MC

A MARTIN HALL INDEX

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A MARTIN HALL INDEX

MARTIN HALL
MC
SEPTEMBER 1991
MIND AND MEDIA

A Martin Hall Index er en musikkassette, der udelukkende blev udgivet på postordrebasis. Båndet blev gjort tilgængelig i 100 eksemplarer og er med tiden blevet et sjældent samlerobjekt.

Indholdet af båndet udgøres af demoer og forhåndenværende indspilninger fra perioden.

Åbningssangen “New Force Rising” blev dog oprindeligt indspillet i optakten til indspilningerne af Presence-albummet fra 1988. På et tidspunkt blev nummeret betragtet som en singleforløber for pladen, men det nåede aldrig med på det endelige album.

“Untitled (Autumn 1985)” er en indspilning foretaget i perioden inden Halls midlertidige tilbagetrækning fra musikbranchen i det tidlige 1986.

1. New Force Rising (5:36)
2. Untitled (4:07)
3. Stigma (4:53)
4. 20th Century Love Theme (7:14)
5. Child Of Europe (7:10)
6. Dividing Line (6:24)
7. Untitled (Autumn 1985) (6:57)
8. Melt Away (4:36)

Martin Hall: Vokal, instrumenter

Design: John L. Christensen


A MIND AND MEDIA INDEX

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A MIND AND MEDIA INDEX

MARTIN HALL
MC
APRIL 1991
MIND AND MEDIA

A Mind and Media Index er en Martin Hall-musikkassette, der udelukkende blev udgivet på postordrebasis. Båndet blev gjort tilgængelig i 100 eksemplarer og er med tiden blevet et sjældent samlerobjekt.

Indholdet består af bidrag fra Mind and Media-kunstnere som Irma Victoria, And Then Again og Aud Wilken. Henrik Möll medvirker også som stemmen bag Rota. Indspilningerne “European Need” og “The Vortex” med Irma Victoria er begge remixes af de originale versioner af numrene, der findes på sangerindens debutalbum The Rainbow Theatre fra 1990.

Mind and Media var et foretagende, der blev drevet af Martin Hall og John L. Christensen i perioden 1989–1994. Christensen designede selskabets kassettebånd, ligesom han stod for postordreafdelingen af firmaet. Efter signende skulle han også stå bag visse synthesizer-features på nogle af selskabets udgivelser.

1. Mind and Media Theme (Mind and Media) (0:43)
2. Stimulus (Martin Hall) (1:15)
3. European Need (Irma Victoria) (3:48)
4. European Need (And Then Again) (2:56)
5. Composure (Mind and Media) (0:41)
6. Reference 1 (Mind and Media) (1:50)
7. On the Line (Martin Hall) (2:53)
8. Luna Tick-Tock (Irma Victoria) (2:59)
9. Thing (Rota) (4:12)
10. Re-Verse (Martin Hall) (3:38)
11. Tear Down the Walls (Aud Wilken) (3:29)
12. The Vortex (Irma Victoria) (2:15)
13. Nocturne Reprise (Martin Hall) (3:02)
14. Configuration (Mind and Media) (4:42)
15. Reference 2 (Mind and Media) (1:51)
16. Loop (Read Only Memory) (9:08)

And Then Again: Band
Aud Wilken: Vokal
Henrik Möll: Vokal
Irma Victoria: Vokal
Martin Hall: Vokal, instrumenter

Design: John L. Christensen


THE HALL OF MIRRORS

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THE HALL OF MIRRORS

MARTIN HALL
MC
SEPTEMBER 1989
MIND AND MEDIA (MM888)

The Hall of Mirrors er den eneste af Martin Halls båndudgivelser, der blev udgivet via en reel distributionscentral. Udsendt i et begrænset oplag på 888 eksemplarer – alle individuelt nummererede kopier – viser båndet en på det tidspunkt ny og forfriskende side af Hall, nemlig hans samarbejder med en række forskellige vokalister. Disse gæsteindslag tilførte indspilningerne en mere levende, skitseagtig karakter end Halls tidligere produktioner, hvilket klædte både udgivelse og ophavsmand.

