{"id":2513,"date":"2019-09-12T16:59:04","date_gmt":"2019-09-12T15:59:04","guid":{"rendered":"https:\/\/beta.outra.pt\/?post_type=product&#038;p=2513"},"modified":"2023-03-21T16:15:59","modified_gmt":"2023-03-21T15:15:59","slug":"compilacao-experimental-sounds-behind-the-iron-curtain-umcseet","status":"publish","type":"product","link":"https:\/\/beta.outra.pt\/eng\/product\/compilacao-experimental-sounds-behind-the-iron-curtain-umcseet\/","title":{"rendered":"Compilation \u201cExperimental Sounds Behind The Iron Curtain\u201d - UMCSEET"},"content":{"rendered":"<p><strong>TRACKLIST:<\/strong><\/p>\n<p><strong>A01 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Tibor_Szemz%C3%B6\">Tibor Szemz\u00f6<\/a><\/strong> \u2013 ''Skullbase Fractures''<\/p>\n<p><strong>A02 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Zwitschermaschine\">Zwitschermaschine<\/a><\/strong> - ''Geh \u00fcber die Grenze''<\/p>\n<p><strong>A03 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Der_Demokratische_Konsum\">Der Demokratische Konsum<\/a><\/strong> \u2013 ''Krebs ohne Stuhl''<\/p>\n<p><strong>A04 - <a href=\"http:\/\/database.unearthingthemusic.eu\/V%C3%A1gt%C3%A1z%C3%B3_Halottk%C3%A9mek\">V\u00e1gt\u00e1z\u00f3 Halottk\u00e9mek<\/a><\/strong> - ''M\u00e1sf\u00e9le T\u00e1j''<\/p>\n<p><strong>A05 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Vladimir_Tarasov\">Vladimir Tarasov<\/a><\/strong> - ''Atto III \u00abDrumtheatre\u00bb (excerpt)\u201d<\/p>\n<p><strong>B01 - <a href=\"http:\/\/database.unearthingthemusic.eu\/New_Composers\">New Composers<\/a><\/strong> - ''One Minute to Start''<\/p>\n<p><strong>B02 - <a href=\"http:\/\/database.unearthingthemusic.eu\/AG_Geige\">AG. Geige<\/a><\/strong> - ''Elektrische Banane''<\/p>\n<p><strong>B03 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Borghesia\">Borghesia<\/a><\/strong> - ''Divlja''<\/p>\n<p><strong>B04 - <a href=\"http:\/\/database.unearthingthemusic.eu\/A._E._Bizotts%C3%A1g\">A. E. Bizotts\u00e1g<\/a><\/strong> - ''Pek-Pek''<\/p>\n<p><strong>B05 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Ziemia_Mindel_W%C3%BCrm\">Ziemia Mindel W\u00fcrm<\/a><\/strong> \u2013 ''Untitled''<\/p>\n<p><strong>C01 - <a href=\"http:\/\/database.unearthingthemusic.eu\/NSRD\">NSRD<\/a><\/strong> - ''Ost West''<\/p>\n<p><strong>C02 - <a href=\"http:\/\/database.unearthingthemusic.eu\/New_Composers\">New Composers<\/a><\/strong> - ''Max-Industry''<\/p>\n<p><strong>C03 - <a href=\"http:\/\/database.unearthingthemusic.eu\/DG_307\">DG 307<\/a><\/strong> - ''Co Sme?''<\/p>\n<p><strong>C04 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Praffdata\">Praffdata<\/a><\/strong> - ''Live in Remont, Warsaw''<\/p>\n<p><strong>C05 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Aktual\">Aktual<\/a><\/strong> - ''Atenta\u0301t Na Kulturu''<\/p>\n<p><strong>D01 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Katalin_Ladik\">Katalin Ladik<\/a><\/strong> - ''Oplakivanje''<\/p>\n<p><strong>D02 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Kilhets\">Kilhets<\/a><\/strong> - ''<strong>Kilhets<\/strong>''<\/p>\n<p><strong>D03 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Pffft%E2%80%A6!\">Pffft\u2026!<\/a><\/strong> - ''Live at Intermedia I (Zonic edit)''<\/p>\n<p><strong>D04 - <a href=\"http:\/\/database.unearthingthemusic.eu\/V%C3%A1gt%C3%A1z%C3%B3_Halottk%C3%A9mek\">V\u00e1gt\u00e1z\u00f3 Halottk\u00e9mek<\/a> -<\/strong> ''Live in Pet\u0151fi Csarnok''<\/p>\n<p><strong>D05 - <a href=\"http:\/\/database.unearthingthemusic.eu\/Andrzej_Mitan\">Andrzej Mitan<\/a>, W\u0142odzimierz Borowski, Cezary Staniszewski, Tomasz Wilmanski -<\/strong> ''Ptaki''<\/p>\n<p class=\"textbox\" dir=\"ltr\"><strong>D06 -\u00a0<a href=\"http:\/\/database.unearthingthemusic.eu\/Ornament_%26_Verbrechen\">Ornament &amp; Verbrechen<\/a><\/strong> - ''Der l\u00e4chelnde Chinese''<\/p>\n<p>This double LP compilation is a meeting of musicians and artists that never happened. They never shared the same stage, and their activities never combined into a movement. Mostly active in the 1970s and 1980s in the Union of Soviet Socialist Republics, the Hungarian People\u2019s Republic, the Czechoslovak Socialist Republic, the People\u2019s Republic of Poland, the Socialist Federal Republic of Yugoslavia and the German Democratic Republic, the groups and individuals who feature on this record were often divided by the insular and paranoid policies of the communist states in which they lived.