ernesto en berlin

Night clubbing, pop, art, and different daily perversions in berlin. Laziest place in the world.

Monday, October 30, 2006

ernesto en berlin

Dear Friends and bloggers, here s something you should know about the record industry, written by the independent musician nad producer (really independent) Steve Albini from Shellac.
The text has been taken from this link

http://negativland.com/albini.html


The Problem With Music
by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course.

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave.

Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another laborer or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude.

They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself.

Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, an no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer Should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not.
_
Advance:
$ 250,000
Manager's cut:
$ 37,500
Legal fees:
$ 10,000
Recording Budget:
$ 150,000
Producer's advance:
$ 50,000
Studio fee:
$ 52,500
Drum Amp, Mic and Phase "Doctors":
$ 3,000
Recording tape:
$ 8,000
Equipment rental:
$ 5,000
Cartage and Transportation:
$ 5,000
Lodgings while in studio:
$ 10,000
Catering:
$ 3,000
Mastering:
$ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses:
$ 2,000
Video budget:
$ 30,000
Cameras:
$ 8,000
Crew:
$ 5,000
Processing and transfers:
$ 3,000
Off-line:
$ 2,000
On-line editing:
$ 3,000
Catering:
$ 1,000
Stage and construction:
$ 3,000
Copies, couriers, transportation:
$ 2,000
Director's fee:
$ 3,000
Album Artwork:
$ 5,000
Promotional photo shoot and duplication:
$ 2,000
Band fund:
$ 15,000
New fancy professional drum kit:
$ 5,000
New fancy professional guitars [2]:
$ 3,000
New fancy professional guitar amp rigs [2]:
$ 4,000
New fancy potato-shaped bass guitar:
$ 1,000
New fancy rack of lights bass amp:
$ 1,000
Rehearsal space rental:
$ 500
Big blowout party for their friends:
$ 500
Tour expense [5 weeks]:
$ 50,875
Bus:
$ 25,000
Crew [3]:
$ 7,500
Food and per diems:
$ 7,875
Fuel:
$ 3,000
Consumable supplies:
$ 3,500
Wardrobe:
$ 1,000
Promotion:
$ 3,000
Tour gross income:
$ 50,000
Agent's cut:
$ 7,500
Manager's cut:
$ 7,500
Merchandising advance:
$ 20,000
Manager's cut:
$ 3,000
Lawyer's fee:
$ 1,000
Publishing advance:
$ 20,000
Manager's cut:
$ 3,000
Lawyer's fee:
$ 1,000
Record sales:
250,000 @ $12 =
$3,000,000
Gross retail revenue Royalty:
[13% of 90% of retail]:
$ 351,000
Less advance:
$ 250,000
Producer's points:
[3% less $50,000 advance]:
$ 40,000
Promotional budget:
$ 25,000
Recoupable buyout from previous label:
$ 50,000
Net royalty:
$ -14,000
Record company income:

Record wholesale price:
$6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties:
$ 351,000
Deficit from royalties:
$ 14,000
Manufacturing, packaging and distribution:
@ $2.20 per record: $ 550,000
Gross profit:
$ 7l0,000
The Balance Sheet: This is how much each player got paid at the end of the game.

Record company:
$ 710,000
Producer:
$ 90,000
Manager:
$ 51,000
Studio:
$ 52,500
Previous label:
$ 50,000
Agent:
$ 7,500
Lawyer:
$ 12,000
Band member net income each:
$ 4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked.

Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's "In Utero

Tuesday, October 24, 2006

ernesto en berlin

CONCIERTO DE LOS MONKS EN BERLIN 23 OCTUBRE 2006

QUERIDOS AMIGOS:

