“The earth makes a sound as of sighs and the last drops fall from the emptied cloudless sky. A small boy, stretching out his hands and looking up at the blue sky, asked his mother how such a thing was possible. Fuck off, she said.”

Japan Blues - Baroque Mutiny

im so effin toxic / flower behind your ear

Twilight Mystery

Cloud Worship (JAZ edit)

from forthcoming FRUSTRATIOn album " EMPIRES OF SHAME"
Out on 13th october


FRUSTRATION -  CAUSE YOU RAN AWAY

The Versions

History Version

A2 - Day Dreams (5:29)

First track from 'Archive 1' Lp
100 Track Album (Digital Release)

Follow links to stream/support/download Lp
Spotify :  
https://open.spotify.com/artist/01h9jm5CrO5E0Z841iuKA6
Bandcamp :  
https://danlissvik.bandcamp.com/
Apple Music : 
https://itunes.apple.com/gb/artist/dan-lissvik/257844697


Tracklist :
1.     Practice
2.     23
3.     Rug
4.     Ode2ale
5.     Spatula
6.     Loophole
7.     Asio
8.     Ehlda
9.     Zooo
10.   Esc
11.   Raindance
12.   Springbreaker
13.   Shhh
14.   Marble
15.   Seven
16.   Dreams
17.   Leisure
18.   Vdo
19.   Smudge
20.   Aeo2
21.   Avs
22.   Cccc
23.   Tee3ee
24.   T-op
25.   Jams
26.   Ws2
27.   Drips
28.   Fad
29.   Timjan
30.   Lampfjaeder
31.   123p
32.   Cubical
33.   B1
34.   B2
35.   93
36.   Place
37.   Aeth
38.   Mass
39.   Fwfw
40.   72
41.   Boomer
42.   Deli
43.   Sal
44.   Edsh
45.   Buddy
46.   Sum
47.   Am
48.   89Trip
49.   Thrill
50.   Gone
51.   T4n6
52.   Bodi
53.   Sth
54.   Beeswax
55.   Flows
56.   Esp
57.   T12
58.   Walr
59.   Noht
60.   Dbs
61.   Sunson
62.   Lomo
63.   Rlc37
64.   Pan
65.   Squidrok
66.   Brpm
67.   Truw
68.   Otbob
69.   Iytg
70.   Cutlaz
71.   Zo2
72.   H2
73.   Port7
74.   Kslr
75.   Strk1
76.   Strk2
77.   Cndo
78.   Taped
79.   Kodama
80.   Hay
81.   Levi
82.   Kas1
83.   Norien
84.   Teak
85.   Stew
86.   Boombop
87.   Indigo
88.   Yoyo
89.   Frogbooze
90.   Stella
91.   Kezo
92.   Uwan
93.   Tropic
94.   Jade
95.   Drybikini
96.   Sway
97.   Aeonas
98.   Ribbon
99.   Saken
100. 4reels


Stereo /  ca 270 min  (4,5 hours)

Vinyl Export / VEXD03 :
Written, Recorded and Produced by Dan Lissvik ca 2002-2012
(Re-Mixed & Mastered by Dan Lissvik 2018)
℗ & © 2018 ATELJE .  All Rights Reserved
www.Atelje.com

Archive 1

Practice

PRACTICE

A Son

pan•american 'memphis helena'

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

History Version

Rhythm & Sound

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