Protskrog 1995 |
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"I'm Home" |
"Kom Hier" ['Come Here'] |
"Wees Bevrees" ['Be Cool'] |
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"Oil Slick Schizophrenic" |
"Oom Koosie" ['Uncle Koosie'] |
"Lucy from the Steakhouse in Delmas" |
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"See You Later" |
"Villa Ding" ['Villa Thing'] | "Stop Acting Weird" |
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"Flight of the Bungle Bee's Massive Stoned Cousin" |
"Tempo Hewig" ['Strong Beat'] | "Heeere Kitty Kitty" |
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"I'm Home" (Fishwife Mix) |
Strop 1996 |
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"kiss the machine" |
"Cross no more rivers" |
"Scream" | |
"Vatso jou booswig" |
"Lie if you have to" |
"Twyfelaar" | |
"Another dawn" |
"The revised smoker's lament" |
"Turning blue" |
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"Missing details" |
"Wie wil pas h�?" ['Who wants a pass?'] |
"Score us some more of that gargoyle soup" |
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"rugsteker" ['backstabber'] |
Gris 1997 |
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CD 1 |
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"Gieel" [.wav format on CD-ROM track] |
"Kick the machine" |
"Scream" (Cornered Animal Mix) |
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"Cross no more rivers" (Naked Carrot Version) |
"Koue vuur" (Arctic Torture Version) |
"Kiss the machine" (H2SO4 Jacuzzi Mix) |
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"Lie if you have to" (Procession Mix) |
"Oom Koosie" (Breinskade Mix) |
"Aag fok" ['Oh fuck'] |
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CD 2 |
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Another dawn (Dopamine deficiency mix) |
'n nuwe begin (a new beginning) |
And my own slightly pathetic attempt at making music ... Molestacat Don't laugh ... not too loudly, anyway ... |
Honourable Mentions |
Articles |
Article from Big Screen Magaz ine |
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Battery 9 found themselves in a bit of position. They had released two albums already,and were ready for something new. So their third album, Gris, includes remixes and reinterpretations of tracks that appear in a different form on Protskrog (1995) and Strop (1996), two brand new songs, a cover version of the late master wordsmith of existential angst, Koos du Plessis, and an interactive CD ROM track. The CD ROM track functions as an interactive database on its own, but it is also the key to unlock a huge amount of visual data which will be released at intervals only on the Battery 9 website. (http://www.fridge.co.za/battery9). Once you download this data, you will be able to view it together with the audio album, like a music video. Frontman Paul Riekert says "Gris could be described as 'a digital interactive audiovisual work in progress', alternatively it could also be described as 'a bloody noise', or 'daai fokken lawaai'!" Riekert spoke to Noize frontman FRANK WALSH, sipping beer on the square in Sandton. Herewith the unadulterated conversation.
See if you can follow it: | ||
Paul, says Frank, Tell me about the influences on your artistic expression. Surrealists... Dada art inspired me a lot, but I think the art that inspired me the most was Abstract Expressionism, and in particular Mark Rothco. I really admire that sort of of art. And also Theatre of the Absurd - Samuel Beckett, William Burroughs, in terms of just writing... |
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Obviously you'd like to have worked with Burroughs - like everyone else [Frank laughs his head off). Would you have done a sort of combined poetry thing or would you have gone more into the writing side? I would love him to tell his stories. I really like oral poetry. I think it's about time poets got back onto squares and get on a box, and say their poetry. | ||
The whole Interactive multimedia thing that's coming into all art forms - you guys have put together a nice thIng with your CD ROM with your CD, but is it done for Art or for sales? A bit of both, to be honest [smiles]. My idea is always to stretch the time that people spend with the art work, be it a CD or a painting, or in this case multimedia. I want to prolong the pleasure. [Laughs] I want people to go back to it. I think some of the music is quite dense and you have to go back a couple of times to really get the flavour of wha t's going down. | ||
You're right, its one of those things where you have to go back. When I was 12 and I listened to Jimi Hendrix for the first time, It took a lot of work. Once I enjoyed Hendrix, I never let go. Your performance, it's not rock & roll, it's performance art, that's what it is. Tell me a bit about it - how much work goes into it? It was difficult to translate very sculpted, very worked-out studio music, it wasn't easy to translate that to live, it still is a problem sometimes. But we did put a lot of thought into making the thing visual, as visual as possible, because people, even people who go to music concerts, I find, do not necessarily like music, but they like entertainment. And we try to entertain them, more than the normal rock bash, just to go and play their intruments. | ||
You are obviously Afrikaners, your heritage is Afrikaans, but it seems that you're playing in your own ballpark. You haven't tried to shape yourself into some Eurocentric bullshit. Is that intentional are you trying to grow and develop Afrikaans youth culture? Do you think there's a concerted effort from young Afrikaners like yourself to come through? I don't think it's a concerted effort. I don't think we have those goals in mind. I don't get up in the morning and think 'what can I do for Afrikaans culture today?' But in a way I do find it refreshing that we can provide a different kind of role model. I don't want to flatter us by saying that... | ||