The Hall of Mirrors indeholder Martin Halls første indspilninger med både Irma Victoria og Aud Wilken, begge artister han kom til at producere flere udgivelser med på sit label Mind and Media. Kassettebåndet var selskabets første udgivelse.

Nummeret “Song for Someone”, som Martin Hall selv synger, er inkluderet på den senere Catalogue-boks (2007).

1. Mind (4:13)
2. Fragment (1:17)
3. Brainwash (feat. Aud Wilken) (2:44)
4. Compression (feat. Henrik Möll) (1:44)
5. Box 1 (3:20)
6. Song for Someone (3:10)
7. Intermission 1 (0:21)
8. Heyl (3:45)
9. The World (Chanson D’Amour) (feat. Ken Rivad) (3:10)
10. Memorial (feat. Irma Victoria) (3:52)
11. Box 2 (2:54)
12. Reprise (1:32)
13. Intermission 2 (0:58)
14. Tension (Focus of Unity) (6:18)
15. Box 3 (3:56)
16. Got a Feeling (4:32)
17. Finale (0:51)

MIND

”What we are today comes from our thoughts of yesterday, and our present thoughts build our life of tomorrow; our life is the creation of our mind.”
(The Dhammapada)

Never mind = no matter
No mind = never matter

FRAGMENT

”Everything has its tides – the pendulum swing to the right is the measure of that to the left – rhythm compensates.”
(The Kybalion)

BRAINWASH

“The mirror is not to be confused with the reflections which appear in it.”
(The Cycle of Day and Night)

I can’t help this feeling
I don’t think it’s mine
I think I need cleaning of brain and of mind

Brainwash
Wash it all clean now
Brainwash
Take it away
Brainwash
The ease and the dis-ease
Some like it hot, and some not
Not at all

And I don’t need no doctor
I just need myself
The melodramatic is going to hell

COMPRESSION

”If thought precedes action, what precedes thought?”
(The Living Qabalah)

Give me your name
Give me compression
Give me your name
And give me your mind

BOX 1

Fragments of an interview:

It’s very often that people take kindness for weakness, which is a shame, because it puts you in a situation, where you need to be hard before you can be soft – you need to somehow show people the disciplines and tensions, before you can actually deal. And that’s again just a symptom of, well, the whole 20th century basically, but particularly about, well, people’s attitudes and mental arrangements, towards themselves first of all, and secondly to others.

Things are what they are, regardless of how much we disagree about them, and having emotions about something is stupid, unless it’s got a purpose – I mean, unless you can use that emotion as a fuel to change.

I mean, that’s the whole thing, that it takes one to recognize one, and what you see in others is merely a reflection of yourself.

But the question remains: What are you going to do about it – because, well, it might be that you actually are the one martyr of this world, but then if you really are, that just puts a much greater job on your shoulders than sitting at home feeling sorry for yourself. And it comes into a situation, where there’s very little escape from what is real; it comes into the scenery, where you begin to become not just responsible for your own life, but actually becoming the architect of your own, well, actually destiny, if you want to put it like that.

SONG FOR SOMEONE

”Without struggle, no progress and no result.”
(Views from the Real World)

So your cynicism is your new religion
Where your doubt allows you no devotion
It makes you feel secure ’cause they can’t say you’re wrong
And that’s right ’cause you’re close to nothing at all

So while you’re fighting blinded in your mirror land
You run against the size of your own little box
In a two-mask nightmare theatre
You live what you call your life

I call you slave of guilt
I call you sick-sick-six
You know my name but you don’t know me
In the stupidity of mass identity
Your self-fixation won’t set you free

Now analysis is very easy to offer
Help is a quite different feature
I wish you’d come down to the basics
I wish you’d begin to surrender

INTERMISSION

“Thou shalt separate the earth from the fire, the subtle from the gross, gently with much sagacity.”
(The Smaragdine Tablet)

