Absurd 8 the Commodities Scrapbook

8/11/2019 Absurd 8 the Commodities Scrapbook

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absurd # 8

the commodities scrapbook

an introduction to go

it was the summer of 2002 that did the idea for absurd #8 was born. and sadlyremained shelved for almost a year, or at least the first part of this issue wasshelved due to various problems. on one hand you can call it boredom, on theother the first graphic ideas around it didnt appeal a lot to me but the friend whowas to set it up found herself in lots of trouble as she changed a lot of jobs withinthe last year and i didnt wanna bother her w my business. so somehow, thisissue comes in a kind of a scrapbook, a usual thing for absurd and something !truly like to be honest as well. nothing but plain te"t information$.

let me tell you a few details around this issue%it was late june 02 when due to a bomb e"plosion was discovered and arrested apart of the terrorist group &'(. since that day and for nearly the entire summersuddenly nearly$ all of the media especially radio ) tv were e"clusively dealingwith this topic in a completely phrenetic rhythm, being also summertime was also


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a great prey for their voracious souls. it wasnt even possible to watch a film or aserial as there were all around the *breaking news+ crap ) whatever telling youthe most nave, stupid details or scenarios about the group, their lives, families,victims, whatever in a such a way that soon enough absurd thought that thisevent should be considered as the official outbreak of the new dark age in

greece, or the groups most well orchestrated *strike+ but the most importantthing that absurd was noticing was the media and their way of presenting )approaching the whole topic. as if a an entire system was working to create akind of a subconscious apathy via the informations non stop phrenetic repetitionday ) night. of course someone can say that this is not the first time that such athing happens, it happens daily, but was the first time as far as !m concerned tobe that e"tensive in greece at least.

being really fond of the way the media were performing this work in progressthing, ! thought of the *commoditites+ issue. an issue which will be like a kind of aproject thing, based on a timetable during which the issue will be active,

uploading as many information as ! can be it interviews, te"ts, pictures orwhatever and by the time this period e"pires to end it.in mind actually was ) still is, to ask totally silly, nave, ridiculous -uestions totallyinspired by the medias approach of last summer. somehow !ll try to remain asfaithful as ! can to this approach. besides as the media works, every now ) thennew meat lies on the hook, and as usual the more fresh it is the more attractive itbecomes, as the butchers know under which disguise to present it for the flies tocome ) rip it to shreds, especially if is presented in a tabloid like style, thatactually reigns anymore the greek media.

at this point my plan is to keep #8 active till june 200, perhaps this period might

be shortened but !ll decide about that later. in the meantime enjoy the *shelved+stuff apologies to my friends whose interviews were delayed$. the scrapbookthing works as a link to various older *absurd+ faces and also efforts for newones, /ve told you is *fresh meat+ this issue needs to eat%

eetapes

rund und dem watmann

psychedelic pig

mi"er

paradigm

peter strickland sonic catering band$


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eetapes

history

guess ive always been a passionate music consumer, with a preference for thebetter e"peri mental mostly$ electronic stuff, anything but the ordinary crap.which leads inevitably to all possible subcultures, underground lets say.

ive been active in the independent scene since around &18 when i accidentlybegan helping out sales at the kitchen, the first ever indie record store in myhometown. we started organising concerts too the klinik, mark stewart and themafia, the bollock brothers etc$ and i also got involved in a fanine bla3bla$.

through the shop which later became kk records$ and the fanine i got plenty ofcontacts all over the world. it was a time when the cassette scene was still pretty

alive too, so all this lead to the foundation of 44 tapes e"perimental electronictapes$ back in &18' 5 the cassette being the only carrier i could afford torelease%

for at least 6 years during the late eighties 3 early nineties, kris van der wekenand i did also a weekly live program called touchtone on local pirate radioprogres.

after being a one3man label for nearly &0 years, i was joined forces since &11' bysven vercauteren, an e-ual3minded spirit. that was high time, /cause burn3outwas slowly coming nearer...

