User:Yusef 1/sandbox

"SHAG-GAZING" -  DE-EVOLUTION FROM "LO-FI"

"SHAG-GAZING": (also known as post, post, "NU-GAZE" dawn) is a new and retro at the same time subgenre of "INDEPENDENT", "ALTERNATIVE", and "BOGG-METAL", that has been emerging for quite sometime with the promise of something new and lasting toward the future. Many people do not realize that the beginnings of "SHAG-GAZING" comes from a much earlier incarnation pre-dating the post "SHOE-GAZING" sucess of the early and late nineties. Bands such as "ARIEL PINK", "BRIAN JONESTOWN MASSACRE", "DUM DUM GIRLS", "TAMPON T-ISSUES", and "NO-AGE", etc. calling themselves "NEO-PSYCHADELIA" as well as "FOLK-PSYCHADELIA", "PSYCH ROCK", "ROCK PSYCH", "PSYCHIC ACID", "SMOOTHING FEELINGS", "GLITCH SKUNK", "VELVET MAUCHEN" as well as other terms of similarities, brought the change for a new title other than "SHOE-GAZING" AND "CHILL-WAVE", or the derogatory "SHIT-GAZING". The lack of interest in creating music of depth with perception brought the form of the basic construct. To say that this analysis is inaccurate pre-supposes that the intention is to bring a new evolution to production. Some have suggested that the purity of the artists origins are from their disinterest towards creative skills in actual musical construction. These artist's use of common methods and techniques like "PASTICHE", "DE-CONSTRUCTION", "AUTHENTIC", "PRE-MODERN", "POST MILLENIUM", "RETROGRADE JUNK", "METRIC-CENTRIC", and of course "GARBAGE DETAIL", have brought a growing transparency of the basic creation. Comments such as, “The piece was done on a four track while sitting on the carpet", have displayed their disinterest and concern in actually forming "new" music. The disinterest is their confimed aesthetic.  Sighting artists such as "WIRE", "SONIC YOUTH", "SWELL MAPS", "HUSKER DU", "THE FALL", "DAVID BOWIE", "BEASTIE BOYS", etc. needing a traditional musical education over their virtual artistic education, has helped create these “SHAG-GAZING” artists validation.  The only difference one can suggest from their supposed predecessors is the time in which they are creating their work as well as the tools that are being used by these future primitives.   There is a supposed theory that the early roots of the term "SHAG-GAZING" stems from the concept of "below the shoe". Fans have theorized that the true roots comes from the idea of many of the artists being laterally challenged. Contributors to the editors of such publications such as, "N.M.E". as well as "SPIN" and "ROLLING STONE MAGAZINE" have suggested that the “shag”, in "SHAG-GAZING", stands for the sixties band "The Shags", which these modern artists tend to worship at their totem of simplicity. One of the quintessential commonalities of this genre is the use of motifs, quotations, and yes simple stealing of other sound-scapes and images for their original aesthetic. Criticism has many times brought the simple response: "Doesn't everyone else?" "It's not like chords and intervals are anything new, it's how you use them". "There is no such thing as originality". But... It has become more and more the defense in response to the accusation. Un-categorically not deniable is the proof that "SHAG-GAZING" is with it’s origins and it has it's very distinct place in it's position in our modern history.

HISTORY AND RISE OF SHAG-GAZING

a. DE-MYSTIFICATION AND MYTHOLOGY OF "SHAG-GAZING"