HEYL

“That garment is made up of tales and stories; but we, we are bound to penetrate beyond.”
(The Zohar)

THE WORLD (CHANSON D’AMOUR)

“O then come hither, and lay my book, thy Head and Heart together.”
(The Pilgrim’s Progress)

Got the world in my pocket
Got the world in my hand
Got the world in my singing
But I don’t understand

What came first from the big void?
What came first, hen or egg?
It’s too strange to consider
So I love it instead

Sometimes when I think about the great buildings in this world, I feel proud – I don’t know why, but I feel proud. And when I feel proud, I also feel love. And when I feel love, I want to sing. And when I sing, I sing a “Chanson d’Amour” … And if you want to sing a “Chanson d’Amour” too, then sing along with me now:

La-la-la, la-la-la

God bless you …

MEMORIAL

“It’s a matter of observation, not learning.”
(Assume Power Focus)

Wake up children
The day is near
Wake up children
I feel so weird

I can remember
I can forget
Sometimes it all seems like a dream in my head

Wake up children

I can remember
Hey-hey, hey-hey
I can forget
Tra-la-la-la

BOX 2

Fragments of an interview:

Well, it’s easy to know about something, but to actually understand it, that’s something else. I mean, if you really understand something, it’s going to change your life – because otherwise it’s just an intellectual commodity that you carry around in your head. But, I mean, true understanding, I don’t think that that is a matter of information, or just dumping more information into your brain – I think it’s more a matter of actually getting rid of nonsense in yourself.

I’ve had enough of emotional hysteria. It’s quite stupid to produce this massive emotion about feeling not understood – because after all, when you take into account, that you’re actually dealing with something like six billion emotionally and mentally handicapped people, then the big issue about being personally misunderstood, it’s a bit grotesque.

Well, I think it’s a bit weird, that what’s most easily obtainable in this world, is what people identify themselves most heavily with – a thing like common emotion, getting angry about something, or feeling something, is what people somehow make their ultimate identity, and in the light of the fact, that, as I’ve said, it’s the most easily obtainable, it becomes a bit bizarre, that people turn it into their religion.

REPRISE

“What is now proved, was once only imagined.”
(The Marriage of Heaven and Hell)

INTERMISSION

”You do not question or worry about your wisdom. You just do whatever is required. The situation you are facing is itself profound enough to be regarded as knowledge. You do not need secondary resources of information. You do not need reinforcement or guidelines for action. Reinforcement is provided by the situation automatically. When things must be conducted in a tough manner, you just do it because the situation demands your response. You do not impose toughness; you are instrument of the situation.”
(Cutting Through Spiritual Materialism)

TENSION (FOCUS OF UNITY)

“Opposition is the source of all growth.”
(Tao Teh King)

Tyranny of ignorance
You will know who you are
As the mask of identity falls and breaks on the floor

Tension grows in the focus of unity
Tension grows in the still of the night

See the pain and the pantomime
20th century erosion
In the blood print of stimulus
It takes more than a dream

BOX 3

Fragments of an interview:

Personally, there’s a lot of things that I’d like to rewrite in myself, and there’s a lot of things that I’ve done that, well, I’d do it differently today. It’s very difficult for me to forget things, and, well, that’s been quite a struggle in a way, to overcome this weight of the past. But the strength to actually change comes very much, I think, from a superior viewing – because a thing like all the time bringing your past into your present is wrongful according to, really what a life is. And, well, let’s take an example like bitterness, I mean, it’s a thing that most people would find quite easy, to actually surrender to the feeling of bitterness, because there’s so much evidence in a 20th century life of, well, pain and resistances. So it, unless you actually take a stance against it, it’s a bit like a ghost that tries to take you into the shadowplay of self-solemn martyrdom, and really, the only way to avoid all these aspects that are so dominant features in, I think, every person’s inner life, you really need to add up up what you’re in, what you’re doing – because in the end, you’re stuck with you.

