BOURBONESE QUALK Hope
Bourbonese Qualk were an experimental music group from England who where active from 1979 until 2003. The group were always obsessively and uncompromisingly focused on controlling their work – they ran their own record label, recording studio, tour organisation and music venue (the legendary ‘Ambulance Station’) – they refused to integrate into the commercial music racket turning down publishing deals from major labels – stubbornly opting for total independence. Bourbonese Qualk were also known for their political activism which was formed in the crucible of the 1980s Britain: The Miner’s Strike, Falklands/Malvinas war, Anti-fascism, Thatcherism, Moneterism, squatting/housing, local government corruption, anti-capitalism, and Anarchism – which was further re-enforced by touring Europe and meeting like-minded groups and organisations. They saw their music as a revolutionary cultural force – a belief that radical musical forms must be part of positive social change. Despite this position, the group avoided dogma, cliché and propaganda, preferring to let their audience come to their own conclusions – their work was often ambiguous and directly critical of cynical power-politics of any colour – often irritating members of the traditional ‘organised left’. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London which they turned into a base for their activities and a co-operative for artists, musicians and writers as well as a centre for radical political activism – specifically as a co-ordinating centre for the ‘Stop The City’ anti-capitalist riots of 1984-1986. They never recorded in a ‘proper’ studio (not that they could ever afford to), choosing instead to work with their own extremely basic equipment (at a time when home studios were very unusual – the unique raw sound of these recordings is the result of their choice – which now, ironically, is in vodue due perhaps to the overwhelming obliquity of ‘clean’ audio digital production tools. If Bourbonese Qualk have a legacy, it is that ‘culture’ should be reclaimed, re-defined and owned by the people, wherever they are, however small and not by the state or the market and that ‘culture’ is a vital vehicle for debate and radical change.Hope was the group'ssecond long player, released on their own Recloose Organisation label in 1984. It features Simon Crab, Julian Gilbert and Steven Tanza. It's a masterpiece of early DIY Electronic/Industrial music and is available on CD for the first time now. Full tracklist: 1. Erector 2. Sunset Sex 3. Invocation 4. Cold Blood 5. Headstop 6. Mission England 7. Dereliction 8. Black Madonna 9. Gag 10. Something In The Air 11. There Is No Night 12. Exposure 13. Waves 14. Lost Time. Price: € 17,-/copy incl. worldwide shipping.
Hope zaskakuje rozmachem stylów i brzmień. Muzyka tria miała do tej pory mocny funkowy puls – i tego rodzaju brzmienia słychać w Erector i Dereliction. Duch mechanicznego electro spod znaku Cabaret Voltaire unosi się nad Something In The Air, z kolei w Gag słychać wpływy industrialnego dubu w stylu 23 Skidoo. Dużym zaskoczeniem są tu nagrania bliskie improwizowanej psychodelii, jak Sunset Sex i Invocation.
(Nowa Muzyka, April 2020)
Het is dan ook geen toeval dat een naam als Clock DVA door uw gedachten schiet tijdens het beluisteren van Hope. Of dichter bij huis: The Neon Judgement. Ja hoor, het nummer Headstop kent een even nerveus ritme als dat we kennen van de klassieker The Fashion Party. Bij dit staaltje anarchie raden we een grote hoeveelheid touw aan, wil u alles aan elkaar kunnen verbinden. Het feit dat ieder nummer compleet anders klinkt is natuurlijk een goede zaak voor de diversiteit, het maakt tevens dat het wat tijd vergt eer je het album in zijn geheel naar volledige waarde kunt schatten. Wat natuurlijk op zich geen slechte zaak is, want dit betekent meer luisterplezier!
(Dark Entries, April 2020)
Originally released back in 1984 Hope is a dense & often careering blend of rhythmic percussive work-outs- be they organic or electronic, soured industrial drifts, wayward sample sweeps, DIY electronica, sinister–to-funk bound bass tones, noise, and from time-to-time vocals that take in either shouty chants or wailing post-punk vocals.
(Musique Machine, July 2020)