Obvious origins of these meager beginnings of this genre can be sighted with bands such as "VELVET UNDERGROUND", "ROLLING STONES", "KING CRIMSON", "MAGMA", "FAUST", and other "KRAUT-ROCK" groups during their early conceptions of development. Obviously included with these gestating groups are "The Shags"... The most likely and important influence for these "SHAG-GAZING" bands is commonly sighted to be the extremely esoteric and equally elusive East German "DE-CONSTRUCTIONISTS", "DAS KARBARD BOXEN KOLLEKTIV". To understand is to comprehend this collective and it’s importance and use of myth and mystique as is applied with today’s popular cultural artists. As many bands and artists of this generation have become hyper aware of the clarity and transparency the less importance and the mystique are projected of the creation. "DAS KARDBARD BOXEN KOLLEKTIV"'s advanced use of these techniques and many other practices has brought the comprehension of  the “SHAG-GAZING” artists. Even the nom de guerre of the group has had some detractors bringing serious questionability to it's authenticity especially because of the many gestations of the name as well as the lack of archival documents. The majority of this groups popularity tends to exist from the "AFICIONADO"'s of obscurities from buyers and sellers of the nineties as well as the present. As well as todays modern attraction to the download culture. The loyal followers of this band who tend to be extreme seekers for the obscure. The group’s mythology remains and grows larger using the technique of rejection as participation. The more that "KARD", (believed to be the founding member and still remaining contributor of "DAS KARDBARD BOXEN KOLLEKTIV"), resists the desire to be heard the more his/her mythology continues. Techniques of this behavior reflected as such by "KRAFTWERK", "CAN", "RED FACTION ARMY", and "SIGUE, SIGUE, SPUTNIC", and last but not least "LAIBACH" etc. seem be a very important origins for this said behavior. “KARD”'s primary motivations become more transparent, the greater "DAS KARDBARD BOXEN KOLLEKTIV" embraces their elusiveness and proposed obscurity. "KARD"'s common statement, "Wer ist “CARLOS”? Er ist Scheiß. ,” which has been interpreted by many as pertaining to the 1960's to 1990's terrorist the "JACKAL" and his attraction to fame, describes "KARD"'s" lack of comfortable place or desire in the theater of entertainment or life...

b. BEGININGS OF DAS KARDBARD BOXEN KOLLEKTIV

Much is there speculated about the early gestations of "DAS KARDBARD BOXEN KOLLEKTIV". "KARD", of "KARDBARD BOXEN KOLLEKTIV", beginnings originate from, "EINSTURZENDE NEUBAUTEN" and the said band projecting close to the "BERLIN WALL". "KARD", a then teenager, listened with his/her ears to the cement his/her new inspiration... Real noise or as he choose to call it, “das echtes Geräusch”. With his listening "KARD" could envision without conjecture his/her place in conjunction with the future.... Reaching the inception for creation would need more than inspiration. The motivation would need equipment which "KARD" thus would purchase with his/her first analog instrument, A "CASIO-TONE (inc.)" keyboard. Ironically happenstance brought the fortuitous opportunity for this keyboard’s availability (in 1983) into the homeland (“EAST GERMANY”). Sponsorships brought by products such as "COKE-A-COLA", and "POPOV VODKA", helped“KARD” attain the first instrument of “KARBARD BOXEN”. "DAVID HASSLEHOF" and his "DAS K.I.T.ty TOUR", having donated instruments,  to the "EASTER BLOCK", while performing at the "LENNIN ASTRO SPHER" in "KARD"'s hometown. Seeing as "KARD", now 15 yrs of age, was experiencing the difficulties of the Communist chaos he/she needed to find the much needed money to purchase more equipment than the "CASIO-TONE (inc.)" keyboard. "KARD", was able to attain the needed currency by selling "RAUCHER STURBEN FRUHER ZIGARETTEN" (cigarettes) which Heinz, his believed father, Inadvertently supplied where he worked processing the tobacco. Thus we enter the beginning of the collaboration between "KARD" and frau/herr "BOXEN" as well as the existing on the fringe for both of them.