it was time then for a new phase too7 the introduction of the 9:.the name 44 tapes remained however, why change a name;

another historical fact is our yearlong involvement in the annual independentfestival for music and arts at youth centre kompas, sint3niklaas, where wevolunteer to program the musical part in the main venue human flesh, smell )-uim, mimetic, bad sector, inade, troum, ah cama3sot, vidna obmana, hybryds,vance orchestra etc$. a great e"perience so far and to be continued$ amaing ambient noisethe implicit order FGD$ mental atmospheric collage music/migraine va 3 a noise compilation hypnoskull, kadef, proof of the shooting,napalmed etc$apart from that, we/ll see what comes up ne"t%

contacts7

www.eetapes.be

rund und dem watmann

guess the most of you know the name of rene heid aka mr. rund und demwatmann whose label has offered us in the past ) recent years some reallymemorable releases not only for their stunning soundscapes but also for theire"traordinary packaging such as the flabbergasting idea fire company*crusaders+ lp that was coming inside original lp master plates, etc.

but also rene for a long long time runs his mail order2ndhand catalogue, franklystill cannot recall thanks to whom did ! track down his address sometime in early10s, ! think it must have been gianfranco santoro of nail records though am notso sure but ever since have found at times a lot of interesting items. below is a


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little discussion we had recently around his activities%

so how did you come up with the idea of starting rund und dem watzmann?

to start a label no idea is necessary, just interest in music or money making$. i

started collecting abstract music lets take this as term for early industrial, atonal,early electronic and electro3acoustic music as i collect it$ back in &1'1 and by theyears got deeper and deeper into this noise jungle. to fill some gaps of mymusical and artistic interest, i needed to make some own releases, which startednot as a serious attempt at all but with the years it became a -uite serious part ofmy life.i describe the philosophy of my label the following way7 rund und dem watmannrecords focuses on e"traordinary vinyl releases and to a lesser e"tend of cd3releases. the aim of these releases is to fully e"plore the wide range ofpossibilities of especially the B@ format and the product packaging. each itemconcentrates on a special theme and is as much a musical e"pression as it is an

artistic object. you can see all the releases so far well3documented atwww.watmann.nl

actually i guess i should have started by saying, how did you decide tostart you collectors list.

my catalogue is where i get my money from. with my releases i dont make anyprofit unless these prices may indicate the opposite, but believe me, to releasee"traordinary releases does cost several times more than just a standardpackaged record. when you collect and look for records, trading is an important

and very useful part to get certain items. therefore you need some good doublesand buy also records, which are not for your own collection. through the years igot that much of records and contacts, it became my proffesion to deal with*abstract music+

one of the impressive details in your releases is the cover artwork, id dareto say packaging regarding a couple such as the ifco crusaders lp.from which sources do you draw influence concerning it?

each of my releases starts with a good concept, which i initiate. !m not so muchinterested in just releasing a record, im interested in adding something to thebunch of releases in this world, which is new, different, e"ceptional, and whichmake sense on both the musical and artistic side. i dont do special packages justto make something catchyA packaging and music must intensify each other. iwork in narrow discussion with both the musicians$ and the art designer. and formost releases a long way has to be gone to get the ideas realised in the way wewant it to. there are also ideasrelease plans, which couldnt be realised well, so
http://www.watzmann.nl/http://www.watzmann.nl/http://www.watzmann.nl/


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they never got out. they are still in my head and maybe some time there will be anew invent to restart these unfinished projects.

didnt you ever had the fear of lets say doing an eccentric allow me to

say so! cover artwork for a release whose sound or its rest concept mightbe of less interest than the cover itself?

no< if the music doesnt fulfil my -uality e"pectation, it has to be improved orredone. but e"perience shows, that working on such a project is a very goodstimulation for musicians and they do their upperbest to come with e"traordinarymusic that fits the concept. often the music or musician is also the starting pointfor a release. for e"ample the release by erwin stache is inspired by his musicalblack cigar bo"es, which are making all sorts of sounds while opened. this actinspired me to translate it into a release, so the packaging of the the 9 is mainly

black and while opening the digi3pack, strange sounds came off the packaging.the reaction is similar to the one at staches performances7 child3like interest inwhat is happening and pleasure in playing with it. another e"ample is the B@ offeli" knoth, better known as feli" kubin. he is both film3maker and musician andas such he made a short film of neurotic behaviour of himself. i wanted totranslate this film and its music into a release, playable on a record player. so thewhole idea of a oetrope, etc came up in me and now you can play and see 8short neurotic films simultaneously on your record player.