But I think it's time for those role models to stand up. I mean, Nataniel's great, but, fuck china.... [Raucous laughter all round...] The Nude Girls spoke very highly of you guys and they reckon that you'd be the only band they'd like to share a stage with. OK, let's pause, I've gotta think. | ||
[tape goes dead] | ||
Paul, says a newly composed Frank, what are you trying to say with your music? I think we're giving vent to a lot of frustration, a lot of angst that builds up in you when you stay in South Africa, and I also think, because we use sounds and things from industry, we also celebrating that, celebrating technology. We're not shying away from that, we're embracing that, rather than technophobia. There's a lot of anger, but there's also a lot of humour. | ||
OK. The other thing I want to ask you... the music industry... the state of the nation in terms of the industry... Do you think that they're going about it the right way? I mean, some record companies are signing everything they can lay their hands on, do you think there has to be a frenetic scramble, almost like a gold rush? I won't support that in principle, but I think that this sort of scramble last happened in the early to mid-80s - I think it's about time for one again! (laughs] I think as much as it's doing damage in a small way, ie spending a lot of money on bands that are going nowhere, or just don't crack it in terms of sales, I think I'm happy that it's happening. |
The published facts about Paul include the following:-
he has an artistic background, having studied fine art. He likes to work on the graphical side of Battery 9's albums as well, although I think he has little time for it. Musically, he is formerly of Joos Tonteldoos en die Dwarstrekkers, but he broke away to form Battery 9 as a project based around samples and industrial-techno. This freed him from the constraints of a conventional rock band. He recorded Bierbaard with At and Huyser in 1994, calling themselves Breinskade, and doing brief, violent live gigs where they dressed in bizarre costumes and destroyed things as loudly as possible. Then in April 1995, the first Battery 9 album, Protskrog was produced, and was distributed under the Tic Tic Bang label, although it was produced by Paul's own label One F Music. The live band comprises Paul, At and Huyser, with the addition of Arnaud Van Vliet. His drinks of choice are Black Label, bourbon and tequila.
Image courtesy of Matrex
Paul's selection of instruments have included a corrugated air vent, guitar, and voice. He left the airvent behind when he was last in Cape Town. He is the driving force behind the band; writing, recording and mixing all the studio versions of the music. I asked him what was happening with the next album, since when Gris was released, he had about eight songs ready for it. An interesting facet of Paul came up. He told me that when he wrote those songs, he was staying "in a basement" - I'm not sure if he meant it literally, but somewhere clearly depressing - and that the experience badly affected the music he wrote. When he moved out after a year or so there, he looked at the material he had written, and immediately trashed it and went back to the drawing board. He is strongly affected by his environment and his life situation, and that is reflected in the music he writes. Interestingly enough, I received the impression that he likes to write in seclusion, even out of the city, which is, at least on the surface, in contradiction to the style of music. He also likes to work on songs in the studio, just experimenting as he goes along.
Onstage he is forceful and dominates the crowd, but without being insulting or condescending. He has a keen sense of humour, but subtle enough for the finer nuances to be lost on the unwary. He is equally fluent in both English and Afrikaans - like the rest of the band, his background is Afrikaans - although he has no accent worth speaking of and has a good English vocabulary. He has an almost menacing air about him when he performs, in stark contrast to the man offstage, who is quiet and obviously highly intelligent.
I spoke to him and Arnaud after the Playhouse gig on Friday 27th March 1998 in Cape Town. He told me some of the background to Battery 9, what the origin of the band's name is (the electrical battery/cell, signifying a power source and potential, coupled with assault and battery. The 9 is from Cloud 9 - they enjoy what they do!), and a bit about himself. He was brought up on a farm - when I asked about industrial music as his medium of choice, and how he got into it, he said he grew up on the farm hitting things. It seems his musical background is classical, he has been playing for some years. He has a conventional 9 to 5 job, just like the rest of us lowly mortals, where he works as a sportshoe rep, for Adidas I think.
He plays percussion and does backing vocals for some of the songs, as well as wielding a mean paintbrush onstage doing the "active painting". His instruments of choice are a forty gallon drum, a drill, and a konka. He used to play the Kreepy Krauly for Breinskade, until it broke. His preferred drinks are Black Label, Jim Bean or tequila. Officially, he is listed in the Battery 9 lineup as a percussionist.
I noticed a few things about him from (almost) first-hand experience. The pictures I have of him are all out-of date, he had much less hair when he was in the Cape, a small fringe and stubble. He is large, over 6ft tall, I think - the largest member of the band, and he spent the weekend in a White Zombie "More than human" T-shirt and camouflage pants. He has a massive laugh, that seems to infect everyone else around him - you can't help but join in, even if like me, you don't really understand Afrikaans. Onstage, he looks completely psychotic, as though he might just leap out into the crowd at any moment and do something drastic. Offstage, like the rest of the band, he seems to undergo a 180-degree personality switch, and suddenly he's very friendly and approachable.
