donnerstag 30.08. | 21 uhr | garage Puppetmastaz (Berlin) livestream vom 30.08. Es begann damit, so geht die Rede, dass ein Stoffmaulwurf namens Mr. Maloke die "härtesten Puppen der Welt" zusammencastete, um eine Toygroup zu gründen - entsprechend den allerorten auftauchenden Boygroups. Deren gewinnoptimierte Kalkuliertheit ist für den Brooklyner Zylinderträger und in-Zungen-Sprecher Maloke ebenso ein Leit- respektive Feindbild wie der zeitgenössische HipHop, in dem die Abkürzung MC nur noch für Master of Making Cash stehe. Nun gilt Maloke nicht unzutreffend als Großmaul, und irgendwer wird freilich auch bezahlen müssen für den – für Handpuppenverhältnisse - recht exklusiven Lebenswandel der Puppetmastaz (man hört von Kaugummi- und Kakaoabhängigkeit). So nämlich nannten sich die Skijacken tragenden Frösche, launischen Hasen und einäugigen Hautfalten, die Malokes Ruf nach Berlin folgten. Dort fand man zwischen Dub und digitalem Hardcore, elektronischem Underground und Puppenspiel-Studiengängen etliche menschliche Unterstützer, die dem "Wu Tang Clan des Steifftier- Kosmos" (taz hamburg, 16.12.2000) beim nötigsten zur Hand gehen - ganz bescheiden, versteht sich. So veröffentlicht ein Assistent dieser Tage zwar eine trumpelnde Elektro-Jeepbeat-Platte beim hiesigen Gagarin-Label, will beide Aktivitäten aber sauber getrennt wissen. Denn im Mittelpunkt sollen die Puppetmastaz stehen, mit ihrer schwer bollernden Musik und offensiven Bühnenshow. Schließlich, so Maloke: "Im Gegensatz zu anderen Puppen sind wir eigenständige Künstler." Kaum kinderprogrammfreundlich, erinnern die Puppetmastaz immer wieder an Peter Jacksons Splatter- Feebles - freilich ohne deren Drastik. Aber geraucht wird und geschimpft, und selten auch dürfte dem Publikum die Analogie zwischen (schlechter) Hip-Hop-Choreografie und Kasperletheater deutlicher gemacht worden sein: "Seid ihr auch alle da?" Then make some noise bzw. werft bidde eure Arme in die Luft! Es geht dabei nicht um bloßes Entertainment. Vielmehr sind die Puppetmastaz darauf aus, die Unität ihres puppet way of thinkin' über die Welt zu bringen: " Unterteile nicht in die Zwei. Weil dann musst du dich zwischen dem einen und dem anderen entscheiden... Menschen tun wirklich Leid. Sie dürfen mit ihrem a-b-Entscheidungswahn nicht alleine gelassen werden." (Alexander Diehl, taz) www.puppetmastaz.de		[E] Eroeffnung [1] Ton ohne Bild [2] Bild mit Ton [3] Ton und Bild [A] Abschluß [1] puppetmastaz [1] raz ohara [1] b. morgenstern [P] Projekte bittenichtumbrechene
		freitag 31.08. | 21 uhr | garage Raz Ohara + Hybrid (Berlin) set 1 Hybrid Inc. livestream vom 31.08. set 2 Raz Ohara livestream vom 31.08. intro ... brainstorming ... true feelin woke up in the middle of the night —, i was feelin myself again. i felt like wanting to live again. felt like meeting you for a chat, laugh or cry. felt like being true to myself and you all. if you listen real carefully to this recording, you can hear marcus in the other room opening up another can of beer — cheers mate! oh, well you know easy i’ve not yet met this person i talk to in this song. it's been like that quite a few times. years later the songs would become true. can't wait to meet you — and you know that i know that you won't ask me how i am; you know! it's all an illusion mass-masturbation, worldwide confusion. hell yeahh, but what does it mean? analyze me! reality i believe there's many different little realities within an unendless number of greater realities reaching dimensions of infinity in infinity to infinity. i believe your toaster, cup of coffee or computer has a life. i mean i once saw it all breathe and live! in this song, i only talk about a reality in little patrick rasmussen's world. this is pop music. this' a beautiful day I wrote this song in the rabbit-field in crosshill-berlin. it's only five minutes walk from marcus' studio. i'd go there almost everyday to see my ganja-men who'd hook me up with mary jane. anyway, that day i was off with her, but marcus called me up shortly before our recording-session to tell me, that he'd come two hours later. the line “this' a cold and sad world" had followed me a couple of weeks and i was not quite sure if i'd heard it somewhere else before. in my mind it always sounded slower and deeper, pathetic and ironic. like a tom waits could sing it. but here on the recording i'm not ironic anymore. no, i'm dead seriouzz! we recorded the song the following day; it was still fresh! the intro of this song is me walking through the rabbit-field with a dictaphone half a year before all that. you can hear my ganja-men asking if i'm cool — oh yeahh i was. after the intro fades out, i went to sit with some rastas hanging out jammin with djembes and a guitar. i asked 'em if i could play the guitar, and as i started jammin along, they'd slowly, one after another, stop playing. well, i decided to play one of the three songs i know to cover, which was bob marley's “redemption song" (i don't play my “selftherapy" songs outside; they're just to silent, emotional, and close). after i had played my “white trash"version of the redemption song they would feel the “mothafucka" got something. so, in kind of a battle mentality one of them took the guitar and played some, oh my god, so lovely reggae tune. i don't know if it was a song of his own, but he was singing something like: “... we've got to rearrange ... and ... i'll make you good lovin ... " — one love. sit back i see this picture of me and this girl riding in a car on an endless road when i wrote and sing this