Malefactor, Ade: Difference between revisions
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* Malefactor Ade - allegedly recorded in a day - how was that as an experience? | * Malefactor Ade - allegedly recorded in a day - how was that as an experience? | ||
* The material from which it came, the Disco Doubt tapes, were recorded in a day. Malefactor is a cull, and not too tampered with after the fact. That’s how we sounded. It was fun. Albert Oehlen, Werner Buettner and I had written thirty-three lyrics one night, the next we rented a drum machine, borrowed a guitar or two and some other stuff – we had a harmonica. We booked Matthias Schuester’s studio in Hamburg and bashed it down, hard. The fun in such cases comes from solving problems on the fly, improvising solutions, sorting each track in terms of its particular character, and, not least, bouncing ideas at one another. Their being Germans and my being Texan contributed to the exquisite sense of culture clash. In relation to English language driven popular music expression it offers a slightly tweaked view. It has an edgy, live feel, however deeply etherized the patients ultimately were. | * The material from which it came, the Disco Doubt tapes, were recorded in a day. Malefactor is a cull, and not too tampered with after the fact. That’s how we sounded. It was fun. Albert Oehlen, Werner Buettner and I had written thirty-three lyrics one night, the next we rented a drum machine, borrowed a guitar or two and some other stuff – we had a harmonica. We booked Matthias Schuester’s studio in Hamburg and bashed it down, hard. The fun in such cases comes from solving problems on the fly, improvising solutions, sorting each track in terms of its particular character, and, not least, bouncing ideas at one another. Their being Germans and my being Texan contributed to the exquisite sense of culture clash. In relation to English language driven popular music expression it offers a slightly tweaked view. It has an edgy, live feel, however deeply etherized the patients ultimately were. | ||
2015 exhibition catalog: Werner Büttner: The Marking of the Abyss<ref>https://research.gold.ac.uk/id/eprint/21018/1/Buttner%20Abyss%202015.pdf</ref>: | |||
* listed in discography: Werner Büttner und Albert Oehlen, ''Mayo Thompson, Disco Doubt'', LP, 1986. | |||
2018 exhibition catalog: Werner Büttner: Plenty of Room for All Sorts of Happiness<ref>https://issuu.com/marlboroughfineart/docs/buettner_london_buch_final_middle/86</ref>: | 2018 exhibition catalog: Werner Büttner: Plenty of Room for All Sorts of Happiness<ref>https://issuu.com/marlboroughfineart/docs/buettner_london_buch_final_middle/86</ref>: | ||
* | * same as above | ||
March 2020 Matthias Schuester posted unreleased track (Jimmy Silk)<ref>https://www.youtube.com/watch?v=h4sOi9kHgUg</ref>: | March 2020 Matthias Schuester posted unreleased track (Jimmy Silk)<ref>https://www.youtube.com/watch?v=h4sOi9kHgUg</ref>: | ||
Revision as of 00:29, 1 November 2022
Track listing
| No. | Title | Length |
|---|---|---|
| 1. | "Extremism" | 2:20 |
| 2. | "Baby Jesus Frog" | 2:19 |
| 3. | "Blue Jeans" | 1:08 |
| 4. | "Steve McQueen's Garden" | 2:12 |
| 5. | "Colour Theory, No. 4" | 2:24 |
| 6. | "Franz Von Assisi" | 3:19 |
| 7. | "Sex Machine" | 1:23 |
| 8. | "The Coaster" | 2:39 |
| 9. | "Break a Leg" | 2:23 |
| 10. | "T.B. - Tissues" | 2:37 |
| 11. | "Dope" | 1:11 |
| No. | Title | Length |
|---|---|---|
| 1. | "The Alma Fanfare" | 2:36 |
| 2. | "Colour Theory, No. 3" | 4:22 |
Disco Doubt
Sources
May 2006 Psued Magazine[1]:
- Malefactor Ade - allegedly recorded in a day - how was that as an experience?
- The material from which it came, the Disco Doubt tapes, were recorded in a day. Malefactor is a cull, and not too tampered with after the fact. That’s how we sounded. It was fun. Albert Oehlen, Werner Buettner and I had written thirty-three lyrics one night, the next we rented a drum machine, borrowed a guitar or two and some other stuff – we had a harmonica. We booked Matthias Schuester’s studio in Hamburg and bashed it down, hard. The fun in such cases comes from solving problems on the fly, improvising solutions, sorting each track in terms of its particular character, and, not least, bouncing ideas at one another. Their being Germans and my being Texan contributed to the exquisite sense of culture clash. In relation to English language driven popular music expression it offers a slightly tweaked view. It has an edgy, live feel, however deeply etherized the patients ultimately were.
2015 exhibition catalog: Werner Büttner: The Marking of the Abyss[2]:
- listed in discography: Werner Büttner und Albert Oehlen, Mayo Thompson, Disco Doubt, LP, 1986.
2018 exhibition catalog: Werner Büttner: Plenty of Room for All Sorts of Happiness[3]:
- same as above
March 2020 Matthias Schuester posted unreleased track (Jimmy Silk)[4]:
- Another rare track from the Geisterfahrer archives, i produced in 1986 with Albert Oehlen, May Thompson and Werner Büttner!