<\/p>\n<p>Yet, they belonged to a richly imagined and stimulating commonwealth of ideas, images and desires.<\/p>\n<p>Some of the music was recorded during energetic public concerts; some of it was laid down in home-made studios, and some in state recording facilities. Improvisation \u2013 when access to stages and equipment were carefully rationed by power \u2013 was not just a matter of musical extemporisation: it was often the result of necessity. All of it, in all its diversity, shares a common thread of provocative ideas and emancipation through musical expression.<\/p>\n<p class=\" translation-block\">The mixture that results from that is extremely varied and crosses different eras, styles and countries. It includes the brutal attacks against the cultural projects \u201capproved by the state\u201d from the Czech group <strong>Aktual<\/strong> (who were influenced by Fluxus), through the avant-garde vocal art influenced by the provincial folk from Vojvodina of <strong>Katalin Ladik<\/strong>, or the psychedelic rhythms of the Lithuanian drummer <strong>Vladimir Tarasov<\/strong>; also represented here are <strong>DG 307<\/strong>, Czech underground heroes with strong connections to The Plastic People of the Universe; the progressive rock of <strong>Kilhets<\/strong>, that maintained close connections with Prague\u2019s Jazz Section (Jazzov\u00e1 sekce) and opted to make subversive use of official channels; post-punk as interpreted by the band <strong>Ornament &amp; Verbrechen<\/strong> from Eastern Berlin, influenced by Geniale Dilletanten and industrial music; and the even more insane\u00a0<strong>Der demokratische Konsum.\u00a0<\/strong>South of East German you could fink the art-punks\u00a0<strong>Zwitschermaschine<\/strong>, from Dresden; the projecto from Kunstkrach (art noise)\u00a0<strong>Pffft...!<\/strong> of Leipzig; as well as the electronic absurdism of AG. Geige of Karl-Marx-Stadt (today Chemnitz), who found their soul and soundmates in <strong>NSRD<\/strong> of Latvia. These would\u2019ve fit well at the FV disco events promoted by <strong>Borghesia<\/strong>, video artists and pioneers of LGBT rights, considered today pioneers of (queer) club culture, a title that could\u2019ve also been claimed by <strong>Novye Kompository<\/strong> (New Composers) in the Soviet Union, particularly Leningrad. Beyond that we also have the tempestuous shamanic punk of <strong>V\u00e1gt\u00e1z\u00f3 Halottk\u00e9mek<\/strong> aka <strong>The Galloping Coroners<\/strong>, the neo-dadaista post-punk jazz spectacle of\u00a0<strong>A. E. Bizotts\u00e1g<\/strong>, the cerebral and experimental compositions of <strong>Tibor Szemz\u0151,\u00a0<\/strong>the subliminal cacophony of\u00a0<strong>Praffdata<\/strong>, from\u00a0<strong>Poland<\/strong>, a real-life twitter installation by\u00a0<strong>Andrzej Mitan<\/strong>, and the dirty ritualistic beats of\u00a0<strong>Ziemia Mindel W\u00fcrm<\/strong>.<\/p>\n<p>These are the sounds that oscillated between the sphere of \"official\" art, where they rarely entered, and the depths of subculture: Sounds that were probably never heard in this constellation - certainly not beyond the borders of their respective countries.<\/p>\n<p>Here, they are accompanied by essays that describe their origins and give hints for the search of undiscovered treasures in these Eastern areas still (almost) devoid of hype.