much in the style of "Hoffnung" will be released very soon on Treue um Treue, and a follow-up to the "Cinq-a-sept post-néoistes" will also be out soon on OEC. The next album, which is already in preparation, will be very much influenced by krautrock and seventies electronic music. So in the next months we will probably concentrate more on WERMUT, but IWIK goes on as well.

I would like to thank you for your time. I hope, I didn't bore you with my questions. Would you like to add anything more?

S. & L.: Thanks to you, it was a pleasure! Keep up the good work with Apostazja.

ITW by Tomasz Borowski

 


 

Wermut

Interview with FUNPROX, November 2005

Wermut has caught the attention of both minimal electronics fans and lovers of dark folk music. They seem to be a rather new group but are definitely not. Both members, Sofia E.R. and Laszlo P.S, have been producing music for a long time. Also they are active with their relative new label Treue Um Treue / Reue Um Reue.
Funprox took some time to dive in the past, talk about the present and gaze a little into future with these two very creative and productive individuals.
Who are you? Please introduce yourselves to the readers of Funprox.

We are Sofia and Laszlo of WERMUT. We’re just a man and a woman trying to be someone… as LE SYNDICAT ELECTRONIQUE would put it!

Wermut may seem to some people like a new project due to the recent releases on Kernkrach/Hertz and Treue um Treue. Can you tell a little about the history of Wermut?

We created WERMUT back in 2001. At that time our main project was called ANENCEPHALIC CRETINISTS, much more industrial but already with some minimal/wave elements. So in many ways AC can be considered as WERMUT’s genesis or prototype. The first official release came much later, in the spring of 2004, with LES CINQ-À-SEPT POST-NÉOISTES” on OLD EUROPA CAFÉ. This was a concept mini-LP in a much more “industrial” or even “neo folk” vein, featuring guest-musicians such as HIS DIVINE GRACE, NOVY SVET and DITTERICH VON EULER-DONNERSPERG. At the time we recorded this album we had no intention of submitting it to a label… It is Jürgen Weber who insisted that we should. We also sent two other much more electro songs, which were composed at the same time, to KERNKRACH… That’s how everything got started.

You have a new record entitled “Anna” coming out on Punch Records. Can you tell something about the music and the ideas behind that album?

“ANNA” tells the story of two people we know who, in the late 70’s, built their own sailing ship and engaged on a three-year-long journey around the globe. We were very impressed by their adventure and decided to put it to music. In style this first CD is much more quiet and introspective than HOFFNUNG, but it has the electro and wave elements which were not very present on the OEC release, so on the whole you could say it is “in between” the two previous albums. However some people say it is yet another aspect of WERMUT…

What other releases of Wermut are you working on?

There are a few contributions coming up. WERMUT will appear soon on “LE SALON DES INDÉPENDANTS”, a sampler on Dutch Label ENFANT TERRIBLE, as well as on the next TREUE UM TREUE release, which is also a sampler (actually an electronic tribute to Death and Black Metal). We are working on a more “dance-floor orientated” WERMUT 10” to be released on T.U.T in 2006, as well as on a follow-up to “LES CINQ-À-SEPT POST-NÉOISTES” for OEC. Ah! And we’ve just recorded the soundtrack to a small experimental film we made, which will be released soon on DVD-R on a new subdivision of T.U.T/R.U.R called GETREU ALLZEIT.

Which projects besides Wermut are you own active projects at the moment?

Laszlo has another electro project called ICH WOLLTE ICH KÖNNTE, which is much wavier than WERMUT, and very melancholic. Two tracks from this project feature on the sampler “SACRIFICE MODERNE” which is now being released on INVASION PLANETE, and a first album will follow, also on IP. Sofia has a post-industrial project called KOSTNICE, making what Laszlo likes to call “funeral march musak”, and whose second album has just been released on REUE UM REUE. There are also other projects which are more a less on stand-by…

Why and when did you decide to start a label yourselves?

At first we were passionate music listeners and vinyl-lovers, then we started making music ourselves… in a way producing our own records seemed like the logical next step to take. As a matter of fact we have been manufacturing tapes and CDRs for years but only on a very small scale, making extra-limited hand-made editions for our family and friends. So you could say it was essentially a change in scale and format! We really started planning T.U.T/R.U.R in 2004. The idea was not only to have a platform for our own music, but also to be able to release the music we knew and loved from other people, and to create the objects which we ourselves as listeners would like to buy.