what sort of problems do you usually come across regarding both thelabels release but also of the catalogue?

the main problem or better the hardest struggle is to get all ideas realised theright way. most times the wheel has to be re3invented and that takes time and alot of research work. with each release i have to find e"perts on for mecompletely unknown disciplines. and money is always a problem since theprojects can get -uite e"pensive.as for the catalogue there are no problems besides to find great recordsA itsgetting more and more difficult.

lately more and more labels issue vinyl, ill mention too some who do solevinyl releases eg. drone!. do you think that is a sort an opposition towardsthe new technology that evolves maniacally day by day now or not be it cdor dvd or whatever later!? and regarding collectables, a kind of fetishlets say e"pressed by some people # their obsession for the vinyl mediumor an easier way to sell records for higher prices playing w$ this fetish?

we are dealing with independentalternative music. this indicated that we are


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charmed by more independent and alternative sound carriers. nowadays that isthe vinyl. and to be honest7 look to this plastic jewel what an euphemic word$caseA its plastic, its not transparent any longer after a short period of time orsomehow broken, the front3cover *cover+ 5 in fact a flimsy folded thin paper$ isnot what you e"pect to cost what it costs. and finally you dont know about the life

age, a 9 will have. the industry itself says, that a 9 will last 26 to 0 years.after that period the 9 may not be playable anylonger. and in terms of a 9 itmeans not scratches or surfacenoise, no7 it means finished. this knowledgedoesnt stimulate my 9 consumption, but im not dogmatic. its mainly aboutmusic and if there are great releases on 9 5and there are3 sure i buy them.

regarding yourself, what do you prefer vinyl or cd?

9. i can easier part with it. it weights less and needs less packaging to send.and its easier to get. so order 9s from me00 O:F(= :!MD:97 Ge"y Muman ?aladi spiral3bound book@!L 90& ?DGGPFGMD99MF7 Ghekinah 9@!L 902 9!4 P=9B!M4 9=:!G7 >inderingelreihen... 9@!L 90 forthcoming

mi"er

0 ' 1hen did you create the label ?Gtichting ?i"er started in december &111, the first releases on ?i"er &0J3es$were put out in ?arch 2000
mailto:[email protected]:[email protected]


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/ ' 2here-s a lot of labels... especially devoted to e"perimental andelectronics. 3eeing that, what were your motivations with stichting mi"er.&id you have a precise idea of the aesthetic you want to impulse to thelabel ?

?y main interest lay and lies with diversity and dynamics. Babels tend to focuson a very small part of electronic$ music and also to crystallie when theyIresuccessful with the choices made..eventually becoming stereotypes ofthemselves. Po give the label a face, out of personal or other interests..itIs all finebut for me ?i"er had to be something more alive and e"perimental, in the sensethat ! donIt want to go for a certain genre or direction. Po seek for originality and-uality within several types of music is much more interesting for me and also asa goal for a label ! think.4 ' 3tichting mi"er looks like a collection same presentations...!. 1hy ?

&o you want to symbolize with it the connections that could e"ist betweenall the artists, despite their musical differences, or only your own tastes ?5y other words, 6s there a concept that could define the musical aestheticof 3.7. ?6s it a way to say that the music you want to *promote* always ask otherfields of e"pression visual arts, etc! to offer its whole signification orfunction ?Phe artwork shows the ideas me and the designer have about this matter. Phepackaging should be simple, informative and recogniable. Phe link with themusic !Ive published lays there as well, no nonsense basically. Phe concept, if

there is any, is mainly that the music put out on ?i"er should speak for itself. !Imnot interested in the very hip multi media e"periments and far seeked projects orcollaborations. Phe things hopping over and between genres and defining theirown e"istence, are the ones worth it.!n organiing events !Im more open for multidisciplinary projects but still thesescreenings, performances or installations also have to have a -uality of theirown. Go many times sound just goes with image and visa versa, without askingitself why; ! sometimes have the idea people are mainly busy with whatIspossible rather than using techni-ues consciously to tell their story.

