Malefactor, Ade

Malefactor, Ade
Studio album by The Red Crayola
Released	1989
Recorded	1986
Studio
Label	Glass
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Track listing

Side one

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

Side two

No.	Title	Length
1.	"The Alma Fanfare"	2:36
2.	"Colour Theory, No. 3"	4:22

Background

Potential cover of Disco Doubt

The material on Malefactor, Ade was written and recorded in 1986 for an unreleased LP called Disco Doubt. The lyrics for the 33 songs were published in the book Gorki & Co. / 33 Songs.

Some of Werner Büttner's exhibition catalogs list Disco Doubt as a Mayo Thompson album: "Werner Büttner und Albert Oehlen, Mayo Thompson, Disco Doubt, LP, 1986."

In 1987, a song Disco Death was included on the soundtrack for the film The Last of England.

Malefactor, Ade was released by Glass Records in 1989.

In 2020, engineer Matthias Schuster posted an unreleased song from the session: Jimmy Silk. The song had been reworked into "Jimmy Silk/Supper Be Ready Medley".

Retrospectives

Mayo Thompson, 1996

[... I] left England, moved to Germany [...] and starting working there a bit. But I wasn't making much music until I met Albert Oehlen. [... We] made an album for Glass--I think 1000 of them exist in the world, not even that, maybe 700, 800, like Corky's. A rarity. But I was just kind of out of it, I wasn't really thinking so much about it. I wasn't not thinking about it, I did it when it came up. When there was something to do, I did it. When there was nothing to do, I didn't think about it.

Mayo Thompson, 2015

I met Markus Oehlen, whom I first knew as the drummer in Mittagspause, the best of the German punk bands, at least as I saw it then. One night Markus said to me the same thing that Frederick Barthelme’s brother Steven had said to me back in the day: “You should meet my older brother.” Eventually I did meet Albert, with whom I went on to make Malefactor, Ade and another bunch of records.

Mayo Thompson, 2006

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 Büttner 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.

Reviews

Zap

1995

Martin Büsser

[...] Nach einer weiteren Pause meldete sich Mayo Thompson 1989 mit „Malefactor, ade“ in neuer, germanophiler Besetzung zurück, nahm eine LP mit Markus Oehlen, Rüdiger Carl, Werner Büttner und Andreas Dorau auf (auf dem unsagbar schätzenswerten Glass-Label erschienen). Obwohl alles darauf Thompson-Stil war, klang sie doch wieder ganz anders, nämlich nach minimalistischem Home recording, das auf der A-Seite richtig songorientiert war. Die Stücke pendelten zwischen dem Nerd-Folk von Bands wie den TALL DWARFS und DANIEL JOHNSTON und verinnerlichten Solopfaden, wie sie David Garland und David Thomas pflegten ... die Fusion aus Kunstlied und Hometaping war da eingeläutet. Wie viel resistenter gegen Selbstmitleid und Einsamkeits-Attitude war das doch im Vergleich zur Home Recording-Szene von heute (z.B. PALACE BROTHERS, SMOG), obwohl doch kaum einer so viele Gründe wie Mayo Thompson hätte, den gekränkt Unverstandenen zu spielen.

Testcard

1998

Thomas Groetz

Malefactor, ade war durch seinen starken Bezug zu den Vorlieben und Obsessionen der bildenden Künstler keine große Popularität beschieden. Ein begrenzter Bezugsrahmen spricht auch aus der folgenden RED KRAYOLA-Platte, eine Single, die auf dem Cover Mayo Thompson ähnlich wie auf Malefactor, ade in der beengten Sphäre eines Zimmers abbildet: in der Woh-nung, der soziokulturellen Keimzelle und dem primären Zielort der Kunst, dort wo die Bilder an den Wänden hängen und die Schallplatten zu Gehör kom-men. Die auf Albert Oehlens Privat-Label „Leiter-wagen"-Records erschienene 7" vom Anfang der 90er Jahre, die wiederum Texte aus der Sammlung in Gorky & Co. vertont, ist das letzte klangliche Dokument von Mayo Thompsons Aufenthalt in der Bundesrepublik.