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DG 307 - Historie Hysterie (1973-1975)



O grupie DG 307 pisałem już w jednym z pierwszych postów w historii tego bloga, ale przy okazji tego albumu jeszcze raz go przypomnę.

[PL]

DG 307 - Druga najważniejsza grupa czeskiego podziemia, która powstała w "otoczeniu" Plastic People w 1973 roku. Na początku proponowała improwizowany rock, który z dzisiejszego punktu widzenia wyprzedził o lata świetlne późniejsze osiągnięcia światowego industrialu (album "1973-75", Globus 1990). Najważniejsze z "socjalistycznych" dokonań grupy, to jednak kameralno-minimalistyczne kompozycje, w których grupa całkowicie zrezygnowała z formuły rocka (nagrania ukazały się jako 3CD w boksie pt. "1979-80", Globus 1991). W odróżnieniu od Plastic People, DG 307 działają w pełni sił i twórczej potencji także w latach 90. Ostatnie trzy albumy ("Uměle ochuceno", Újezd 1992, "Kniha psaná choasem", Globus 1996 i "Siluety", DG 307 1998) świadczą o częściowym powrocie grupy do rocka, jednak muzyka rozwija dawniej podjęte wątki i zachowuje charakterystyczny klimat. DG 307, to bodajże najmroczniejszy zespół w Czechach i w połączeniu z tekstami jednego z najoryginalniejszych poetów i lidera grupy Pavla Zajíčka ta muzyka rzuca powalający i zniewalający urok. (serpent)


Pavel Zajíček- poeta, autor tekstów piosenek, muzyk i artysta plastyk Pavel Zajíček urodził się 15 kwietnia 1951 v Pradze. Studiował budownictwo, jednak przerwał naukę i zaczął pracować fizycznie. W 1973 r. wspólnie z liderem The Plastic People of the Universe Milanem "Mejlą" Hlavsą założył eksperymentalną kapelę DG 307 (nazwa ta oznaczała pewną diagnozę lekarską - lekomanię; przyp. mój), która aż do końca lat 70. była najważniejszym obok Plastików muzycznym zespołem undergroundowym (z przerwami występuje do dziś). Trzy lata później Zajíček został skazany za awanturnictwo w spreparowanym procesie wymierzonym w środowisko undergroundowe i trafił na rok do więzienia. Po powrocie z więzienia w 1977 r. podpisał Kartę 77; w 1980 r. wyemigrował do Szwecji, w latach 1986 - 1990 żył w USA, gdzie uprawiał głównie sztuki plastyczne. Po aksamitnej rewolucji mieszkał na zmianę w Nowym Jorku i w Pradze. W 1995 r. wrócił na stałe do Czech.



Przed rokiem 1980 jego teksty - przeważnie pisane dla DG 307 oraz Plastic People - krążyły w odpisach. Utwory, które nie były tekstami piosenek (dzienniki, refleksje, listy itp.), wychodziły w niewielkich nakładach w różnych publikacjach samizdatowych o oryginalnej koncepcji graficznej. Należy do nich Mařenická kniha (Księga Mařenicka, 1977, jedyny egzemplarz), Dopisy (Listy, 1977), Vyslov sám sebe i svuj svět (Wypowiedz swój świat i samego siebie, 1977), Úlomky skal (Odłamki skał, 1979), Roztrhanej film (Porwany film, 1980), Šedej sen (Szary sen, 1980) i Listy k čemukoliv (Kartki do czegokolwiek 1980). Teksty te ukazały się w tomie: Zápisky z podzemí, 1973 - 1980 (Notatki z podziemia, 1973 - 1980, 2002). W tomie zatytułowanym DG 307, texty z let 1973 - 1980 (DG 307, teksty z lat 1973 - 1980, 1990) Zajíček opublikował teksty piosenek (pod pseudonimem Pavel Z.). Proza Jakoby... Svět v zrnku písku... (Jakby... Świat w ziarnku piasku) wyszła w r. 2003. Tomik Cesta vlakem z P. do B. - Pollockovy fleky odposlouchaná slova (Podróż pociągiem z P. do B. - plamy Pollocka przesłuchane słowa) wydało w 2007 brneńskie wydawnictwo Vetus Via.