c. KARD AND BOXEN BECOMING DAS KARDBARD BOXEN

The importance of "KARDBARD BOXEN"'s gestation can not be ignored nor dismissed without considering their arrest by the "STASI" (secret police) both at the same time for the same crime. "KARD"'s consecutive attempts to “acquire” more "RAUCHER STURBEN FRUHER" cigarettes terminated his father's employment at the "ZIGARETTEN" processing plant. "KARD" attempted to explore with various failing degrees to increase his waning decreasing revenues thru stealing shoes, umbrellas, as well as potatoes, which were out of season. After the many failed attempts brought consistently nothing but abject failure, "KARD" decided to try one last desperate act to gain the much needed revenues for his creative needs. He/she thought to have found successfully bribed a driver of contra-band of western imperialist "CONTRACEPTIVES"  as a solution. This plan to acquire the said contra-band thus brought the demise as a high-jacker and criminal, while also defining “KARD”’s attraction to existing on the fringe. It is important for we as the said appreciator to understand the failure of his/her attainment because of what it surprisingly brought instead of revenue… "BOXEN". Her/his introduction was brought to “KARD” by the shivering and writhing emaciated apparition in the corner of one of the cabins that was randomly chosen by "KARD" in the cabin of the diesel. “BOXEN” was surprisingly discovered in a delivery vehicle of "UTE DIE ESSENENZ PERFUME" which was in actuality a carrier of a much different cargo, ("KALISHINKOV ("A.K. 47 inc.", and South East Asian "PORNAGRAPHY"), which was problematic for both "KARD" and "BOXEN" with it’s findings. An extreme response by the East German "STASI"  ironically inspired their new collaboration even more.

d. "DER STENCHEN" – THE FORM OF DAS KARDBARD BOXEN

The six months of incarceration and torture for both "KARDBARD BOXEN" and the "STASI" completed the beginning of the “KARDBARD BOXEN”.. It is speculated that "KARDBARD BOXEN" actually performed their actual debut at the "TRABANT PROCESSING MANUFACTURE PLANT (inc.)" on August 13, 1986. There the group introduced the first performance of "DAS CAVE, DAS BOX, DAS MESS", which many believe has a direct connection to "PLATO'S ALLEGORY TO THE CAVE". It is without question that the introduction of "KARDBARD BOXEN"presented the simplicity and the complexity of the duo performing under "DAS CAVE, DAS BOX, DAS MESS" and the introduction of their beginning mystique as a group performing under boxes that some believed were their shelter. This important performance is described as the event which introduced to their new audience the artistry, philosophy, and performance direction or their agenda as artists. The groups new followers of “KARDBARD BOXEN” Most likely are believed to be the gestation of the “KOLLEKTIV” of "DAS KARDBARD BOXEN KOLLEKTIV". Embracing western behavior of "PUNK ROCK" etiquette from the seventies, screaming disparaging criticisms as complements such as, "Der Geruch ist sehr schlecht"!!! helped bring a forward progression, for the form and design of“DER STENCHEN”. To understand the significance of the term "DER STENCHEN" one should try to associate the use of the "DRONE" with the similar but different medium of "SHOE-GAZING". Consider the sound of "DER STENCHEN" to be the center and belief of the performance of "KARDBARD BOXEN". “DER STENCHEN”'s progression of sound and vision is to “SHAG-GAZING”  what the “DRONE” is to  "SHOE-GAZING". Where “SHOE-GAZING”’s use of the drone progresses a music form toward dissonance and beauty as it’s most defining aural experience, “DER STENCHEN”’s use by “KARDBARD BOXEN” obviously brings the dissonance and violence for a defining tension.