8 ' 9ou have published all types of supports : 4*cd, ;*, ;*ep,


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several passages and wider compositions. Phe fact that you need to flip it makesit very suitable for joint releases. Phe 'J 3es are perfect for short statements andmore conceptual stuff, the same goes for the mini cdIs.! donIt have a preference for short releases but ! do think itIs a bit difficult to dofull length releases as the music ! want to release is mostly pretty demanding. !t

al depends on the material of course. Phe new PMF20 9 just released is 60minutes so...

> ' 3.7. is e"clusively devoted to electronic musics. re you interesting intheir conceptual dimension ? 6s it possible for e"ample to listen in thefuture to a more *rock* music ?well, more and more electro3acoustics are coming in and JconcreteJ$ musicbased on ?ic3recordings and manipulations as well. Phis direction comes frommy personal interest in the big spectrum of electronic music. ! simply love the

absurdity, estrangement and beauty you can meet in electronic music. Phee"pressivity is huge but in a less obvious way. 4specially the last few years !Imgetting more interested in the co3e"istance of electronic and concrete music. Pointegrate the two creates a whole new universe again, refering to sound we aresurrounded by daily but do not notice and at the same time to the endlesspossibilities and alienated appearances of electronic music.@ ' 6s 3.7. a way to concretize some ideas you have about music ?@artly yes. Out itIs definately not some sort of definition of my own thoughts ormind boggles about sound and music. ! invite artists to see if theyIre interested to

work with ?i"er for releases or concerts, and from there on we see where itgoes. Gome collaborations work out smoothly and others die out beforerealiation, like everywhere.. @robably my own thoughts do set out the red linethrough things but ! also judge from project to project. Gome of them connectmore to my own taste or thoughts and others less and thatIs fine. Qor me ?i"er iscertainly also an entity on itself, but ! see that more as a platform on which theseprojects can happen, rather than a billboard of my own likes.

; ' are you a musician yourself? 1hat are the pro)ect you-re involved in ?does your activity as a musician has an influence on your activities with3.7. ? Ar vice'versa? by the way, is it easy to run the two at the sametime ??ost of my time actually goes into my own music indeed. 4ither as Ooca :aton,under my own name or as part of Rona Qumatori. Phe last year !Ive made asoundtrack for a super8video performance by 9.:oosen JLet OackJA for a danceperformance called JGpent timeJA the 'J JOratraJ which was released on ?i"erA amini3cd J4noJ which hopefully is going to be released as part of the mini cdseries of 9iskono and some compilations !Ive made tracks for..


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?y music is developing into more minimal and composed music, focused on rawmaterial and tiny sound3events, while it was first much more layering3based.!ts more and more constructed from acousticconcrete and electronic sound, sothat development certainly influenced the way ?i"er is going, but is not binding.Phings coming out in the nearby future are completely different so.. !nfluence the

other way around e"ists of course but is not really different from the way all otherreleased music does.!t is not difficult to combine the 2, of course thereIs lack of time but ! guess thathas more to do with me than with the actual projects. Gometimes ! have to focuson Gtichting ?i"er because thereIs releases coming or events happening, butmostly ! have enough time for my own musical work.

+ ' 9our label is in my opinion closely related to many others : bottrop'boyor drone records for e"ample. Bow do you consider the others labels andhave they an influence on your choices ? what are the label past andpresent! that have an influence on you ?

(ot really, of course ! like certain labels but they donIt influence me in the choices!Im making for ?i"er. Oottrop3boy is good e"ample indeed, Orom3Oron is a verygood series, Bucky >itchen ! like very much, ?etamkine released some brilliantthings as well as Padik and Gtaalplaat, >3raa3k ! find a very tasty and steadylabel.losely related to 9rone; ! donIt see that one...C ' 1hat are the plans for the future ? for stichting mi"er and your ownmusic ?