[ENG]

Dg. 307 (name taken from the clinical code mistakenly believed by the band to refer to "schizophrenia," something which I'm sure that more than one member of this entorauge must have been diagnosed as) were more or less an aggregate than a band, co-led by Pavel Zajicek and Milan Hlavsa (who I believe was in an early incarnation of the Plastic People), and for a buncha longhaired upstart teenage PUNKS (in the purest CREEM sense) they really cut to the core of a true youth against oppression anti-government rebellion with their unique (and some might say "trying") rock music featuring the bizarre instrumentation of, besides the usual rock gtr/bs/drms lineup, cellos plucked as guitars, auto exhausts/mufflers banged or blown through, scrap and sheet metal used to their sonic capacities as well as busting balloons, moaning human voices and whatever else Dg. 307 could get their hands on. However, these guys were far from being yet another Familiar Ugly, Redness or Einsturzende Neubauten given that in many ways they were more extreme than any of their Western compatriots and paid for their over-the-top soundscapading in a big way.

When the Czech government, after years of just plain ol' harrassment of free-minded kids and their bands at concerts and private digs began their purge against the underground in earnest during the late-seventies, amongst those rounded up and given hard labor prison time was Zajicek, the crime being more or less creating a public distubance and being a young anarchist which mighta gotten him sneered at in the west, but things were much different in a world where the government tried to protect people from themselves. When the official organ of the Czechoslovakian Communist Party reported on the harsh sentences handed down (the ones that also made the Plastic People of the Universe cause celebre amongst many of the same people who once lauded communism for its support of the arts), of course the state-sponsored hack reporting on the situation which was beginning to draw western ire just hadda come out for the record and mutter that, despite this heavy-handed crushing of what some may call unbridled creativity (but the Powers That Be find mere snot-nosed hooliganism) the state really is an open-minded and caring about the wants and tastes of its people institution! Yeah, really, and the guy even went on and on about how the benevolent ones who were so aghast at free speech that even the usually communist-leaning NATION magazine was up in arms aren't a buncha pious prigs one bit...heck, they even support a whole batch of young beat groups and disco musicians who perform at various communist youth hoedowns and the like! But only a capitalist paper tiger would think that the "sounds" created by the likes of these "music" combos consisting of nothing but unemployed wasted blights upon the fine face of freckled Czech youth were fit for the fine and cultured tastes of such children of the revolution...OH!!! Besides their obscene lyrics which NO magazine would dare print, these ruffians and drug users were making nothing but a horrifying racket using non-musical devices and glorifying a decadent western vision that certainly clashes with our perfect order... (...)

But, thankfully, true rockism righteousnesss did prevail, at least in the former Czechoslovakia to the point where such things as a Dg. 307 2-CD collection of their earliest escapades can exist and leftist ideology is relegated to such unimportant bastions of irrelevance as college campuses, alternative music blogs and American television network programming. And no longer do a bunch of overstuffed bureaucrats have to judge what is permissible or not for public consumption because now we the evil consumer can pick up many easily enough obtainable recordings by their worthy Plastic People, Umela Hmota and now Dg. 307! And hey, if you know the Czech language and want to condemn them for their obscene lyrics go ahead...as for me I'm too busy osmosing to their underground rock splatter complete with twisted takes on everything from John Cage's "First Construction in Metal" to fifties rock riffage slowed down and inverted complete with some of the best clatter to get laid onto tape, thanks to the clandestine spies and photographers who documented all this chicanery in the first place!

Much better than the later (late-seventies on) Dg. 307 tuneage (which was extremely staid and stilted, perhaps due to the ultra-depressing nature of the Big Clampdown and with too much of the "message" depending on their native tongue for furriners like myself to comprehend), HYSTORIE/HYSTERIE features not only most of the material that ended up on their early-nineties Globus album but loads more live trackage recorded at concerts that I'm sure more than a few people would have compared to "happenings." Most of this is gruffly-shouted (by Zajicek) vocalese with a heavily percussive rhythmic backing aided by the clanking found objects and thumping bass guitar or perhaps chanted vocals and nothing but. In some ways this is also similar to famed Maoist Cornelius Cardew's "The Great Learning" which the Scratch Orchestra recorded in the early-seventies, though when you least expect it there may be some electric guitar (perhaps played by Alfred of Umela Hmota doing a little moonlighting) tossed in to add a little Velvet Underground feedback wail. Definitely an acquired taste (I can see one blogmeister, upon hearing it, relegating the entire spew into the same trashcan he callously flung the Plastic People and Von Lmo into), but I can understand the pain, anguish and (yes) rock & roll that went into this music recorded under the iron fist of a government that always spoke of compassion, equality and fairness for its subjects, so you KNOW something evil is amiss! Definitely a classic of Czech underground music that should appeal to the more, er, noisily-inclined amongst us. (from Blog To Comm)

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3 komentarze:

Ankh pisze...

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Anonimowy pisze...

Thank you very much!

miskov pisze...

Thank you very much for this excellent collection!

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