e. ICONOCLASM FOR DAS KARDBARD BOXEN KOLLEKTIV

One of the most tragic ironies of success with their use of “DER STENCHEN” is the fact that there is not many examples of any of their music, let alone performances. Although there are early recordings and the later sessions of rare performances that can be found ,the descriptions are amorphously vague and equally convoluted. What the listener begins to discover when listening to these testimonials and recordings is an extremely cohesive perception by the ones who choose to listen with discernable ears of the creative form of “DER STENCHEN”. What the very slight and rare performances translate to the listener with certainty is the passion for making affective "DER STENCHEN". “KARD”: "Der Stenchen Ist Äther, Der Stenchen Ist Gebärmutter (womb), Der Stenchen Ist Verboten" . The true essence of "DER STENCHEN" is the complexity and control of chaos in it's honest "PASTICHE" of the continual alienation and embracing toward the absolute control as freedom. The more the "DER STENCHEN" announces itself the more comprehensive the anxious listener becomes enveloped by the sincerity of “KARD” and “BOXEN”’s direction. Performances of "KARDBARD BOXEN" tend to showcase their noble intentions over their completely successful executions for the artistic impressions. It is entirely impossible to describe the "DER STENCHEN" affectation, without understanding their location of creativity... "DAS NEU BOX". Or the more commonly titled "DER STENCHEN CONTROL NEU BOT". In order for we Westerners to completely understand "DER STENCHEN CONTROL NEU BOT", one must relate to artistic colonies of the sixties and seventies, such as “THE FACTORY”, “KOMMUNE 1”, “ZODIAK FREE ARTS CLUB” and  “SPAWN RANCH”. As “KARDBARD BOXEN” performed at the “DER STENCHEN CONTROL NEU BOT”, the greater the audience desired to be more involved than just as eager listeners. Thus the beginning of the “KOLLEKTIV” was to be born. More and more did “KARD” and BOXEN” find their creativity being inspired but also affected by the “KOLLEKTIV” who one has to wonder if they truly wanted to be part of their experience. CARL WILLIAMS, explains:, : "It was like you know really cool, and like unbelievably freeing and shit." Those guys/girls were never there but they were... kind of. "I wish everyone could have felt "THE STENCH"." "and smelt it like I did". "I remember one time when one of the girls that was I think “KARD”'s girlfriend, Helga, was like sitting with the headphones on starting to drain essence out of the earphones". "It was DER STENCHEN" at it's purest.” “and I thought man why can't the artists of today rock the shit off like these guys/girls who don’t need to bathe?"  “There are those that believe that the girlfriend/boyfriend, Helga, was actually “KARD” seeing as no-one ever saw him/her or frau/herr “BOXEN” for that matter except when they performed, It is virtually impossible to honestly know if they were there as a participator at the “DER STENCHEN CONTROL NEU BOT” or just one of the believed “ DAS KOLLEKTIV” followers of the group.  Thus one has to at least consider the possibility of this conjecture as well as the many testimonials that have been recorded . Noted politico journalista of "ETHERIO CUBANO":  "I was there at “DAS NEU BOX” on a travel visa and I saw and heard something but I'm not really sure what it meant. "But I am absolutely positive that “KARD” and Helga are one in the same, como la luna con esto es sombras. Como los pesos con esto es lados. Como el "DER STENCHEN" con esto es el olor. "Y no es que que nosotros como la gente, ¿los artistas, los revolucionarios y los amantes buscan todos? "..." Pureza en esto es la forma de purest". "Viva, los Revolution, Viva Los "DER STENCHEN". "El KARDBARD BOXEN COLECTIVO" es "el CHACAL" "Él es el caos" ..

There is consistently one performance with reverence by "KARDBARD BOXEN” and “DAS KOLLEKTIV", "DIE DREI KASTEN!!! DIE DREI,... ehhh? ( “DAS NEU BOX" January 19, 1987). What one needs to comprehend is how brilliant and yet simplistic the performance truly was to the select audience that was actually able to attend. "DIETER GUTEN IV", (founding member of “DAS WAHRE KOLLEKTIV” as well as believed member of “DAS KOLLEKTIV”) :  "Ya, I was there but I was very, very, bored at first”… “And then miraculously, I wasn’t”.  Suddenly all was beautiful, to my herr family, “DAS KOLLEKTIV”.  “The decay”... “The extreme closeness to the death of all things”.  The true "DER STENCHEN" in essence. “But it was much more”... "PURITY" and "NOBILITY". "POVERTY and "SELECTIVITY" “PROSPERITY and “SPECIALITY” ... Progress spitting in the face of old philosophy, towards a new existential "FUTURISM" crashing towards a "DE-CONSTRUCTIONISM" and then almost surpassing the original "CREATIONISM". toward what we lived to call the "NEU"." It is believed in essence “DIETER GUTEN IV” was describing the Boys/girls performing with the basic structure of the commonly heard and even more frequently seen “DUO” form at it’s most perfection typified by bands, such as "HALL & OATS". Dieter: “The thing that made "KARDBARD BOXEN" so fascinating to the audience was the simplistic yet extremely complex use of "CARD BOARD BOXES" for the "DUO" configuration.” “No one could hardly be criticized for actually discerning barely the music with clarity seeing as "KARDBARD BOXEN" were performing behind " DER PAPIERRAND"” .  The often commonly titled description later given to “KARDBARD BOXEN”’s sound when it was performed at it’s more perfected.

