11 gennaio 2017

Edizioni e riedizioni non sono mancate in passato, anche con cospicue integrazioni rispetto ai materiali pubblicati in origine, ma questa dovrebbe essere la prima volta che viene ristampato in vinile il celebre lavoro di Tony Conrad con i Faust Outside The Dream Syndicate. Apparve in Europa nel 1973 inaugurando una sussidiaria della Virgin, Caroline; ora lo rimette in circolazione negli Stati Uniti Superior Viaduct.

Così a un certo punto ne rammentò la genesi Conrad: "I was approached by a filmmaker in New York, who was aware of my music, who was from Hamburg, and he told me that he knew a producer who would be interested in me, and that maybe we could make a record. So we set up a date, and as a matter of fact, at the time I had been working as an electronics technician for a small company that was planning to send me to Paris. That was because I was good at sales, and we were going to have an expo in Paris. But then the kid who owned the company got his college roommate to learn the electronics instead of me boning up on my French, and his roommate went and I stayed at home. So I quit, and decided to go to Europe anyway. La Monte had been commissioned to do a room for Documenta in '72 and he hired me to be his engineer. So I did that, and when I was finished, I showed my films around, and went to Berlin, because I had, something more than a decade earlier, spent half a year bumming around in East Berlin, and I had all of these friends from this very strange scene, which is now part of some history that is so weird and gone that no one will ever understand how strange it was. But it was the most extraordinary situation I was ever in in my life, and I wanted to go back and hang out with my friends in East Berlin.
And after I did that, I flew to Hamburg, and was met by Uwe Nettelbeck, who took me to this farmhouse, and there were these people hanging around out there, I didn't know who they were. It was these people Faust. And they had been, to some substantial degree, incarcerated in this farmhouse for months, and they had their partners and sexual liaisons and different social complexities enacted on a long-term basis within this farmhouse. It was a microcosm, where everything seemed to have been evolving in some strange way over the course of months and months. It was no wonder that they really didn't really have a lot of involvement with me, and I thought of them as musicians that I could use in my record. But Uwe said that they wanted to do stuff too, so we did one that was my style, and one that was more like a rock 'n' roll style. That's how there's two sides."