A mí no me gustan las reuniones de grupos que la mayor parte de las veces presentan un espectáculo descafeinado que desvirtúa el recuerdo bueno de un grupo que pasó a la historia...
Los alemanes siempre tan rápidos en la preparación de eventos y/ o ediciones de los objetos que deberían ponerse de moda de nuevo, prepararon un concierto en una de las mejores salas de Berlin, el Volksbühne en Rosa Luxemburg Platz e invitaron a un grupo oscuro y semi desconocido para hacer el paquete y presentarnos un documental con la historia de los MONKS y un concierto de unos Sres. que casi llegan a los setenta.
En los anos sesenta las cosas en alemania no eran tan agradables para los Monks, que se cruzaron Alemania de un lado a otro para presentar una alternativa musical rara y poco acorde con su época.
El documental nos mostró la realidad de una Alemania ocupada por los americanos y un ambiente de provinvias post nazi.
Estos soldados americanos, en su ingenuidad decidieron con la ayuda de los sempiternos disenadores conceptuales alemanes ponerse un peinado, atípico, algo que de verdad les iba a cerrar muchas puertas y responder al rollo beat con un concepto musical bastante extremo.
Está de moda atacar a los Beatles. Todos esos chavales que quieren revisar la historia y largar una versión provocadora atacan los temas de los beatles y su infantilismo ye ye en cosas como i want to hold you hand y todo eso. A lo mejor nadie se ha puesto a pensar en que los beatles tienen un montón de discos con una evolución temática bastante clara, pero bueno, por lo menos aquí en Alemania está de moda atacar a los Beatles para hacerse el interesante.
Los que atacan a los beatles, y ahí estaban incluídos los MONKS y todo esta aparata cool alemán que intenta resistirse a la evidencia de que el pop en Alemania es una cosa de provincias, sin tradición y con la única respuesta posible que nos ofrece la cultura alemana que es la crítica de lo que han hecho otros a través de una reducción , digamos embrutecimiento del concepto original llenándolo todo de ruidos y disonancia donde otros intentaron acercarse a la gente a través de un criterio internacional que es que la melodía entra mejor que el ruido, por lo menos en estas fases iniciales del pop.
Luego nos sacaron a un gilipollas obeso y arrogante del grupo FAUST a decirnos que si los beatles armónicamente lo hacían todo con tónicas, dominantes y subdominantes y que los monks eran los precursores de la música electrónica por su concepción del ritmo etc... Cuantos precursores le han salido a la musica electrónica en los últimos 15 anos
Bueno, parece ser que para definir el concepto de los monks, hay que cagarse en el concepto mayoritario de otra gente, cosa muy típica del pensamiento polar, digital, del blanco y el negro, o sea el pensamiento infantil.
No voy a ser yo quién se meta a comparar a los monks con los beatles, pues lo veo infantil e inexacto.
El documental hablaba también de los grandes problemas de adaptación que tuvieron los americanos de vuelta a su casa, y nos muestra también el mundo cotidiano de los monks hoy 40 anos después. Unos entranables ancianos con la sabiduría necesaria para recordar el pasado sin necesariamente arrepentirse de haber abandonado la música ante la falta de éxito. Tuvieron mala suerte, como tantos , pero lo peor es que pensaron que desde Frankfurt se puede hacer música pop que interese al mundo.
Otra consideración que podría venir a cuento es la del pop y la vanguardia. Stockhausen no me interesa hoy en día lo más mínimo, es de hecho un farsante reaccionario que con la ayuda de un pelotón ideológico (y nacionalista) propone como alternativa la destrucción de las normas para poder crear las suyas basadas en el capricho y en "epatar a la burguesía". La vanguardia que fue expulsada a patadas de Alemania en los anos treinta fue recuperada treinta anos después por un país en busca de referencia, y como en el mundo de la marca y el producto, la máxima identidad corresponde al elemento más divergente que tiene que separarse dela norma ante 1. su incapacidad técnica para moverse en esa armonía infantil de la pentatónica, dominante y subdominante (menudo gilipollas el tío de los faust, y además que gran mentira es eso de la pentatónica y la dominante, que los beatles tienen 400 canciones diferentes y muchas de ellas armónicamente son todavía referencia para la gente que estudia (que estudia, repito) guitarra y armonía popular). Así que llegamos de nuevo al punto que quería dejar en esta recensión claro para siempre: que la música popular tiene la categoria de música seria (sacral?) sólo en los países anglosajones mientras que los países germánicos siguen perdidios en el mundo de las minorías , del apartheid , de mozart y Beethoven, de la música culta para minorías cultas. Muchas de estas cultas minorías forman los cuadros de mando de una sociedad y un arte plenamente biologizados donde los contenidos se dan en forma de triples o cuádruples codificaciones semánticas sólo comprensibles para los pertenecientes a la secta. Un arte de la separación que persigue el goce y la naturaleza pitagórica de la música para implantar la dictadura del capricho mío y el de mis colegas.
Pero volviendo a la música, los monks tocaron su repertorio de una hora con la incorporación de algunos tipos que de verdad no tienen tanta grandeza , ni simplicidad , como los Monks.
Fue lamentable ver al imbécil de Mark e. smith comportarse de nuevo como un hooligan en presencia de unos tios educados como son los monks. el tio salió y grunó un poco haciéndo eses en el escenario , pisándole el cable al bajista, girando los micrófonos y haciendo el numerito de siempre. En otros países donde el hooliganismo no se entiende como una forma más elevada de comportamiento, a este tio le habrían corrido a hostias , pero en Berlin le aman. Yo me quedo con su música, o mejor dicho con la música de los músicos que le han aguantado los últimos 30 anos.
Otra incorporación muy desafortunada fue la del sobrevaloradísimo cantante de FEHLFARBEN que salió con un botellín al escenario y cantó 20 segunos antes de volverse al camerino a seguir pimplando botellines.
El público espanol no conoce a fehlfarben, pero yo sí , pues el guitarrista de este grupo de nueva ola alemana, copia inmunda y chabacana de joy division, fue mi profesor (!) en la universidad. Sólo recuerdo de él que intentó quitarme el crédito á la burocracia alemana,o sea haciéndose el longuis cuando hice mi exposición sobre los beach boys de más de una hora, ya que le saqué los colores a base de información y no de las gilipolleces que decía. Pero bueno,algún día explicaré con más detenimiento porqué creo que la música alemana es básicamente más racista todavía que el mundo laboral.
Después salieron dos raincots ya entradas en anos que tenía mucho mejor rollo que estos subalternos que acostumbrados a jugar en casa se crecen en estas ocasiones...
Luego nos contaron lo del disco de versiones de los monks, con los mismos nombres de siempre de esa nueva ola alemana que fue, salvo contadas excepciones, todavía peor que la espanola.
Los Monks muy bien, el documental muy bien, el ambiente con toda la escena berlinesa allí metida en su alegre vivir del estado y del tercer mundo y de la europa de la segunda velocodad y dárselas de alternativos muy, muy mal.
No amigos, los Monks no fueron los precursores de la música electrónica, sólo fueron un buen grupo , extravagante e innovador que pasó desapercibido en un país que ni sabía ni sabe nada de música pop. Los monks no tenían un concepto artístico, eran cinco amigos que tocaban una música hiriente y rítmica y que hablaron contra la guerra de vietnam mientras alemania se dedicaba a exportar tostadoras y a prepararse para el monopolio proteccionista y comercial del mercado común europeo, siempre a la rueda de sus senores: estados unidos.
Que no mezclen la ingenuidad de esos chicos con la vanguardia ni con la música electrónica. Eran simplemente un grupo de outsiders desplazados de sus países que buscaban a través de la música echarse una novia en un país que no los aceptaba. Y que ahora les rinde un homenaje.