The question is what is "DER PAPIERRAND"? In it's most comprehensive understanding the “DER "EDGE" as it is affectionately titled by some “DAS KOLLEKTIV” members, is submission of the sound toward the silence from the noise. Or "DER STENCHEN" truly arriving past strength, structure, and also execution. "CONTESSA BRUN SVELTE" (member of “FLACID” and believed listener and member of “DAS KOLLEKTIV”) : “Unfortunately the music is never honestly understood unless you are in the zone of "DER PAPIERRAND". “You must Imagine you are standing in a room full of people you do not know but yet feel are family or “DAS KOLLEKTIV””. “Thinking, feeling, and yet being uneasy while becoming at ease.” “And then something quite extraordinary happens.” “The arrival of Das "DEVIL". “To be alive and and yes, dead”. From "DER PAPIERRAND", by der Schmerz, by das paper,... Kürzung...” “Feeling those thin slivers of joy, yet excruciating pain of pleasure scratching your brain with the slight sting of awareness, confusion, and of course the illusion of control.” “That is "DER STENCHEN", that is "DER PAPIERRAND", that is "DAS CARD BOARD BOXES"... “And if you are one of the lucky ones you know.”… “If you were not you can never feel what we of “DAS KOLLEKTIV” felt and still feel!!”... Because “DER PAPIERRAND” has like all feelings passed.” “ Our lives”… “Our futures.” “Of the “DAS KOLLEKTIV” mind.”

f. DECLINE OF KARDBARD BOXEN KOLLEKTIV TO THE NEU

It is speculated that "KARDBARD BOXEN” and “DAS KOLLEKTIV"’s divisions of philosophy and direction had it’s gestation start to grow with "BOXEN'S beliefs and motivations starting to envision an enlightened possibility and probability of new forms with the composition process moving away from “KARDS” solidified creative and inflexible artistic direction.  Of course even this speculation can  be debated by those who claim to know “BOXEN” well in “DAS KOLLEKTIV” since more and more the “DAS KOLLEKTIV” became  included in “KARDBARD BOXEN””s artistic process peripherally at best.  The most widely supported theory of this change in “BOXEN”’S creative change is his simple but driven desire to expand the sound to a  much more aural possibility.   FRAU LOTTE SLESENGER, (believed to be one of the founding members of "FLACID") ,: "Frau/herr "BOXEN" was so moved by such the simple yet, pure, experiences of the organic world.” “Music seemed for “BOXEN” to be more than the simplicity of sound alone.” “I believe she/he started to an evolved perception change of music as something akin to feeling over hearing”. “Possibly as her/his other senses became more acute, “BOXEN”’s listening became a little bit less discernable toward selection of the sound-scape over the emotion of the experience.” “Those last months between “KARD” and “BOXEN” I imagine were very painful for both of them”. “BOXEN”’s cries of pain and “KARD”’s expressions of anger had to take a toll on them both. “BOXEN”’s requests of isolation over her/his original attraction of adulation also must have brought even more confusion.” “You must remember that the creative process between “KARD” and “BOXEN” always was to some level individual more than collaborative in the truest sense.” “But now the rage and purpose that were always part of their process as a companion with creation was essentially at odds with the artistic motivation that was “BOXEN”’s formulations.” “Thus “BOXEN” inevitably stepped away from the restrictions of collaboration and began to realize the possibilities of his individualism.” “And like all growth that is necessary for das evolution, the death must come first and then belief.”  “I believe “BOXEN” even realized this before “KARD”. “His necessity of demise for both,” obviously displayed by his Magnus opus, "MEIN VATER, MEIN FEUER, VERSCHLIEßT GERADE DIE HÖLLE, SHITHEAED" - eine Oper in Schwein-Taten. (Composed in the Winter of 1989 by “BOXEN”), was if anything inspired toward the Der Sohn, der den Vater tötet … and land of “KARDBARD BOXEN”. "MEIN VATER, MEIN FEUER, VERSCHLIEßT GERADE DIE HÖLLE, SHITHEAED”. Was despised by "KARDEN KLOSEN", (believed to be "KARD" of "DAS KARDBARD BOXEN KOLLEKTIV") .  “KARD” could not see “BOXEN””s  declared truth.”“All “KARD” could impress was das pain.” “It was inevitable in the same way “BOXEN”’s masterpiece portended the end of all things patriarchal.” “Obviously this signified the end of all things “KARDBARD BOXEN”... “As well as the division beginning to grow like a disease.”

