IDM Mailing Archive

could someone help me out with a little background information on Gerhard Potuznik. i've got a couple 12"s by him that i really like, but web searches yield nothing. peace- ./ chris. p.o. box 771688 coral springs, fl 33077-1688

At 12:06 AM 5/19/99 -0400, you wrote:

quoted 6 lines could someone help me out with a little background

> >could someone help me out with a little background >information on Gerhard Potuznik. i've got a couple >12"s by him that i really like, but web searches >yield nothing. >

Gerhard Potuznik is a talented experienced Viennese musician who has been producing music since 92-93. He has well over two dozen releases & co-productions out on various labels including Cheap, Disko B, Morbid, Craft/Sabotage, Mego, The Super Corp., Pomelo, Mo Wax Excursions, Gig, Loriz Sounds, and Hollis Haus to name a few. Some of the guises and projects he's involved with include Cube & Sphere, The Showroom Recordings, Private Lighting Six, iO, Gerard Deluxxe, Potuznik, The Trumps, Daterape, Sharp Dressed Men, Pin-Ups In Exile, Kriz Da Rhythm & P.O.T, and M.O.R.S.E. Gerhard does a lot of work with Patrick Pulsinger and other Cheap-label artists. The styles Gerhard produces in varies from group to group. He produces melodic techno, downtempo electronica, funky triphop/ breakbeat, manic d&b, experimental electronica, acid, electro, and minimal techno. The early Potuznik releases are more in the techno and acid vein with the more recent relases in the more abstract electronica downtempo, experimental and d&b styles. My Favorite Potuznik related releases are: . Potuznik: Concorde+ cd (Cheap) . Gerhard Potuznik: Autobahn cd (Mego) . Def Con/Private Lighting Six: M.O.R.S.E. cd (Craft/Sabotage) . Gerard Deluxxe: Spiral Architect 12" (Craft/Sabotage) . Potuznik: Up North They are Free 12" (Cheap) . The Private Lightning Six: They Came Down 2x12" (Morbid) . The Showroom Recording Series #1 12" (Cheap) . The Showroom Recording Series #2 12" (Cheap) . iO: Claire 12" (Mo Wax Excursions) Hope this helps. -->-Lance--- mclance@nacs.net lance@inaudible.com p.o. box 450715 westlake, ohio 44145 united states

On 19 May 99, Lance C McGannon wrote re: Re: (idm) Gerhard Potuznik:

quoted 1 line . Def Con/Private Lighting Six: M.O.R.S.E. cd (Craft/Sabotage)

> . Def Con/Private Lighting Six: M.O.R.S.E. cd (Craft/Sabotage)

Quite so : Potuznik is also widely represented on the Gelb sampler "Motel 6" where the Def Con track (Men on Film) is my fave track. Although Def Con is here given as Umberto Gollini & Michael Cellis. On this compilation Potuznik worked with Pulsinger/Tunakan as The Private Lightning Six (as Lance wrote) and is credited with VOCALS :-) He also collaborated with Wolfgruber as "Lu:gner" and with C Peyfuss as La Banda B.Low and also on his own as Flattape. WHY oh why do people have to hide behind so many different monikers and aliases? This criticism has often been levelled against >our< kind of music - the facelessness of the people behind it, but they obviously want it this way. (Check the MASK releases..., Gescom etc). How to confound the trainspotter. I *

At 05:24 PM 5/19/99 +0200, you wrote:

quoted 7 lines WHY oh why do people have to hide behind so many different

> >WHY oh why do people have to hide behind so many different >monikers and aliases? This criticism has often been levelled >against >our< kind of music - the facelessness of the people >behind it, but they obviously want it this way. (Check the MASK >releases..., Gescom etc). How to confound the trainspotter. >

A few reasons for different monikers/aliases: - different guises for different styles of music produced.... - sometimes certain monikers/aliases are signed exclusively to certain labels. so other monikers/aliases are necessary to release music on other labels... - sometimes other monikers/aliases are used for projects sed artists does with another artist (i.e. collaborative projects)... -->-Lance--- mclance@nacs.net lance@inaudible.com p.o. box 450715 westlake, ohio 44145 united states

On Wed, 19 May 1999, Lance @ Inaudible wrote:

quoted 17 lines At 05:24 PM 5/19/99 +0200, you wrote:

> At 05:24 PM 5/19/99 +0200, you wrote: > > > >WHY oh why do people have to hide behind so many different > >monikers and aliases? This criticism has often been levelled > >against >our< kind of music - the facelessness of the people > >behind it, but they obviously want it this way. (Check the MASK > >releases..., Gescom etc). How to confound the trainspotter. > > > > A few reasons for different monikers/aliases: > - different guises for different styles of music produced.... > - sometimes certain monikers/aliases are signed exclusively > to certain labels. so other monikers/aliases are necessary > to release music on other labels... > - sometimes other monikers/aliases are used for > projects sed artists does with another artist (i.e. > collaborative projects)...