Monday, October 23, 2006


Sunday, October 22, 2006

ernesto en berlin

THE 5 RACES OF THE PLANET OF THE APES

Before all we have to say that according to Sammy davis junior ,planet of the apes is the best film ever about the race conflict in North America.

ORANGUTANS; they are the only apes who know about the existance of one human civilization before theirs. Obviously they try to have the power through scientific-religious dogma, and when it doesn t work that way, with the military, the gorillas. Now i propose you a game: tell me which human race of the planet of the humans would be the orangutans... another game, tell me which " collective" of the german republic would be the orangutans... I propose you the following answer: ... well better not...

CHIMPANCES, these guys know even more about science and history than the orangutans, but don t have the emotional intelligence to say what is expected from them to say, so they don t get to top as they should...they don t get along with the gorillas either, and they don t choose their friends carefully, so they hang around with humans!...really a pitty..they could even teach at the university if they were a little bit more...tell me which " collective" of the german republic would be the chimpances...

GORILLAS, they keep the law by hunting whoever doubts about the dogma of the orangutans. Something very easy. Weapons, violence...Now i propose you a game: tell me which human race of the planet of the humans would be the orangutans... another game, tell me which " collective" of the german republic would be the gorillas... I propose you the following answer: ... well better not

MUTANTS: they are the only survivors of the nuclear mess of the last millenium. Instead of developing a different attitude they got into psy power, religion and sadism... Not very friendly guys. I even prefer gorillas than these guys...but they have the bomb...

