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. Whereby the Aboriginal Voices acted as a kind of proto-influencer, receiving the latest equipment to try out, especially since they made it a point not to work with tapes, but to design everything for live shows. 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. In 1980 the Aboriginal Voices were formed, initially with vocalist Magda Vogel (of later UnknownmiX fame), who was trained as a classical singer.įrustrated 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. She was already playing with Wüste in the band "Doobie Doos", a band where everyone played an instrument they didn't master. Voilà: a musician who was as stylish as she was tough. 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 (one of the relicts that still exists). 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. In Zürich's underground, the duo Aboriginal Voices caused a stir at that time. ![]() The Human League, Heaven 17, Duran Duran, OMD, Depeche Mode or Visage stormed the charts. (Deutsch Amerikanische Freundschaft) was released, which chanted its program of provocation times danceability with lines such as "Tanz den Jesus Christus, tanz the Mussolini, tanz the Adolf Hitler." In England meanwhile, electronically backed New Romantic bands were replacing New Wave. Kraftwerk was fashionable, the Zurich duo Yello experimented with new synthetic sounds, and the groundbreaking album "Alles Ist Gut" by the Düsseldorf based duo D.A.F. Now snazzy stage personnel elicited fast-paced sounds from handy devices often made in Japan. The mantra of "everything-is-possible" was driven forward on the musical front by progress in terms of means of production: analog electronic instruments were no longer reserved for hippie nerds, who sat in front of large plug-in boards like autistic-psychedelic switchboard operators connecting cables for their sound carpets. Gathering at concerts of local bands and fueled by endogenous and artificial substances - they paid homage to exuberance and self-indulgence. 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. The scene included the female band Kleenex (cover: Fischli of art heroes Fischli/Weiss), 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. 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. Contrary to legend, even back then, it was often those with a musical background who were the most successful. A few pop magazines later (we are in an analog world!) punk bands sprouted everywhere, like shiny pimples on poorly fed teenagers. Let's look back: at New York's CBGB's, pre-punks were shredding away, Malcolm McLaren, as a man with a fine-tuned taste for the hip, imported the sound to London, where his sweetheart Vivienne Westwood dressed the test-tube band The Sex Pistols. ![]() Micheline (Pfister) and Wüste (Heinrich Zwahlen) 1982 in Zurich.Įdited and polished 2021 by Wüste in NYC.įor a quarter of an hour, Zürich was the navel of the world. Written, recorded and produced by Aboriginal Voices, ![]() Sven Regener, head of the band Element of Crime and one of Germany's most successful pop writer said a few years ago when asked if he knew of any Swiss music: "Of course! In 1983, a Swiss band called Aboriginal Voices played with us at a festival in Zurich. New Wave /Cold Wave Reissue Gem from Zurich 1982, previously only released in parts on Cassete and 12" EP ![]() LP, Poster Inlay, 2022 RE - First Time on LP Vinyl, Stcker
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