!Im working now on a performance in a hapel in Dmsterdam which has veryuni-ue acoustics, which is supposed to happen end of Sanuary 200 as part of aGandberg3e"hibition. Qurthermore ! would like to do more performances inQrance;$ and just keep going with several projects..Qor ?i"er ! just put out new titles by PMF20, Sidai and ?eelkopde Taard. !Imworking on a concert series which is supposed to happen from Dpril to (ovember200 and of course releases later this year. Phis will be Soe olleyrawl Fnit,anteye Lreije3Quchs, Bionel ?archetti a.o.Gtichting ?i"er @.=. Oo" 61H' &00 B Dmsterdam Phe (etherlands UinfoKstichtingmi"er.nl V orders UmailorderKstichtingmi"er.nl V www.stichtingmi"er.nl

interview released in decemberjanuary 200 by jos laj dWrenn naninanicorporation $ ) ?artijn Pellinga

discography

3?&0.0& FMPGaoulaterre &0J
mailto:[email protected]:[email protected]:[email protected]:[email protected]://www.stichtingmixer.nl/http://www.stichtingmixer.nl/mailto:[email protected]:[email protected]:[email protected]:[email protected]://www.stichtingmixer.nl/mailto:[email protected]:[email protected]


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3?&0.02 :adboud ?ens &0J3?&0.0 !?@ electronics for defence &0J3?&2.0& Ripper Gpy &2J3?&2.02 Sean OD"h &2J3?Xcd& Oattery =perated full length cd

3?"mcd& edric @igot mini3cd3?"mcd2 Loodie@al mini3cd3?i"3:& Rona Qumatori [email protected]& >Yhn@immon Gplit Bp3?'.0&2 >affe ?atthes 2Z'J3?'.0 Trikken 'J3?'.0 :echenentrum 'J3?'.06 Ooca :aton '[email protected] de Taard?eelkop Gplit B@3?Xcd2 PMF20 live in gronigen cd3?i"3:2 Sidai 93r

discography of martijns own things..

Ooca :aton3 J=ktaJ 8 speaker3environment, & Sanuari 200, Dmsterdam3 JOratraJ A 'J on ?i"er3 J9utch QidelityJ, compilation 'J on Dntenne3 JBoop edition 2J Puningspork 3 tu mIp, website label Pu mI3 J@ar tous les trous necessairesJ, compilation cd on avagen3 J=pen noise #& and # 2J, compilation cd3rIs on =t0&3 J a ?anualJ, compilation cd3r on ?icrowave

3 Jsleep3at3workJ, website platform3 Bive soundtrack for JDliveallinen Qinland$, 200&3 Goundscore for J9esert :everiesJ, short film by Gagi Lroner !sra[l$, 200&, partof the JGonic 4ncountersJ e"hibiton at T&1 gallery3 Goundtrack for JGpent PimeJ, dance performance by Bucas ondro Drgentina$,2002, @erformed at PheaterDcademy Dmsterdam3 J4ntengJA cd3r on ?i"er,3 Rona Qumatori 3 J9utch QidelityJ,3 compilation cd3r by Dntenne, Rona Qumatori3

paradigm

paradigms a label that belongs to one of my favest, on one hand run by clivegraham, a member also of my ever beloved morphogenesis project, on the otherbeing a label that has offered so far reissues of real obscure ) till recently


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neglected or *lost+$ diamonds such as the dwight friel *beyond the black crack+cd or dubravko detonis ) aceanet cd or pauline oliveiross electronic music toname some. no matter that !ve been discussing for long w clive to do thisinterview, ! was always delaying it ) doubt if ! had ever done it if it wasnt the cdreissue of trevor wisharts monstrous *journey into space+ work that did ! move

my ass to do it at last. in the meantime heard the peter cusack ) ma" eastley*day for night+ cd which ! hadnt heard at the time that this interview wasconducted but which is a cd that comes highly recommended. a work whichspans a period of nearly 26 years of recordingscollaboration and has some ofthe best soundscapes !ve heard from both by date including lots of cleverlytreated field recordings% needless to say that the very first track of which inwhich peter cusack plays the bououki$ brings in mind flashbacks fromsoundscapes heard in greek movies of the 60sH0s%

how did you come up with the idea of starting paradigm;

there were several reasons, but i think the main one was that i wanted to releasea series of compilations of london music by friends of mine, and i also wanted toput out some music by morphogenesis. in &116 it did not seem like a cray ideato start a 9 label, but now i am not so sure.