The published facts about Arnaud are that he plays guitar and water drum, prefers Speed a nd Bla ck L abel for drinks, and is listed as guitar player and percussionist in the lineup. He, like At, has a classical background. I believe he gives guitar lessons in the Transvaal. He is also involved in other projects, such as a collaboration with Jo'burg - based musician Xenomorph.
Weekend of 27th - 29th March 1998Playhouse, Friday 27th
The fairest Cape was the place to be if you wanted to see Battery 9 between the 27th and 29th March. The Wingerdstok Rock Festival happened at the Antoniesvlei Campsite about 12km from Wellington. Three days of good music, 50 bands, good weather (wind excepted) and a crowd of 6000 people made for one heck of a party. The band were down in Cape Town from Friday, and they did a gig at the Playhouse, since they only had to be at Wingerdstok for I was one of the first people at the Playhouse, (R20 entrance fee - not too terrible), and I met the band and chatted for a while, as well as playing lots of pool and dancing like crazy when they were on. Paul agreed to give me a contribution towards this site! Very cool! I've asked him for some lyrics, so keep in touch ... The Playhouse has poor ventilation, and everyone who was near the stage end of the club was soon drenched with sweat. It has a small dance area and stage, so there was a very intimate atmosphere, Paul didn't need the microphone to talk to the audience. There was the usual mosh pit, which I was only caught in at the end of the set, when they played Aag fok. Paul and I discussed it on Saturday night, he said that the Playhouse gig was very restrained, although the audience was good. My hearing was stuffed until I got to Wellington late Saturday evening. Huyser did a cool active painting - it looked like a psycho corkscrew - I don't know what happened to it afterwards.
It was the first time I saw the band live, and they were really good - comparable to any overseas band, and better than many. The set was a compilation of songs from all three albums. Off Strop, they played the big favourite and old classic Kiss the machine, but there was also Rugsteker, which is one of my personal favourites, as well as Scream, Another dawn and Cross no more rivers. They played Tempo hewig off Protskrog - Paul dedicated it to the Capetonians who were there - as well as Wees bevrees, and Kom hier. The songs from Gris included the cover version of Koos Du Plessis's Koue vuur, Aag Fok and the acoustic 'n nuwe begin played by Paul on guitar, which got all the people who knew it singing along. It seems to be lost on some people.
After they had played, we parked off and chatted with At and Arnaud. Paul had disappeared somewhere, and I didn't meet Huyser the whole weekend, despite having seen him periodically.
WingerdstokI was there! Where were you? A small crowd of us all got off the train and managed to hitch right to the concert - it would have been one heck of a walk otherwise - and then we were there! It had just gone dark as we arrived, and we went and joined the crowd. I didn't even see half of the others again. The wind was blowing a gale, throwing dust and grass in everyone's faces. Somehow, it was all part of the fun. I sat on the outskirts for most of the bands, but The Led and Nude Girls both got me off my butt and dancing. I worked my way to the front through the Nude Girls' set and the Sons of Trout who were after them. Then Battery 9 came on, and I was right at the very front by the barrier. I had my own private mosh pit, and I just went beserk. It was the same set as on Friday, but as Paul later said, it was completely out of control. Huyser's painting was similar to the previous evening's one, although this time Paul announced that it was for sale. The crowd were very aggressive - a lot of stuff was thrown onstage by some people, and two guys standing right behind me tried to start a fight until I told them to shut up. There were some problems during the concert - especially when SNG were up - Arno and the keyboard were cut off completely halfway during one song, but he didn't know, and carried right on singing his lungs out until someone went onstage and stopped him. They were pretty freaked by it - there was a problem with the guitars at one stage as well - and they were livid when they came off stage. Otherwise, the lighting was good, the stage setup was reasonably professional, especially by local standards, and overall it was a successful concert.
I had about two hour's sleep Saturday night, but the cold had me up at about 5:30 am. I found At, Arnaud and Paul chatting and smoking, and just parking off enjoying the silence. The Antoniesvlei campsite is huge, with a fantastic location immediately below the mountains. The sky was crystal clear, there was absolute silence, it was great. Paul and I sat and had a long chat about all kinds of stuff - for more details, see the The Band section.
I managed to get back to Cape Town by catching a lift with an old acquaintance I bumped into, and so the whole weekend cost me next to nothing. I was stuffed on Sunday - I collapsed and slept about 15 hours that night! Unfortunately, that's the last we're going to be seeing of the band down here in the Cape for some time. The guys were all a bit vague about when they were going to be back again. At this stage there are no definite dates set. We'll just have to hold thumbs and hope they'll be back before the end of the year. |