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LP
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BILLBROOK 002LP
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"For a quarter of an hour, Zürich was the navel of the world . . . Contrary to legend, even back then, it was often those with a musical background who were the most successful. One such example, Henrich 'Wüste' Zwahlen, who had learned the violin, attended a jazz school and went into prog-rock before joining the Nasal Boys, one of the first punk bands in Zürich. The scene included the female band Kleenex, whose minimalism was praised by the London music press, while the world's most important rock theorist, Greil Marcus, wrote an ode highlighting Zürich's role as the birthplace of Dadaism. A fertile ground for the militant youth movement that exploded in 1980 and stirred up the city of banks, Protestantism, and boredom with raw wit and expressive violence . . . In Zürich's underground, the duo Aboriginal Voices caused a stir at that time. A couple, good-looking, styled, looking cool into the cold neon light, with a danceable beat and sequenced electro sounds, to which Micheline gave a very unique touch when she sang in French and English. Micheline had a classical piano education, had left home early, worked as a lighting technician in a strip joint and at Booster, the hottest boutique in town. Voilà: a musician who was as stylish as she was tough. She was already playing with Wüste in the band Doobie Doos, a band where everyone played an instrument they didn't master. In 1980 the Aboriginal Voices were formed, initially with vocalist Magda Vogel (of later UnknownmiX fame), who was trained as a classical singer. Frustrated by organizational friction and constant hassles with band lineups, Wüste and Misch decided to do everything as a twosome: self-mixed, self-styled, self-produced. With the top-of-the-line Linn drum machine clocking the beat, Wüste's guitar and Micheline on the Yamaha synthesizer created a unique sound of danceable electronic music . . . They had an interface built for the legendary Roland MC-4B, who sequenced the modular Roland System 100M but where one output controlled a light show synchronized with the sound. A pioneering act that fit well into the DIY spirit of punk, with its self-distributed tapes and fuck-you attitude towards the cretins of the music industry. Consequently, only two cassettes and an EP were released. There was something futuristic about the sound, the vestiary style and the electronics, while the attitude remained rebellious. Of course something so deep in the Zeitgeist wasn't meant to last. Wüste moved to New York, Micheline stayed in Zurich, both still active in the music scene to this day..." --Thomas Haemmerli
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LP
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BILLBROOK 001LP
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LP version. Since Jesper Munk's debut album in 2013, the German singer-songwriter has made a name for himself as multi- instrumentalist, "in the paths of Jack White and Dan Auerbach," as the Rolling Stone puts it, playing music that ranges from blues and soul to heartfelt pop and indulging jazz, all this with a very unique, post-punk edge. Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk. Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from blues to rock n' roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky. The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." The outcome of this analog experiment is a very personal album, both inspiring and consoling. Taped Heart Sounds courageously opens with Donnie & Joe Emerson's "Baby". Munk's interpretation stands out and has a presence that gives the song a life of its own -- made for walking. "Smoke Gets In Your Eyes", "All The World Is Green", "I'd Rather Go Blind", "Head In The Clouds" -- what follows is a journey through blues and soul that is so vital and "now" that "End Of The Line" may be the final track but certainly not the end of the story. The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album. Taped Heart Sounds is Jesper Munk's fourth album, following acclaimed debut album For In My Way It Lies (2013), CLAIM (2016), and Favourite Stranger (2018).
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CD
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BILLBROOK 001CD
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Since Jesper Munk's debut album in 2013, the German singer-songwriter has made a name for himself as multi- instrumentalist, "in the paths of Jack White and Dan Auerbach," as the Rolling Stone puts it, playing music that ranges from blues and soul to heartfelt pop and indulging jazz, all this with a very unique, post-punk edge. Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk. Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from blues to rock n' roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky. The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." The outcome of this analog experiment is a very personal album, both inspiring and consoling. Taped Heart Sounds courageously opens with Donnie & Joe Emerson's "Baby". Munk's interpretation stands out and has a presence that gives the song a life of its own -- made for walking. "Smoke Gets In Your Eyes", "All The World Is Green", "I'd Rather Go Blind", "Head In The Clouds" -- what follows is a journey through blues and soul that is so vital and "now" that "End Of The Line" may be the final track but certainly not the end of the story. The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album. Taped Heart Sounds is Jesper Munk's fourth album, following acclaimed debut album For In My Way It Lies (2013), CLAIM (2016), and Favourite Stranger (2018).
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