really how did you come up with the reissue of the karuna khyal ) brast burnlps;

i just loved these records but i could find no information about the groups. thereis no information at all on the covers. i really thought that they deserved to beheard by a much larger audience so i transfered the vinyl copies to digital via asuper hi fi, and very carefully mastered the transfers. ive never released anymusic this way before, and i dont think i will do it again, although i think there areseveral records that should come out on 9. in fact it may well be that the bestway of reissuing 0 year old music is from unplayed vinyl rather than oldmagnetic tape. i once transfered a copy of 9isco 000 by Gun :a which is aGaturn release ie pressed on camel shit$, and i spent over &00 hours taking outclicks etc. i still have the results on 9, but the guy who said i could release itturned out to be lying. i should have been more wise i suppose, but at least ihave a perfect copy of the music.

how about the variation compilations, some sort of promotion of londonsimrpove"perimental scene;

yes. london is a very creative place, and i have always known most of the peoplewho are doing interesting things, but there is very little promotion e"cept forpeople that are well known. i was hoping that releasing some new london musicwould lead to further releases for those people, but most of them have not donemuch else. i think it is a real shame.


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concerning at least a couple of your releases seems youre also reissuingoddities from the nww list too eg trevor wishart, rev. dwight friel, etc$

i think trevor wishart e"ists way beyond the (TT list. its like saying thatstockhausen or king crimson are nww oddities. the nww list includes &00s of

names, most of which are, i think, among the best e"perimental music evermade. its hard to avoid the list if you are interested in e"perimental music, and ihave to say that dwight friell and brast burn were both discovered via nww, but! think there is life beyond the list, especially these days with the internet andebay, but in the 80s it was a very valueable resource.

how about morphogenesis; how did you become involved in the project andhow about your e"periences w the project till today;

i joined the group in &11& after meeting roger at a lamonte young concert. at firsti just went to morphogenesis concerts and rehearsals, but eventually i decided to

join in. it was the first time i had made any music, and it seemed to be the idealgroup for me. i still feel that way today, although we play a lot less these days.this is partly because we hardly get any offers to do gigs.

any more morphogenesis material to e"perience on paradigm in the future;

i would like to put out another 9, but at the moment i need to sell more of myback catalogue. it has become so much harder to sell 9s in the last few years,and at the same time some of my distributors seem to have become e"perts atcrushing small labels. at the moment there are some plans to release some titles,but they will all have to wait until i have the money.

how was born the idea of the 2 morphogenesis live cds; could you please giveme some details around them;

we are a live band, either live in the studio or in the concert space. all our bestmusic is made in front of audiences because this seems to bring out morevariable situations and tensions. ive always wanted to keep up to date onreleasing our material, but for a long time i got caught up in releasing otherpeoples music, so eventually i had two long 9s of material that needed to bereleased.

any sort of solo or other outputs you might probably be involved in besidesmorphogenesis;

i would like to spend some time on a solo project which i have the time for now,and the hard drive space, but i have no idea how this will work out or even whatkind of music it will be.

guess that trevor wisharts *journey into space+ was a great surprise for many. a


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real ace, how did you decide to reissue it;

thank you. i wanted to put this out years ago, but trevor doesnt really like thiswork at all. i had a hard job persuading him. he would only let me release it if hecould say that he now finds the record embarrassing, but it is probably my

favorite work by him, and it sounds way better than the original vinyl, which is adreadful pressing. i hope that most of my releases are a surprise for someonesomewhere. for me this is very gratifying.

and how about the other wishart stuff on paradigm;

im interested in all of tws back catalogue. i would have loved to release red bird,but jonathan coleclough got there first. maybe there will be something else to putout in the future, hopefully$

perhaps any oddities for the future;

i think its important to keep e"act details of future plans -uiet until they happen. itis very hard to get permission to release things and everything can change at thelast minute, or take years to actually happen, so i prefer to not talk about futurerelease. all i can say is that there is nothing sitting on my hard drive at themoment

http7www.stalk.netparadigmhttp7www.resonancefm.com

peter strickland

i still thank michael prime for the contact with peter strickland a couple of yearsago, one of the founding members of the sonic catering band project. peter wascoming to greece at the time well hes often here actually id say$ so had thechance to meet ) go out for drifting the couple of times we have met.peters besides his activities with sonic catering band is also shooting shortmovies and seems like filming will be the activity which he will spent most of histime in the recent future, being either in the uk or in hungary where hes also

spending lots of his time as well working.