- sometimes the artist just wants to regain some anonymity - artists might get sick of their old names, esp if they use them a long time - artists might find the name resembles something unintended (witness ICU becoming IQU) later on - artist might find another recording project using the same name or copyright issue (chameleons vs chameleons uk, or Panasonic) Solenoid

At 1:49 PM -0500 5/19/99, Mark Kolmar wrote:

quoted 23 lines On Wed, 19 May 1999, Irene McC wrote:

>On Wed, 19 May 1999, Irene McC wrote: >> WHY oh why do people have to hide behind so many different >> monikers and aliases? This criticism has often been levelled >> against >our< kind of music - the facelessness of the people >> behind it, but they obviously want it this way. > >I have never been able to understand aliases either. I can come up with >at least three decent reasons: > >1. To attempt to remove a sense of continuity from one release to another >(If that is your thing. I prefer the opposite, e.g. Psychic TV. Or even >when no continuity is intended but they keep the name anyway, e.g. >Underworld mk1 vs mk2) > >2. Signing a contract that says you can't use a certain name except on a >particular label > >3. To become a different artist in some metaphorical way, to take a new >approach (not sure why that would require a new name though, unless the >goal is also #1 above) > >4. In order not to confuse or anger people who think "bleep-blop-biddy- >boom-bop" is entirely unrelated to "boom-blop-biddy-bleep-bop"

5. to prevent clods from buying it just because it's done by so and so. furthermore said clod becomes disappointed because it didn't live up to expectations (despite it being an alter ego!--there will always be that comparison is the true identity is known). i think some artists would rather have a record sell out because it was ace, than have a record sell because it was him. in other words, the artist prefers the concentration on the music over the artist...

On 19 May 99, rab wrote re: Re: (idm) re: aliases:

quoted 2 lines the artist prefers the concentration on the music over the

> the artist prefers the concentration on the music over the > artist...

Yes, I understand that and can see the point in all the reasons given in various posts, but it still bothers me. It just makes work for the trainspotter *that* much harder, eh :-) I mean, Matthew Herbert IS Dr. Rockit IS Wishmountain. And he still plays kitchen utensils. I *

Mark, 4 is funny as hell, but a guy once said many of the artists do this to escape some of the loopholes, that labels try to stick on em(add in their contract). I dont know but that sounded good at the time, besides I am not complaining. How else would I be able to hear Great shit from the likes of Global, John Beltran, Sensorama, Ro70, Alter Ego, Holy Garage, Chaos & Julia Set, Primitive painter, Placid Angels, Indio etc....... Ha ha ha ha, it has served me just fine! Hk!

quoted 48 lines -----Original Message-----

> -----Original Message----- > From: Mark Kolmar [SMTP:mkolmar@xnet.com] > Sent: Wednesday, May 19, 1999 1:50 PM > To: IDM List > Subject: (idm) re: aliases > > On Wed, 19 May 1999, Irene McC wrote: > > WHY oh why do people have to hide behind so many different > > monikers and aliases? This criticism has often been levelled > > against >our< kind of music - the facelessness of the people > > behind it, but they obviously want it this way. > > I have never been able to understand aliases either. I can come up > with > at least three decent reasons: > > 1. To attempt to remove a sense of continuity from one release to > another > (If that is your thing. I prefer the opposite, e.g. Psychic TV. Or > even > when no continuity is intended but they keep the name anyway, e.g. > Underworld mk1 vs mk2) > > 2. Signing a contract that says you can't use a certain name except on > a > particular label > > 3. To become a different artist in some metaphorical way, to take a > new > approach (not sure why that would require a new name though, unless > the > goal is also #1 above) > > 4. In order not to confuse or anger people who think > "bleep-blop-biddy- > boom-bop" is entirely unrelated to "boom-blop-biddy-bleep-bop" > > --Mark > > > __ Burning Rome : SENSELESS CD on Mindfield Records MindCD03 > Cathartium 14 > > Distributed by Dutch East India Trading, Com Four, and Carrot > Top < > < http://www.xnet.com/~mkolmar/BurningRome > < MP3 & RealAudio > tracks > > >