You can read the whole interview with the label owners here. It was the third live performance of Hypnosaurus,” says Siim Nestor of Porridge Bullet. Visiting Tallinn thanks to a BBC World Service happening, he came to check out some Estonian underground acts. “The picture on the 12-inch B-side is actually taken at the party attended by the late and great John Peel. One of their latest remarkable releases, which also contains a remix by Hieroglyphic Being, is an unearthed nineties gem: an Estonian techno project called Hypnosaurus. Porridge Bullet is a label, based in Estonia, oriented towards releasing noteworthy electronic and dance music from this Baltic country, including the likes of Maria Minerva. The post-communist, so-called “transition” period, hasn’t been documented so well, relegated largely to fleeting oral histories hampered by temporary drug-induced amnesia. The nineties are a terra incognita when it comes to Eastern Europe and electronic music-not that it’s much different now. A wonderfully apt description courtesy of Bandcamp. Writing about music is like dancing about architecture, apparently, so we might as well be inane here: “All around, musical dunes for Fata Morgana, Yeti in a chairlift, Sisyphus pushing Prometheus in a convertible, Gili does ‘pataphysics technoulipo for the gymnastics of heavenly bodies in the sky and other macrotonal didascalia that remain to be demonstrated”. Hot on the heels of mentioning the remix in Eastern Haze’s September dispatch comes the full-length from the Romanian duo Somnoroase Pasarele. A seminal, bold and instantly nostalgic LP, Midnight Wave showcases Imre's immense ability to craft vivid landscapes of ethereal sound, infused with layers and years of. The remixes of his new record Midnight Wave have been provided, fittingly, by Best Available Technology. Shadow Game Imre Kiss finally lands back on the Lobster Theremin mothership, this time with a reissue of his seminal tape album Midnight Wave. His dreamlike compositions are mellow, coated in a characteristically lo-fi haze and range from ambient to house. Imre Kiss, mentioned in the previous installment of the column, is a Hungarian producer who’s lived in London and now, presumably, Budapest and one of the rising stars of the Farbwechsel label. My role largely revolved around taking crappy compact camera photos or moaning because I got sick.
The on-the-road camaraderie-cemented by gallons of beer, incessant travelling, random half-naked backstage dancing, sleeping at various random places which range from the club you’ve just played at to small town snobby hotels-is surely a godsend for any band. Touring with a band is great, even if the band in question doesn’t indulge in too much Spinal Tap-style debauchery.
I’m using this rather anachronistic imperialistic expression deliberately since Budapest, Vienna and Bratislava are just soaked in monarchist nostalgia, each in their own way. I’m freshly returned from another Central European trek-literally, since I’ve coincidentally hung out with my friends who played a couple of gigs in the ex-Austro-Hungarian empire. In her monthly report, Lucia Udvardyova tracks the movements in and from the best of the Central and Eastern European sonic underground, distilling the best of her Easterndaze blog.
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