FRÜHGESCHICHTE I. SCHWARTZER RAB CD
4 panel glossy full colour digipak with clear tray limited 300.
The first in the series of early Allerseelen soundworks re-issues. Most of the material in the series have been released on the verge of 80-es and 90-es on tapes by Gerhard himself. Sometimes deep and mysterious, sometimes straightforward and youthly naïve, these records have a real feel of that time, the pre-Internet, pre-Digital era of hometaping culture. In fact, absolutely 100% of todays Industrial music elements were invented or found until mid 90-es, and these low-fi rough soundworks is one of the springs feeding the great ocean of Industrial music structures and components. Even Gerhard himself still uses some loops and parts made these times making his new compositions, so maybe some attentive listeners would be able to catch something familiar in these obscure tracks. All in all, it’s not only a document of the era, but first of all it is living, breathing and fascinating music which is listenable and enjoyable as much as the today’s one, if not more.
“1989, the year when Allerseelen was founded, appears to me like 1889 or 1789. It was a very special time. It was a fin de siècle. I recall very well the recording process of the early Allerseelen cassettes, drumming on old kettle-drums, scratching on a second-hand violin, making percussion on human bones, recording strange sounds like fire, metals, ravens. All these sounds and melodies and rhythms were combined in a very strange way. This is a never-ending journey as today I still use these archaic melodies and rhythms in new songs from time to time. Allerseelen has always been very close to alchemy, and I am glad that nothing has exploded in my alchemical chamber – at least so far. (...) These days and years before the internet were exciting. I had friends all over the world, and we sent cassettes and little magazines to each other. We had time for long letters, and it was a wonderful moment when the postman arrived with a handful of letters and little parcels. All this appears to me now not like the twentieth but almost like the nineteenth century. But maybe this happened in medieval times, maybe even in prehistory? In some ways, it was as if we recorded our cassettes and photocopied our little magazines in the shadow of menhirs, dolmens, stone circles. Everything was archaic, simple. (...) I copied the early Allerseelen cassettes on my cassette recorder and the cassette recorder of my grandmother, who was the only one in my family who showed some interest in my music and art and also way of life. She had her roots in Poland, and some months before her death she decided to learn Polish again. Thus for me she never died, as in my imagination she is somewhere in Poland. Maybe I will come across her one day in the lanes of a small town in Poland. Or maybe one day she will show up at one of our concerts in this country.” (Gerhard Hallstatt interview in Blackastrial 5 / 2009, Poland).