In the end, you’re going to die alone, so what you’re doing is really between you and you, all the time. And in that context, it’s, well, it’s different to live, because what you do is between you and you, and you need no justification or “forgiveness” from any outer world.

GOT A FEELING

“The standard of the physical plane is strength; the standard of the astral plane is beauty; the standard of the mental plane is truth; and the standard of the spiritual plane is that of right and wrong as we understand the terms; therefore there is no ethic except in terms of spiritual value; all else is at best expediency.”
(The Mystical Qabalah)

Got a feeling in my heart
And it makes me wonder why
Wake up in the morning and it’s there
I feel it inside me
Everywhere

FINALE

“The nature of reality is to liberate.”
(The Book of Tokens)

Stronger than thousand suns
Zero equals one
Two reveals unity
As all things to be

“Det nyeste og mest interessante udspil fra Hall er kassettebåndet The Hall of Mirrors med gæstesangerne Irma Victoria, Ken Rivad, Henrik Möll og Aud Wilken … Musikalsk er det en omfattende rejse gennem mellemøstlige klange, djævlelignende sang, soul og frankofile chansons. Nærlytter man, dukker små overraskelser op; som f. eks. i ”Brainwash” hvor Aud Wilken pludselig afløses af Charles Manson. The Hall of Mirrors er Martin Halls mest varierede, men også mest obskure udgivelse i lang tid. Som altid trodser han janteloven og sætter den på plads med ordene “it takes one to recognize one, and what you see in others is merely a reflection of yourself”. Velkommen i spejlsalen.”
MM – Henrik Føhns (oktober 1989)

“På The Hall of Mirrors er Halls selvhøjtidelighed atter i velgørende rette rammer. 12 nye kompositioner og interviews. Et luset kassettebånd med plads til både skitser, krumspring og denne forrygende monumentale jeg-bevidsthed forklædt som ydmyghed … både mere spændende, underholdende og udfordrende end Presence.”
Det Fri Aktuelt – Kim Skotte (11. september 1989)

“Den mest spændende nyhed er The Hall of Mirrors, der består af nye numre og interviews. Halls musik er herpå langt mere varieret end på hans tidligere udgivelser, og står alligevel frem på en sær homogen måde. Musikken spænder således lige fra fjerlet pop, med Halls og Aud Wilkens stemmer i forgrunden, til tung og fascinerende industrisampler-musik. De numre, der er mest fremtrædende, er “Brainwash”, en velklingende popsang, “Song for Someone”, hvor Halls stemme svinger fra blidt kontrolleret til hysterisk vild, og “Memorial” med Irma Victorias søvngængeragtige stemme foran en dunkel dragende baggrund.”
Record News – Jesper Hansen og Christian Rosén (oktober 1989)

Aud Wilken: Vokal
Henrik Möll: Vokal
Irma Victoria: Vokal
Ken Rivad: Vokal
Martin Hall: Vokal, instrumenter

Design: John L. Christensen
Foto: Ken Rivad


YEARS OF STRUGGLE AGAINST THE LIES, THE STUPIDITY AND THE COWARDICE

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YEARS OF STRUGGLE AGAINST THE LIES, THE STUPIDITY AND THE COWARDICE

PESTEG DRED
MC
AUGUST 1985
ATLAS (#1)

Pesteg Dred-albummet Years of Struggle against the Lies, the Stupidity and the Cowardice blev indspillet af en 18-årig Martin Hall i selskab med vokalist Inge Shannon og guitarist samt co-producer Per Hendrichsen i december 1981. På grund af økonomiske vanskeligheder blev titlen dog ikke udgivet før i august 1985, hvor den blev vedlagt som musikkassette i forbindelse med udgivelsen af det danske kunstmagasin Atlas #1.

I efteråret 2010 udkom Years of Struggle against the Lies, the Stupidity and the Cowardice som en limited edition-vinylplade i Amerika, i hvilken forbindelse den modtog megen international ros (bl.a. i det engelske musikblad The Wire). Samtidig med udgivelsen af denne lp-udgave blev albummet også udgivet på cd sammen med SS-Say 12”-singlen Fusion fra 1985 under titlen I Have Seen You through the Years, Worn by Different Faces.