song. her seat is pulled back, so she's like layin there! i've never seen her face. we're on our way to find some peace. been a hard one to my “little big girl" from the so called “third world". where's the road to china was cravin for a journey to a place that has not been influenced by western civilization. i wanted to be with “rooty earthlings". i still do. and if they ask ... leave me alone ... payed voyeur by the way, the payed voyeur is the cop observing dealing dope-men from a window of some rented apartment. the smoked out brotha is me who seriously wants to stop “tomorrow". me or you stripparo and i were hanging out in the garden of the tacheles on a beautiful summer day. i had already made the lyrics when i put them on the light and easy chord progression stripparo played that day. “com'on man, we did something – let's be happy about this". cartoon charactaz i don't wanna imagine how, in the worst case, projects would look like today if the culture of hip hop wouldn't have been. i remember starting to write songs on guitar and flipping around with words in my mind and mouth at around the same time. but unlike to many of my homies, m.ceing to me was just a creative, tricky or fun way of expression. a lyrical form of art. whereas they, whether they were dancing, m.ceing, painting or d.jaying, had found a “tool" for live. something they could express their feelings with, their thoughts, pain, anger or pride. something that wouuld keep 'em from fuckin up. and so eager they'd stick to it, even if they would have been a lot more talented in some other field. but the importance of this is, they had found something that would make time go by and life worth living. and all this is exactly what i had found in writing my little songs. they many times kept me from feeling and not losing myself. indeed, these songs, this album is a way of “selftherapy". just like hip hop is, among other things, to many young and old homies out there around the world. diggin me? G.? in her mind this one was written in '92 in auburn, indiana by a guy called eli shipley and myself. we were livin in the same house for a while before he blew it all and went to nebraska, where he'd come from. eli was in love with a girl called angie when we wrote this song. so it's definitely half way a song for angie. i only had an imaginary girl to think of, but she became true up the road. i know who she is now! anyway, i really think eli and i were in love a little bit, too. i was sad when he took off from one day to the other for a “never-see-again". so, dear eli, we need to get in touch. otherwise, i don't know if you'll ever get your part of the publisher money. besides that, i've been wondering the past years what happened to you and your life. if anybody knows who or where eli shipley is, please contact me through my record label. thank you. fire come follow me they can't cool me down. my fire will never stop burning! and to all you burned out, cooled down ones: don't be afraid, i won't burn you, wanna make you feel nice and warm. don't be afraid, give it a try! far's sang ol' man i hear ya. comin down her lifestyle and nature inspired me. and never did she come again ... ! All songs recorded and produced between April 2000 and November 2000 by Marcus Waibel at “world waibel" studios except: tracks 1, 4, 8, 10, 13, 15, 16 recorded and produced by Raz Ohara November 2000 at “Broken Slave" Sound Lab. All songs by Raz Ohara except: guitar on “Me Or You" by Stripparo, percussion on “Payed Voyeur" by Ricardo Moreno. www.kitty-yo.de/bands/index.php4		[E] Eroeffnung [1] Ton ohne Bild [2] Bild mit Ton [3] Ton und Bild [A] Abschluß [1] puppetmastaz [1] raz ohara [1] b. morgenstern [P] Projekte bittenichtumbrechene
		samatag 01.09. | 21 uhr | garage Barbara Morgenstern (Berlin) + DJ-Support = 3 Frauen aus der Hauptstadt ...Herbst 1998, Barbaras Debütalbum "Vermona ET 6-1" : In ihrer Hommage an die gleichnamige tschechische Orgel, mit der sie einen Großteil der Instrumentierung bestritt, schaffte sie es, warme analoge Klänge aus der Vergangenheit mit Sounds und Beats der 90er Jahre zu verbinden. Nicht Retro-Lounge-Niedlichkeit im Techno-Gewand, sondern die Verbindung von Songwriting, Homerecording und dem Basteln mit Elektronik stand hier auf der Agenda. Berührungsängste kannte Barbara Morgestern ganz offensichtlich nicht! Das hätte man vielleicht Indietronic nennen können, doch diese Schublade gab es damals noch nicht und sie wäre auch heute, knapp zwei Jahre später, unpassend. Der Begriff kommt mir trotzdem in den Sinn, ist doch das neue Album "Fjorden" hörbar mit neuen Geräten und neuer Technik aufgenommen. Immer noch im eigenen Studio von und mit Barbara Morgenstern eingespielt, hat mittlerweile der eine oder andere Sampler und Sequencer Einzug in ihr Instrumentarium gehalten . Barbara erzählt uns Geschichten und kontrastiert damit die Elektronik. Ihr wunderschöner Gesang stellt die Beats und Sounds von "Fjorden" in einen anderen Kontext, “Fjorden" klingt vertraut. Und es sind noch immer die warmen Analogklänge, die auch dieses Album beherrschen. Ein klarer Schritt nach vorne, ohne das gute Alte zu vergessen und über Bord geworfen zu haben. Man hat mit “Fjorden" eine gute Freundin zu Gast - im CD-Spieler rotierend. Diese Platte lässt einen nicht allein, denn Barbara Morgenstern ist mit ihrer Musik da. Und es ist schön, dass sie da ist!		[E] Eroeffnung [1] Ton ohne Bild [2] Bild mit Ton [3] Ton und Bild [A] Abschluß [1] puppetmastaz [1] raz ohara [1] b. morgenstern [P] Projekte bittenichtumbrechene