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Fish

Fish talks about his album Field Of Crows, and the series of events that led to its recording.

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Issue Seven
Featuring an audience with Dave Brock of Hawkwind
 
Release
Cover scan for Commuters
 
£5.99
Deleted

Catalogue number
LCVP127CD
Release date
01/06/2001
Format
CD
Label
La Cooka Ratcha
Dagmar Krause
Commuters
Disc 1
1. The Ventriloquist 2. The Young Lieutenant 3. The Architect 4. The Poet 5. The Man On The Island 6. The Acrobat 7. The Organist 8. The Philosopher 9. The Gentleman On The Stairs 10. The Priest.
Commuters has long been a mysterious and unavailable collectors item amongst the cult of worlwide Slapp Happy fans. Ronald Heiloo and Harold Schellinx were Dutch musicians skirting the fringes of the avant - garde in Amsterdam in the late seventies and early eighties. They recorded this one - off collaboration with Dagmar Krause in 1982,it was issued on a private limited edition vinyl pressing and then deleted. It is a collection of ten, short and highly concentrated songs,in which Ronald's piano accompanies Dagmar's unique singing.Dense,sparse,built from single notes and chords,but always allowing enough space for Dagmar's beautiful and touching vocal performance.

 

 

Reviews
The EP {^Commuters}, a one-time collaboration between {$Slapp Happy} vocalist {$Dagmar Krause} and Amsterdam avant-garde composers {$Harold Schelinx} and {$Ronald Heiloo}, was first released as a limited pressing on {@Amphibious Records} in 1983. Soon deleted, it quickly became the Holy Grail fans of {$Krause} were all after. The album was reissued in 2000 on {@La Cooka Ratcha} (a {@Voiceprint} imprint). Although it runs for only 16 minutes, {^Commuters} contains ten songs and really should be perceived as a full album. {$Schelinx}ıs short stories are set to dense piano pieces taking elements from {$Erik Satie}, {$Charles Ives} and {$Kurt Weil}. {$Krause}ıs voice delivers the text in angular melodies in a way similar to her work with {$News from Babel} (on {^Work Resumed on the Tower}). These 60-to-120-second half-cabaret half-atonal pieces are as complete as can be and the listener comes out of them as if it had been an hour. The simplicity of the piano/voice setting is constantly challenged by the obscurity of the lyrics, the complexity of the melodies and the sparse but very concentrated piano parts. François Couture