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Lustfaust

PERFORMANCE: 08-11-2008
LUOGO: Lingotto Fiere, Torino

I Lustfaust si dice siano una band tedesca nata a metà degli anni ‘70 a Berlino Ovest. Tuttavia le notizie sono scarse e, pur cominciando ad essere riconosciuti per la loro musica, solo in pochi conoscono il loro ambiguo e incerto passato. Grazie all’aiuto dell’artista inglese Jamie Shovlin, che nel 2006 ha ideato una mostra del loro archivio di memorabilia, contribuendo alla loro riscoperta, i Lustfaust sono tornati sulla cresta dell’onda. Shovlin ne è, in questo senso, la regia oscura. Se di molti altri gruppi a loro contemporanei, quali Bauhaus, Neu!, Can e Throbbing Gristle, abbiamo notizie, testimonianze e documenti d’epoca, dei Lustfaust non si sa praticamente nulla. Tuttavia, in più di trent’anni dicono di non aver mai smesso di suonare, e quello che conta è che effettivamente, sentiti oggi, suonano bene. Questo basta a dissolvere qualsiasi dubbio sulla loro passata esistenza. Oltre ad aver partecipato ad alcuni festival, ultimamente hanno anche iniziato a collaborare con alcuni dei protagonisti della scena musicale attuale - per esempio nel 2007 si sono esibiti con Schneider TM, uno dei più promettenti talenti della musica elettronica mondiale, con cui hanno anche pubblicato un 7 pollici per l’etichetta Mirror World Music. Accanto alla musica, parte integrante del progetto Lustfaust è l’estetica visiva. Fin dall’inizio hanno curato personalmente la loro immagine e il design di tutto il materiale prodotto (dalle copertine dei dischi ai poster, alle cassette, fino alle pubblicità). Per la prima volta in Italia si esibiranno nella rampa del Lingotto di Torino per Artissima Volume.

English Version

Lustfaust was an experimental noise band active in West Berlin during the late seventies and early 1980s whos combination of an aggressive on-stage presence, found object instrumentation, and the use of an anti-capitalist community-based model of distribution (send the band a blank cassette and they would return it with their latest release) spawned the Dadaist Geniale Dilettanten movement of the early 1980s and pioneered the burgeoning cassette culture of the late seventies. Lustfaust was a pioneering band from West Berlin active from the mid 70s to the early 80s. They employed numerous musical strategies usually stemming from the wide variations in age and experience of the bands regular members. They were certainly involved with early industrial, noise and electronic musical experimentation though aren’t well recognised for any of these efforts.

Einstürzende Neubauten are probably the most obvious reference for their musical style and Blixa Bargeld has acknowledged Lustfaust as an influence on their early developments. The bands most significant work though is in their use and promotion of the tape trading network whilst it was still in its infancy and their requests for fans to make their own covers for the albums which were shared through the band’s fanzine Falke Tränen.

BIO/INFO: Lustfaust was a hoax 1970s German electronic music band, whose memorabilia was notably featured in the Beck’s Futures exhibition in 2006, and which deceived Sunday Times cultural commentator Waldemar Januszczak into running an article describing their claimed activities in giving away free copies of their music to fans. Januszczak went so far as to tip the collection for the Beck’s Futures prize.

The exhibit, which was eventually runner up for the prize once it had been exposed, was designed by conceptual artists Jamie Shovlin, Mike Harte and Murray Ward. Shovlin had previously gained notoriety by setting up an exhibition of art that was claimed to have been produced by a 13-year-old missing schoolgirl called Naomi V. Jelish (who, like Lustfaust, never existed — her name was even an anagram of the artist’s name). The work has been praised for the depth of its deception — the artists set up fake web sites about the band and added it to Wikipedia, assembled photographs and chronologies for their tours, recorded an interview with the band’s “German-Belgian frontman”, and even recorded excerpts of music which were attributed to them. The deception was so deep that some viewers actually boasted of having seen the band live. This was in spite of deliberate clues which had been included in the exhibition, such as notes describing the band as veering “dangerously close to Spinal Tap-isms” and “an obscurantist’s dream”.

One person who guessed at the exhibition’s nature was the Times art critic Rachel Campbell-Johnston. Four days before Januszczak’s piece was published, she praised the collection, but cautioned “Don’t be surprised if the entire band is a fabrication — down to its references on internet sites.”

 

LISTEN TO: ANGEBOT ZUM ZU ANDERN

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LISTEN TO: DIE TOTEN ARBEITEND

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LISTEN TO: SONNEBLINDHEIT

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