1. Salt (4:14)
2. Untitled (Postcards and Reasons) (3:54)
3. Superior (4:21)
4. Impressions (5:01)
5. Light, More Light (11:23)
6. Untitled (5:51)
7. Almost (2:59)

”Pesteg Dred leverer et bud på punkmusik, som ligger meget langt fra det traditionelle, og det er ganske modigt, også udgivelsesåret taget i betragtning.”
( * * * * )
Gaffa – Ras Bolding (13. september 2010)

”1985: Kunsttidsskriftet Atlas er på gaden med et nyt nummer. Vedlagt er et Pesteg Dred-kassettebånd med den mundrette titel: Years of Struggle against the Lies, the Stupidity and the Cowardice. Bag båndet stod dansk rocks enfant terrible; punkdrengen Martin Hall, der som bekendt hurtigt blev avantgarde. Og som siden har udgivet et uoverskueligt antal albums. De seneste par år er flere af Halls ældre perler blevet genudgivet; nu foreligger denne langt om længe på cd. Og hvilket frydefuldt genhør!”
( * * * * * )
Aarhus Stiftstidende – Thomas Nygaard (20. september 2010)

“Martin Hall appears to be the figure who defined the Danish New Wave scene. We’ve never heard of any of Hall’s other projects, but if any were half as good as Pesteg Dred, they’d be worth the price of admission. Death disco? You bet!
Dark Entries scores yet again with a really great re-discovery on Pested Dred.“
Aquarius (7. november 2010)

“Industrial solitude pours forth in a haunted Kirlian Camera style work of lonesome isolation. The album progresses along sepulchral darkwave lines. Desperation cascades over angst, with vocals of Inge Shannon eclipsing all … I don’t know where Dark Entries scare up these obscurities, I only know I’m glad that they do.“
Igloo Magazine – Robbie Geoghegan (23. november 2010)

Years of Struggleis a hitherto rarely heard album that exemplified the black-hole nihilism and hostile theatrics found in the abstractionist fractions of the post-punk movement. After this sole Pesteg Dred recording Hall formed a number of darkwave projects in Denmark with considerable aplomb, but the innovation coupled with the claustrophobia of Years of Struggle is so strong that I have to wonder where Pesteg Dred might have gone if they had had the opportunity back in the day.“
The Wire – Jim Haynes (1. januar 2011)

“Uncompromising seriousness and unfettered urgency … It’s kinda easy to become blasé with so many ****wave reissues around, but this is simply one of the most essential we’ve stumbled upon.“
Boomkat (14. januar 2011)

“Immerses you into another world immediately.”
Sideline Music Magazine (1. februar 2011)

Inge Shannon: Vokal
Martin Hall: Trommer, keyboards, flygel, bas, cello, violin, perkussion, autoharpe
Per Hendrichsen: Treatments, keyboards, guitar

Design: Martin Hall

Det originale Pesteg Dred-album blev indspillet i Karma, december 1981.


UDEN TITEL

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UDEN TITEL

MARTIN HALL
MC
MAJ 1981
EGEN UDGIVELSE (MH3)

Uden Titel er ligesom Martin Halls to første kassettebåndsudgivelser indspillet på en to-spors Grundig-spolebåndoptager under hjemlige forhold.

Båndet blev udgivet i 40 eksemplarer, der kunne købes i butikkerne Gry og Haase i København.

1. Uden Titel (1) (5:25)
2. Uden Titel (2) (1:37)
3. Uden Titel (3) (2:53)
4. Uden Titel (4) (3:16)
5. Uden Titel (5) (3:51)
6. Uden Titel (6) (1:17)
7. Uden Titel (7) (0:40)

Martin Hall: Vokal, instrumenter

Design: Martin Hall

Som noget nyt i forhold til de tidligere bånd benytter Uden Titel sig af en rytmeboks. Trommesporene er indspillet i Sods/Sort Sols øvelokale i Sankt Peders Stræde under en Ballet Mécanique-øvning.