HUMAN BEINGS-ASTRONAUTS: apparently the same race but compleatly different attitude... you see the sweet NOVA in Bikini and compare to taylor, the astronaut and you see already that the evolution has done miracles... and that the astronauts should habe probably stayed in their spaceship...





ernesto en berlin

FREITAG DEN 27 0KT 2006

DAS GELBE UNTERWASSERBOOT KLAUS BEYERS 1996 (40 MIN)
IM TRICKSTER VEREIN, OBERBAUMSTR 11
10997 BERLIN U-SCHLESISCHES TOR

EINTRITT 2 EURO

ALLE SEID HERZLICH EINGELADEN

Tuesday, October 17, 2006

ernesto en berlin

Asignación de roles

Algo en lo que nunca se piensa es en los motivos que acaban haciéndonos desempenar una actividad determinada y no otra. Y en lo que hace que decidamos hacer de ello nuestra profesión o no.
El sentido de profesión, como de llamada divina a desempenar la tarea que nos ha sido asignada por el divino viene dado por los factores de observación externos y por los de reconocimiento social de competencia en esa actividad.

Saturday, October 14, 2006

ernesto en berlin

AGAINST THE ART

one of the most stinking activities of the first world is the art.One of the most disgusting places, in general is the art gallery.An one of the most disgusting types, in general is the artist, and especially the berliner artist.
The strategy of explotation of the third world takes us to the wealthy banks of, let s say Rhine or Thames or Hudson Rivers where the children prepair their collections after having had spicy tuna with sushi for lunch.
It is the need to be cool what takes people out of their homes with the dream to gain the appreciation of one closed circle of people who always refers to itself.
Willing to belong to that circle might be like flirting with the woman of, let s say, you boss, if you have ever had one.
As an alternative strategy i would mention the femenine art, within the art as especially turbulent and let say it, especially unartistic.
Bringing clothes from very far countries and showing them in an alternative show room, together with the pictures of the savages is the exhibition of the future.





Monday, October 09, 2006





ernesto en berlin

KULKU IN HALLE ON SATURDAY OCTOBER THE 7 TH

THANK YOU FRIENDS OF BRACE CHOIR FOR THE SUPPORT ON VOODOO BLUES
THANK YOU JOKER FOR YOUR HOSPITALITY
THANK YOU FRAUKE FOR YOUR SYMPATHIE

This has been probably the best kulku concert since i joined because we could play the old songs with the support from max and alex, who are uncomplicated people and very good musicians.
After the demo recording we have been much more confident on stage than we were before and we havent missed , musically, probably for the first time the other band member who left to devote themselves to the experimental art...

Halle is a nice place despite the problems with unemployment and the people were NOT AT ALL the kind of people that the west germany press is always saying. In Halle people dance and have fun in a very nice way without disturbing one another, and the girls from halle...ugh , this sophisticated berliner girls should try to spend a weekend in halle just to learn how to flirt and to be sexy without neccesarely having to accept the womans traditional role etc... there was not that _don t ever dare to show me any kind of interest on my person- that you have in berlin that s turning berlin into a very cold place where nothing happens and almost everything is shown. Just people flirting and having fun... until very late in the morning

The music: it was the best kulku concert where i have been before. The support from our brothers from brace choir let us concentrate on music instead of sound, instruments or line up problems. So it was kulku again but with much more balance before electric and acoustic.
The burger king of halle is nicer than the ones in berlin as well...
The set list was: hokus pokus, not as loud as it should be because of a sound engineer who thought was smarter than kulku..., vision river stream, horse of course, boom boom bye bye, wher i started playing the dirty solos with fuzz and delay...it was the first time i could play these parts with some sustain, night of the monster with the boys dancing downstairs, the new rocky tune called fly high, where we could show the teeth again ...and then voodoo blues, a long version only with percussions ( as it should be) and bone run at last where people were kind of head banging that souly rythm...
well thanks a lot for you help and for your beer and for your money. Things in berlin are getting very extreme and these excursions help us to pay the rent and to eat some bacon cheese burgers in front of that cinderella tower...

Frauke, this is a message to you: you forgot to say goodbye at 7 30 in the morning...

THANKS AGAIN BRACE CHOIR ALEX AND MAX.

