GOLDEN DISKÓ SHIP – Prehistoric Ghost Party
"Golden Diskó Ship hebt das, was wir unter Folk verstehen, auf eine neue Ebene. (...) Das ist eine besondere Art der DIY-Avantgarde, die auch in ihren frickeligsten Momenten so locker flockig daherkommt wie purer Pop. (...) Prehistoric Ghost Party ist so gut, dass wahrscheinlich erst in Jahrzehnten in größerem Umfang auf den illegalen Download-Seiten danach gefahndet werden wird." Musikexpress, Albert Koch, 5 von 5 ***** "Tolle experimentierfreudige Musik kommt von Theresa Stroetges aus Berlin. Repetitive Akustikgitarrenriffs bilden die Basis für Songs mit fahrigem mehrstimmigen Gesang und massiven Schichtungen aus unterschiedlichsten akustischen und elektrischen Instrumenten und anderen Quellen wie Drum Machine-Spuren, bearbeiteten Feldaufnahmen, gefundenen Sounds und Noises, Synth-Bässen, Samples und Heulschläuchen. Die Sängerin hat zudem viel Spaß an exzessivem Effekteinsatz, tausend Ideen pro Song und anscheinend viel, viel Spaß beim Musizieren. Sehr kurzweilige und äußerst frische und humorvolle Musik!" de:bug, DE "Stötges ist eine Art Geistesverwandte von Richard D. James, der als Aphex Twin bereits zahllose Alben und EPs veröffentlicht hat und musikalisch vor nichts – auch nicht vor der Selbstauflösung – halt macht. Doch die Aggressivität eines Aphex Twin ist Stötges fremd. Über ihren manchmal widersprüchlichen Klangspielereien schwebt immer der merkwürdige Gesang von Stötges." Jazzdimensions (DE), Michael Freerix
Tracklist:
1. Skiing down a hill of dead fishies
2. My Exgirlfriends new boyfriend
3. Swimming pool
4. Girl as a slower ghostship
5. Today to Night
6. Waldemar
7. 4 Red Dots of Light!
8. Booking a Plane
9. Reindeer playing in the streets like me
10. Replaceable parts of irreplaceable you
11. Electrocuting an elephenat
12. Aphex with no skills
Recorded at Faust Studio 2011
Engineered by Andreas Schmid
Mastered by Lupo at Dublates & Mastering
ONE GIRL ORCHESTRA WHERE CHAOS AND BEAUTY MEET
« Prehistoric Ghost Party » is the debut solo album of the young and brilliant multi-instrumentalist and video artist
golden diskó ship. After Hans-Joachim Irmler acknowledged her talent, the album was produced at the legendary Faust
studio, home of the Klangbad label. Gudrun Gut is also a golden diskó ship fan, having released a split LP/CD with
golden disko ship and Jasmina Maschina in 2010. golden diskó ship set sail in 2007 navigating through a number of self-
made releases which brought her attention from the press, including comparisons to Coco Rosie and Fourtet. She has
toured in Germany, France, Switzerland, Austria, the UK, Italy, Scandinavia, Eastern Europe, the USA and Australia. In
spring, golden diskó ship will present her new album by the Spree river, at the berliner Kater Holzig.
golden diskó ship a.k.a Theresa Stroetges is a Berlin composer and classically trained viola player firmly rooted in the DIY
tradition. As a one girl orchestra, she creates her live shows with various instruments and a mix of electronic and analogue
sonic layers. She is renowned for her imaginative songscapes, crunchy distortion and squealing sounds whose dark and
noisy elements suggest eccentric drum machine abuse. In combination with her self-made video projections, her unique
version of sonic anarchy transports you into a world of intense chaos where fun and beauty meet. A subtle combination
of dark and soft atmospheres sends you into fantastic dimensions, perhaps even right back to prehistorical times!
In the poetic words of Falko Teichmann from Goldmund Berlin:
« The girl and her golden pleasure cruiser have returned from a long journey. In the sea chest of memory she has brought
back a great work, and it's been written in the many dialects of DIY. In the now published travelogue we find images
hiding behind noises, words and sounds performing exotic dances, and melodies that rhyme with meaning.
Resembling a publicly shown slide show documenting a private existence, her snapshots are a trail of images overtaken by
its soundtrack. And when the stories turn into songs the viola gets lost in an undergrowth of effect pedals, while the
guitars drag each other through a river of found sounds. And on the shore they find a house built from samples where they
pass the time with toy instruments. And from the centre of the room we can hear voices that are not in each other's way
and yet never simply turn into a choir. They whisper into the megaphone, they scream into contact microphones, they
hold each other scratching and caressing the ear. The rest is the sound of analogue footsteps on digital sand. And in all of
it one can feel a smile ... » (Silver Seeds)