Fotoet er taget under et Bagtropper-arrangement I Christianshavns Beboerhus, hvor Hall spillede guitarnumrene fra båndet live.


DEN TRIUMFERENDE AMOR

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DEN TRIUMFERENDE AMOR

MARTIN HALL
MC
OKTOBER 1980
EGEN UDGIVELSE (MH2)

Den Triumferende Amor er indspillet på en to-spors Grundig-spolebåndoptager.

Båndet blev udgivet i 40 eksemplarer, der kunne købes i butikkerne Gry og Haase i København.

1. Soil (1) (1:20)
2. Bravo, Petit Charles (2:05)
3. These Surgical Emotions (2:36)
4. Voiciate (Opus 1) (0:52)
5. Motherless Priest (2:21)
6. Bricks and Blood (0:57)
7. The Shoulder of Their Laughing (2:50)
8. Crucifixion of an Unbeliever (1:31)
9. Den Ødeste (Original Version) (5:48)
10. The First Sign of Ice (1:31)
11. In Verse (2:05)
12. Voiciate (Opus 2) (1:23)
13. Det Lille à (1:41)
14. Soil (2) (1:31)

Martin Hall: Vokal, instrumenter

Design: Martin Hall

Den Triumferende Amor er ligesom Martin Halls første bånd 1st – 18th indspillet hjemme. Trommesporene blev ikke desto mindre indspillet i Sods’ øvelokale i Sankt Peders Stræde.

For at få adgang til flere spor end Grundig-båndoptageren tillod, blev yderligere indspilninger foretaget ved at kopiere de oprindelige to spor over på en kassettebåndoptager, mens et nyt take blev indspillet samtidig – for så dernæst at spille dem tilbage og fortsætte arbejdet på spolebåndoptageren. Denne proces kunne dog kun foretages et par gange, idet der ellers opstod for meget båndsus undervejs.


1ST – 18TH

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1ST – 18TH

MARTIN HALL
MC
APRIL 1980
EGEN UDGIVELSE (MH1)

1st – 18th er indspillet på en to-spors Grundig-spolebåndoptager i et værelse på Sankt Thomas Allé på Frederiksberg. Alle trommespor er indspillet under øvelokalesessions med Ballet Mécanique. Per Hendrichsen spiller synthesizer på “Toys”.

Åbningsnumrene på hver side af båndet – “Evocative Inelegance” og “”Feet on Glass”– gør udelukkende brug af reallyde, dvs. optagelser af lyde fra maskiner som eksempelvis hårtørrere og køleskabe.

Båndet blev i sin tid udgivet i 40 eksemplarer, der kunne købes i butikkerne Gry og Haase i København. Det var Halls første udgivelse.

1. Evocative Inelegance (2:10)
2. Emotional Censorship (2.27)
3. Locale (0:52)
4. Suite for Oboe And Piano (0:22)
5. In Anger (1:56)
6. Ablaut (0:59)
7. Die Goldene Stadt (1:05)
8. Toys (1:17)
9. Concept (2:43)
10. The Dance (1:08)
11. Feet on Glass (1:57)
12. Curtain (1:53)
13. Rosary (0:58)
14. Bilateral Room (1:50)
15. Lyceum (1:29)
16. Displacement (2:08)
17. Re-Envision (2:07)
18. A Glass of Wine (1:53)

Martin Hall: Vokal, instrumenter
Per Hendrichsen: Synthesizer

Design: Martin Hall

Efter at have fået muligheden for at lave tosporsindspilninger på en lånt Grundig-spolebåndopatger, spiller Martin Hall selv de fleste instrumenter på 1st – 18th, hans første kassettebåndsudgivelse. Som en del af sit sideløbende arbejde med den elektroniske duo Dialogue medvirker Per Hendrichsen herfra dog også på udgivelsen – han spiller synthesizer på nummeret “Toys”.