Inevitably the end came to prominence with what unfortunately was the last supposed performance of “KARDBARD BOXEN” and “DAS KOLLEKTIV”. "Das letzte Konzert, das jemals gehört würde", or the more commonly titled "DAS BLUT, DAS SCHMERZ" performed at the "LENNIN ASTRO SPHER" on it is believed March 17, 1988, (accuracy is again is in question because of the destroying of many of the documents during the "FOURTH PURGE OF E.U. STASI") is of course the edifyingly final attempted performance of “KARDBARD BOXEN”. "FREDRICK VON BUCHER" current member of  " “DAS WAHRE COLLECTIV", explains: "Vat? ”DAS BLUT, DAS SCHMERZ”?”...”Ya,  I was there but all I will ever remember is that usurper, "BOXEN". “ Playing those stupid new acoustic drums like a simpleton rock and roller”."KARDBARD BOXEN" was a duo in all it’s glory, like Das “WHAM". “No Pseudo jazz ensemble!”  “Machines of progress and perfection of violence and grace,not acoustics!”. . "BOXEN" was trying hard to make the noise more gentrified and also sterile.,"KARDBARD BOXEN" had always used a "ROLAND 909 DRUM MACHINE (inc.) for one reason and one reason only”. “The exploration of "DER STENCHEN".  “No drums, just “DER STENCHEN” und "Die Maschine der Gnade und Reinheit.”  “KARD”’s 909 vas “DAS EGG”.” “If you take away “KARD”’s  “DAS EGG”, “you take away KARDBARD BOXEN KOLLEKTIV”’s purpose. And all becomes something other.., and the other becomes the simple and horrible music.” “Not the wahre “KARDBARD BOXEN KOLLEKTIV”. "DER STENCHEN" ist volume.” "DER STENCHEN" is transgression of the modern man.” “DER STENCHEN” ist escalation”. "FLACID (former founding member) "INGRID BUTCHA":, has a very different take on that night in question. ""BUCHER” and "KARD" can only see what they believe is wahre progression, but they are completely wrong!” "DER STENCHEN" needed to change.” “Yes, growth is painful but it is necessary.” “Time is necessary to ferment and correlate to the modern world.”."BOXEN"'s playing under the "CARD BOARD BOX" was truly unique.” “It was the sounds of growth.” “It was the sounds for the next phase.” “It was the feeling of parallels dividing and of course unifying as well.”  “The "DER STENCHEN" in the "NEU", the "DER STENCHEN" of das solemnity.” “That "BOXEN"  did not play the drum set in conventional terms of technique and style is absolutely unimportant.” “We of the collective "FLACID" affectionately refer to “BOXEN”s playing as the "DAS SLAP OF STUKA (inc.)" or even more affectionately "Der Schlag des Lebens". “It is the slap of life as a baby waking from the womb.” “It is the birth”.