Why did you decide to have two imprints for the label?

We have always been equally interested in many different music genres, so when we decided to start a label we didn’t want to confine ourselves too much. On the other hand, a label should be representative, people should know more or less what to expect. So we thought the best solution was to have twin-labels, one dedicated to the more danceable electro tunes and the other to the more introspective, so-called post-industrial ones… which you could basically consider to be the two main directions which were born out of the original “industrial” movement. Inside these two labels however we grant ourselves a lot of freedom… REUE UM REUE in particular is dedicated to more than one style. The first releases are very much ambient, but there will be much more experimental/noise releases in the future.

T.u.T./R.u.R. definitely is not just a label. Judging the concepts and artwork of the releases you want to do more then just’ release music. Is that correct? And, if so what are your aims?

Wermut - Sofia Even if the music stays in the foreground, for us the medium” (format, artwork + concept) also plays an essential part. With the mp3 technology people tend to consume music as if it were a mere product… Hearing good music this way is more or less like eating refined cuisine out of a McDonald box… Music, like any form of art, needs a certain appropriate context to be appreciated fully and can be enhanced through other art forms… So that’s why we try to make each release a unique object which can be a pleasure for the eyes as well as for the ears. In the future we would like to include other forms of expression. Our main aim is to release what we like without any form of self-censorship, which is so common today and in the long run probably the biggest threat to a truly “independent” music scene.

Will you release (more) music of your own side projects on T.u.T./R.u.R. in the future?

Surely, but we haven’t got any concrete plans about this yet. The next releases in our schedule are all from other artists ­ except the WERMUT 10” mentioned above.

What other artists can we expect to find on your label in the near future?

The next T.U.T release is a sampler featuring artists of the German minimal-electro scene such as ECHO WEST, BASTARDS OF LOVE and A”, but also international industrial acts such as AIT! and UNIDAD SASAO. Upcoming in the T.U.T catalogue is a very special release with ECHO WEST as well as a LP from the great Dutch 80’s project DOCTOR C. STEIN. On the R.U.R side, expect the next full-length album by UNIDAD SASAO, and very soon hopefully a new collaboration with HDG. There is more in store but… let’s not reveal everything at the same time!

I have the idea that a lot of musicians on your label are personal friends of you. Do you search for new talents only within a certain circle of befriended musicians?

No, actually not… Of course we tend to collaborate with the people we love, and hopefully we will have further opportunity to release the works of befriended artists. But this is not a rule or a criterion. A lot of upcoming releases on T.U.T/R.U.R feature artists we didn’t know at all personally before wanting to work with them… By the way, we are also very happy to receive demos!

Wermut does not play live that often. Would you like to play live more and if so with which bands?

Well, certainly, as long as we can find the time… Until now our live experiences have been very positive. With which bands? Well, let’s see… we’d sure be glad to open for Whitehouse, or Manowar, or maybe the next Abba-reunion…

It seems a lot of your history can be discovered through the cd-r releases on Gigabrosaurus Recs. What is Gigabrosaurus Recs and Gigabrother? What projects of yourselves were released on that label?

GIGABROTHER is basically a huge website gathering the work of a community of artists, essentially musicians, which were very active in Paris a few years ago. It was created in 1997 by a friend of ours as a follow-up to TNT COSMOS, a fanzine which had a cult status in the French and international hardcore Techno scene of the 90ies. The idea was to create a steadily growing virtual world of its own, with its arts and wars, history and politics, heroes and bad guys. Every artist could contribute spontaneously, adding new bricks to the edifice according to the Neoist principle… GIGABROTHER used to offer days on end of music to free download, until the provider slowly but surely erased all mp3s… So we decided to start re-releasing this music on a CDR-label, and that’s what GIGABROSAURUS RECS is about. We are at the reference 035 and it’s only the beginning… The world of GIGABROTHER has been the main platform for our activities for some years, so it is surely a main key to our musical past. Most of the artists which have been involved on a regular basis with the website have now taken other (sometimes very different) paths… Things from us on GIGABROSAURUS RECS are essentially the AC and KOSTNICE releases as well as a crazy toy-tunes project called MANDARINE DUCK. More will come soon.

No more questions. Anything I forgot or you want to say?

Thanks to you and Funprox for your support. And of course today’s German proverb: “Only dead fish swim with the stream”.

ITW by MvG

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