hes also running the peripheral converse label where the vast majority of the scbreleases was out but also releases of the eccentric bohman brothers, or thesplendid &0+ of clare connors. you can get an idea of scb ) peripheral converseat www.soniccatering.com

being involved in a project whose major source for raw material is cooking, as
http://www.resonancefm.com/http://www.soniccatering.com/http://www.resonancefm.com/http://www.soniccatering.com/


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they were cooking on stage manipulating the produced sounds, the same holdsfor studio work too, i was curious to see hows peters views on some topics ofhis interestslife will be reflected as food or recipes.enjoy the meal%.

starting meal

Lrilled aubergine slices. Larnish with chopped red onions, tomatoes andparsley. Bightly drile with balsamic vinegar.

hungary

>YrYYtt 5 Biptauer cheese creamy$ pressed through a sieve with half the-uantity of butter. Geason with salt, red paprika, chopped chives and

chopped red onions. Gerve as a dip or on bread.

uk

Larlic ?ushroom ?oni @uree 5 mushrooms, chopped pineapples and onionswith garlic and lemon sauce served on a wrap.

filming

Oread and water

cooking

@umpkin soup 3 ut a small pumpkin in half and take seeds out. ut whatis left into big chunks and cook in water until soft. Pake the chunks out ofthe pan. ool, peel and mash with a li-uidiser. @ut vegetable stock in thewater left in the pan. Oring to the boil and then add the mashed pumpkin.

Dlso add orange rind, the juice of one orange, one spoonful of ginger paste,single cream and yoghurt mi"ed in with an egg yolk a small cup each$. Gtircontinuously adding a dash of salt and lemon pepper, nutmeg and a spoonfulof dry sherry. Oring very gently to the boil and serve with grated parmesancheese and fresh coriander leaves.

music

Mumous 5 one cup of cooked chickpeas, 2 spoonfuls of Pahini sesame seed


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paste$, 2 garlic cloves, spoonful of lemon juice, spoonful of mayonnaise.Olend and serve.

fears on stage

@ancakes 5 plain flour mi"ed with milk in a bowl. Gtir well. @ut largespoonful of mi"ture onto flat pan. Poss both sides until golden. Ddd lemonand sugar, then serve.

project members

@eter Gtrickland 5 chocolateA olin Qletcher 5 ornish @astieA Pim >irby5 Morse :adish

reflections on early GO days

Oaked Oeans on toast

reflections on current GO days

=melette with pine kernels, rocket leaves, grated goats cheese,pomegranate juice, chopped tomatoes and red onions

how do you feel drifting;

Ourek cheese pie$ 5 feta cheese wrapped in puff pastry

bohman brothers

Gunday :oast 5 roast lamb with mint sauce vinegar with mint$. :oastedpotatoes, brussel sprouts, mashed potatoes served with gravy, bakedparsnips.

peripheral conserve

hampagne.


21/21

entomology

Money with natural Lreek yoghurt, caster sugar and crushed walnuts

dessert

260g of butter, 2 cups of caster sugar, eggs, & cup of all purposeflour, & cup of self3raising flour, half cup of cocoa powder, & cup of milk,& cup of chopped walnuts.

Qor chocolate cream7260g of butter& cup of icing sugar00g of chocolate melted$ teaspoons of brandy

@ut the sugar and eggs, one at a time into the butter. ?i" until frothy. Dddmilk. !n a separate bowl, add two kinds of flour and cocoa powder. Ddd thetwo mi"tures together.

Outter a baking tin and put mi"ture in. Oake for one hour at &80\. overwith foil towards end to prevent burning.

Qor the chocolate cream7 beat the butter, icing sugar and brandy untilfrothy, adding melted chocolate.

ut the cake into slices. over the top with cream too. Qinally add thewalnuts on top. Beave in the fridge to firm.

Absurd 8 the Commodities Scrapbook

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Transcript of Absurd 8 the Commodities Scrapbook