The one issue that, "KARD", "BOXEN", "FLACID", and "DAS WAHRE (TRU) KOLLEKTIV" can all agree on about this night is the inevitable end it brought to fruition. ”KARD”’s own words describe his/her feelings on this event with reflection.” "KARD" : "BOXEN" had to do only one thing to end the travesty of my performance.” “Leave the gott damnen box.” “Yes, I was disappointed with her/his needing to play the drums on that night in question, but we as “KARDBARD BOXEN” still had the possibility to continue and hopefully evolve.” "NEU SMELL" be damn I could have looked past the self-involved behavior of “BOXEN” if she/he would have just let the performance complete to it’s final denouement.” "DER CODE DESSEN DER STENCHEN" never is to be violated but it was, to the form of disrepair.”  “DIE NEUEN BLATTER”,  “DIE ZWEITE HAUT”. The "FASHION FOR DAS LOCO-MOTIVE ALLES" was to be our greatest statement but alas it truly never was to be. “Das "CARD BOARD BOX" is not meant to be lived in.” “Only visited and then discarded like the acid rain that is more than inevitable… .”. Those "DAS KOLLEKTIV"!!”, “I loath you and your foolish embraces.” “One side for control of the "CARD BOARD BOX"!! in it’s form and one side for control for it’s exposure to the other.. “Both the same and yet, perceived as a difference”. “The blind raping the blind”.… “When "DER GESTANK UND DER NATÜRLICHE BOXEN" was introduced we as a group were finished…and the formidable was defined to it’s inevitable .”

g. DIE MYSTIK ABSORBTION INTO THE SYSTEMATIC CULTURE

"DIE MYSTIK", as “KARD” chose to refer to the groups outward perception and potential mythology most likely began with the dissension of the beliefs and artistic directions after that nights failed performance. Which direction was proper for “ DAS KARDBARD BOXEN KOLLEKTIV” to move forward and which direction was inappropriate for the artists to remain? This seemed to be the urgent question that none of the “DAS KOLLEKTIV”, “KARDBARD”, or “BOXEN” could successfully or probably honestly be complied. Ironically the existence of the artists position was designed with question as it’s biggest motivation from the start. But now the question seemed to portend toward an unsatisfactory resolve for everyone involved in the creative experience. So the myth was bound to grow and it did as it has through the years with all of their dissensions " And yet an outsider can’t help but see the similarities between these artists disagreements and other collaborators of varying degrees. DAS KOLLEKTIV" splintered but agreed on almost nothing except the importance of not being connected to "KARDBARD BOXEN KOLLEKTIV". "FLACID" one side of the splintered of the now “DAS KOLLEKTIV”, seemed to embrace a more spiritual and naturalistic path with their new "MONO-PLURALISM THEOAESCTIC" point of view. At least peripherally “FLACID” seemed leaning on the side of “BOXEN”’s artistic new journey.,  Where "DAS WAHRE KOLLEKTIV" seemed to be more interested in their "OLIGARCHY-SOCIALIST AGNOSTIC" point of view at the very least embracing the more violent tendencies of “KARDBARD”’s philosophical  as well as control motivations. But again this is trying to explain the simple and yet complex dissolve that inevitably exists with many musicians and artists. Both organizations seem to be not completely comfortable with their history in the "KARDBARD BOXEN KOLLEKTIV" and yet comfortable with manipulating the perception of the history. This is where the “DIE MYSTIK” theoretically begins to grow, With the mythology expanding past the probability of history. Since the one thing that both of the splintered “DAS KOLLEKTIV” groups have displayed is a savy since of business acumen as well as marketing abilities the perception of “KARDBARD BOXEN” has tended to change from the probable truth to the absolute myth.. This convolution of the history has brought a much more modern perception of the  "DIE MYSTIK". Although performances and recordings do exist one has to question the authenticity of the the said archives if they actually are of the “KARDBARD BOXEN KOLLEKTIV”. "KARDBARD BOXEN" was admittedly prolific yes, but as advanced with their productions as is represented by the extremities of availability? Are these archive interviews, recordings, and even performances legititmate? Only “KARD” and “BOXEN” honestly know and neither seems to be speaking.