<\/p>\n<p>This compilation signals the coming together of four different projects which have been covering overlooked histories and alternative art in the former Eastern Bloc and Yugoslavia in the second half of the 20th century: Germany\u2019s Major Label and Zonic platform, Poland\u2019s Notes From the Underground exhibition and Portugal\u2019s Unearthing the Music project.<\/p>","protected":false},"excerpt":{"rendered":"<p>This double LP compilation is a meeting of musicians and artists that never happened. They never shared the same stage, and their activities never combined into a movement. Mostly active in the 1970s and 1980s in the Union of Soviet Socialist Republics, the Hungarian People\u2019s Republic, the Czechoslovak Socialist Republic, the People\u2019s Republic of Poland, the Socialist Federal Republic of Yugoslavia and the German Democratic Republic, the groups and individuals who feature on this record were often divided by the insular and paranoid policies of the communist states in which they lived.<\/p>\n<p>Yet, they belonged to a richly imagined and stimulating commonwealth of ideas, images and desires.<\/p>\n<p>Some of the music was recorded during energetic public concerts; some of it was laid down in home-made studios, and some in state recording facilities. Improvisation \u2013 when access to stages and equipment were carefully rationed by power \u2013 was not just a matter of musical extemporisation: it was often the result of necessity. All of it, in all its diversity, shares a common thread of provocative ideas and emancipation through musical expression.<\/p>\n<p>This compilation signals the coming together of four different projects which have been covering overlooked histories and alternative art in the former Eastern Bloc and Yugoslavia in the second half of the 20th century: Germany\u2019s Major Label and Zonic platform, Poland\u2019s Notes From the Underground exhibition and Portugal\u2019s Unearthing the Music project.<\/p>","protected":false},"featured_media":2515,"template":"","meta":{"_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":0,"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":""},"product_cat":[436],"product_tag":[446,444,451,455,445,457,440,449,452,453,443,448,459,454,450,438,458,441,442,456,447,439],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Compila\u00e7\u00e3o \u201cExperimental Sounds Behind The Iron Curtain\u201d - UMCSEET - OUT.RA<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Compila\u00e7\u00e3o \u201cExperimental Sounds Behind The Iron Curtain\u201d - UMCSEET - OUT.RA\" \/>\n<meta property=\"og:description\" content=\"Esta compila\u00e7\u00e3o em formato LP duplo \u00e9 um encontro de m\u00fasicos e artistas que nunca aconteceu. Nunca partilharam o mesmo palco, nem uniram as suas actividades num movimento. Na sua maioria activos nos anos 70 e 80 na Uni\u00e3o de Republicas Socialistas Sovi\u00e9ticas, a Rep\u00fablica Popular da Hungria, a Rep\u00fablica Socialista Checoslovaca, a Rep\u00fablica Popular da Pol\u00f3nia, a Rep\u00fablica Federal Socialista da Jugosl\u00e1via e a Rep\u00fablica Democr\u00e1tica Alem\u00e3, os grupos e indiv\u00edduos visados por esta compila\u00e7\u00e3o foram geralmente separados pelas pol\u00edticas insulares e paran\u00f3icas dos estados comunistas em que viviam.  E no entanto, pertenciam todos a uma riqu\u00edssima imaginada e estimulante comunidade de ideias, imagens e desejos.  Algumas destas m\u00fasicas foram gravadas durante en\u00e9rgicos concertos ao vivo, outras em est\u00fadios caseiros, e outras ainda nas instala\u00e7\u00f5es de grava\u00e7\u00e3o musical do Estado. Improvisar - quando o acesso aos palcos e ao equipamento era cuidadosamente racionado pelo poder vigente - era n\u00e3o s\u00f3 uma quest\u00e3o de extemporiza\u00e7\u00e3o musical, mas sim o resultado da necessidade. Todas elas, em toda a sua diversidade, partilhar uma linha comum de ideias provocadoras e emancipa\u00e7\u00e3o atrav\u00e9s da express\u00e3o musical.  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