Sunday, October 08, 2006





ernesto en berlin

Saturday, October 07, 2006

ernesto en berlin

TODAY KULKU IS DEPARTING TO HALLE FOR OUR FIRST CONCERT SINCE SEPTEMBER. TWO BRACE CHOIR S MEMBERS ARE COMING WITH US TO SUPPORT US WITH THE PERCUSSIONS. I WILL REPORT ABOUT OUR TRAVEL AND CONCERT ONCE WE ARE BACK.

Friday, October 06, 2006

ernesto en berlin

A NEW STINKY PLACE TO AVOID-LUX IN SCHLESISCHE STRAßE

Dear bloggers:

it happens sometimes that people , despaired after some years on endless vacation, try to do something possitive in life.
they have good cards, one of the best places in berlin, in the old factory in front of schlesisches tor. They have very good cards, as i said before, a nice hangar, the most beautiful lights...the best beer , ecological beer from Freiburg (another place to avoid, see tocotronic)... but unfortunately they don t get it right, and do you know why? because they are a bunch of analfabets trying to get money from the other analfabets from universal records and MTV. Mainstream shit, music just like in the radio (avoid the radio, as well) but being in bar that advertises like "LEISESTE UNTERHALTUNG IN KREUZBERG", so they try to make out of such a silly unique selling point something original. Low music is one of the most horrible german shit ever. -Play the music lower, don t take me out of my inner peace...

Yesterday it was horrible being there. Fortunately my partner was much nicer than the bar... which helps to concentrate on life instead of this non sense pretending you are cool.
We got some flyers from the bad boys from "sugar candy mountain" (www.sugarcandymountain.com) another mainstream venture from the very mainstream productor apprentice Mr Tobias Nöthen, who s trying to set another cheap trend of electronic show off and lots, lots of very expensive digital instruments. Anyone would say he s on charge of the european divison from yamaha or Korg, and this is what these people are trying to sell us under the category of electronic freak out... Anyone who has heard , let s say 10 records in his life will find this proposal flat and uninteresting, so pls don t call us spoilers or big mouths, we are just talking about the most obvious thing ever: technicians should stay away from creative musicians. It doesn t matter how long you stay beside these technicians; they never understand anything. Even worse are their drum sets, usually being recorded with the most expensive equipment ever. They don t get it clear with the compression, sorry guys, just an amateur like me is getting a better sound out of his small computer. You guys with your 36 tracks at once don t get it to the point of being minimally interesting. Nice people, bad musicians.

another interesting example of what pop music should not be : index, the band. Check their bad demo in myspace. These guys using a pro tools system in the rehearsal room to record their farts are not only bad musicians without ideas, but bad people as well . I will report you later about this very bad band...

Thursday, October 05, 2006

ernesto en berlin

Ah ,chavales...qué buena semana sin hacer absolutamente nada más que música...

La grabación de la maqueta de KULKU ha sido la tarea principal de estos días nublados que empiezan a ensenar los dientes del invierno.
El sonido de la maqueta es muy bueno. Justo lo contrario del sonido de mis amigos productores mainstream, que lo graban todo igual.
ùltimamente se refuerza la idea de que la grabación de sonido, por lo menos en un sitio, repito, prosaico como alemania, no es más que una cuestión de tiempo y dinero.

No olvidemos quiénes son las personas con más tiempo y más dinero del mundo: los alemanes. a pesar de la profunda mediocridad intelectual y metafísica en que se revuelve el país,la locomotora europea. Una cosa que siempre he sabido es que es difícil competir , por lo menos en grabación de sonido, con alguien que llega con el ordenador más caro y la tarjeta de sonido más grande, los micrófonos más prohibitivos y los materiales más adecuados para aislar unas frecuencias de las otras.

Esta comparación se puede llevar a todo el acceso a la tecnología en general. Y que un país como espana la gastronomía sea la máxima prioridad del país empieza a ser un problema pues el tiempo pasa y las cosas no cambian.

El sábado tenemos un concierto en halle y esta tarde seguimos con los ensayos.

He recibido las fotos de preparación de mi maqueta que llegará finales de ano: ya hay tres nuevos temas MASTER DEL EGO, LA GRANJA DE FRITZ Y TODO PARA LOS PIJOS.

LA HUMAN LEAGUE sigue siendo el grupo más en sintonía con el momento.La mezcla de new wave y motown.