The question of these said archives authenticity actually existing or just possibly production availability produces the greater importance for “KARDBARD BOXEN”’s placement in history... How these archives are affecting the new generation of disciples, and less on if that affect is from an authentic place of origin seems to be the important position for the groups transparency or lack there of. What does authenticity actually mean, once it is believed to be accurate when accepted by the greater population? A history that is without need of question that can actually include a parallel retailing. What has become more important with this "DIE MYSTIK" growing from an early gestation to the phenomenon of popular belief is the so called proof or better term, mythology that is represented. Or the new “purer” truth. It is logical to pre-suppose that the "SHAG-GAZING" artists have been seeking to find influences of obscurity through the said artists desired mythology from the “DIE MYSTIK”. The use of “KARDBARD BOXEN reflection and abstract relations, has all but solidified to the “SHAG-GAZING musicians a growing connection. While also helping keep the separation which embraces the educated desire for obscurity that “KARDBARD BOXEN” created so well. To completely understand how this process works all a listener or viewer has to perceive is that the obscurity becomes the form. Consider how this technique for obscurity is used with other mediums in popular culture than music in the form of "PASTICHE”’s such as music videos in the style of early movies, fashion worn that relates to films and photo-documents, or even album covers with slight but definite relations. As "DIE MYSTIK"’s use creates a more successful connection, the audience tends to become more a part of the process, and of course more exploited at the same time. After all wasn’t “KARDBARD BOXEN themselves exploited by the “DAS KOLLEKTIV” and one would have to surmise “KARDBARD BOXEN” exploited especially in the beginning the “DAS KOLLEKTIV”?  None of this use of “DIE MYSTIK” is really important unless one considers the techniques and creations It’s taught to the new artists, especially of “SHAG-GAZING”.

h. THE LONGEVITY OF SHAG-GAZING

"SHAG-GAZING". Has it a half life longer than a year?... Did "SHOE-GAZING", "LO-FI", "CHILL-WAVE", "FOLK-PSYCHADELIC", "NEO-PSYCHADELIA", "VELVET MAUCHEN", "GARBAGE DETAIL", ect. have more than a year with it’s development to it’s percieved conclusion? Again the question seems to be less important than the classification for the definition of the technical use of the “DIE MYSTIK” and the myth. It seems by nature artists whom use "PASTICHE" forming creations present originality by masking the genre connection. Even when the obvious attraction towards said genres, such as “SHAG-GAZING”, come from the naivety and simplicity to the artist for their honest motivations, the creative process seems to remain without the passion toward complete authenticity of the form and development. There are exceptions to this embraced rule but the majority of the the said artists tend to be as much concerned with the separation as the connection. Artists such as, "TAMPON T-ISSUES" who seem to be less concerned with classifications of “SHAG-GAZING” defining their position and more concerned with the development of their art form realizing a solidified creative completion, tend to be the exception to the rule. Gestation moving toward a creative zenith is less likely for the majority of artists and more likely to be seen as a genre anomaly. It is entirely possible and yes, probable that even artists such as “TAMPON T-ISSUES” will define it’s evolutionary process as a “SHAG-GAZING” artist and move to another given definition of genre for their description of their said art. Probably the work will matter less and less… Only the genre and it’s motivations with all that this entails in it’s irony. ""Es ist der ganze Scheiß. Das ist bereits Geschichte.", “KARD”,.