Csöves—etymologically derived from the Hungarian csö, meaning tube or pipe, and practically defining drifting, runaway youths—preeminently gathered in subcultural groups as a result of their shared music preferences. In what was to develop into a distinct lumpenfraction during Romanian communism, csöves youths subsisted despite (or, due to?) their hybrid identity that stemmed out of a recurrent exchange of ideas, knowledge, and cultural products between the socialist East and the capitalist West. Read the full article, which is based on a series of archival documents put together by the Romanian secret police (the Securitate), in the first issue of KAJET, a journal of Eastern European encounters. 

In our attempts to decode the ontology of a lumpenproletarian fraction within the Romanian society before 1989, we, at KAJET Journal, managed to get our hands on a tape recorded during a csöves gathering—a lost & found KASET serving as an archival object, a tape that provides pivotal insight into a sonic subculture. 

1. Unknown artist — Unidentified sound object (xxxx, xxxx)
2. Deutsch Amerikanische Freundschaft — Der räuber und der prinz (Deutschland, 1981)
3. Yuri Morozov — Neizyasnimoe (Russia, 1978)
4. Nina Hagen — TV-Glotzer (white punks on dope) (Deutschland, 1982)
5. Edda Művek — Minden sarkon álltam má (Hungary, 1981)
6. Teisutis Makačinas — Į dieną einam (Lithuania, 1982)
7. NII Kosmetiki — Schastliv kak nikogda (Russia, 1986)
8. Plastix — Konsumier mich (Deutschland, 1981) 
9. Grauzone — Eisbär (Switzerland, 1981)
10. Guerre Froide — Demain Berlin (France, 1981) 
11. Deutsch Amerikanische Freundschaft — Sato-sato (Deutschland, 1981)
12. Malaria — Your Turn To Run (I Will Be Your Only One)(Deutschland, 1982)
13. Palais Schaumburg ‎— Telephon (Deutschland, 1981) 
14. Velly Joonas ‎ — Stopp, Seisku Aeg! (Estonia, 1983)
15. Günter Schickert ‎— Puls (Deutschland, 1979) 

____________________________________________________________________
“Alongside decayed roués with dubious means of subsistence and of dubious origin, alongside ruined and adventurous offshoots of the bourgeoisie, were vagabonds, discharged soldiers, discharged jailbirds, escaped galley slaves, swindlers, mountebanks, lazzaroni, pickpockets, tricksters, gamblers, maquereaux, brothel keepers, porters, literati, organ grinders, ragpickers, knife grinders, tinkers, beggars — in short, the whole indefinite, disintegrated mass, thrown hither and thither, which the French call la bohème”
Karl Marx

Lost & Found KASET001 — Hedonistic Bricoleurs & Transgressive Slackers

A new tape has come our way, this time directly from the Eastern future. In our attempts to decode the time that has no yet come, we managed to get our hands on a lost & found KASET that serves as an archival object, a tape that gives visionary insights into a utopian future. 

If we can only imagine the outward characteristics of the future, we can alternatively have a better understanding of it through the means of sound. By engaging in a distinctive kind of sonic futurology, Easternfuturism by Bogdan Orbita provides us with a new understanding of both the time of 'has been' and the 'yet to come'.

1. Acezantez — Bajka (excerpt) (Yugoslavia, 1977)
2. Iván Patachich — Metamorphosi Marimbára És Magnetofonra (Hungary, 1980)
3. Mikhail Chekalin — Ostinato-Asthenia = Остинато-Астения (USSR, 1991)
4. DJ Kondás, DJ Beckett — Törpe (Hungary, 1998)
5. NSRD — Kurmja aptuvenie ceļi (Latvia, 1988)
6. Владимир Рацкевич — Пусто (USSR, 1991)
7. Юрий Касьяник — Untitled (USSR, 1990)
8. László Hortobágyi — Gáyan Uttejak Orchestra — Culture Of Bass (Hungary, 1987)
9. Владимир Рацкевич — Манифест (USSR, 1990)
10. Legen — Veseli se... (Croatia, 1996)
11. Petr Skoumal — Jeden Můj Známej (Czechoslovakia, 1990)
12. László Hortobágyi — Balinese Gat (Hungary, 1989)

www.kajetjournal.com

Lost & Found KASET002 — Easternfuturism (Bogdan Orbita)

decolonising Eastern European thought and imagination

kajetkaset

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