Navs Modular Lab:
Wolfgang Seidel, Navs,
Wolfgang Seidel, Navs und Hilary Jeffery
Biography Wolfgang Seidel
I saw the light of day in 1949 on a West Berliner backyard-Hof. There was not very much light at that time as it was during the last weeks of the Soviet blockade. There was only only intermittent electricity on the hour. A 10 year old sister was, of which the parents tried to hold off from hanging out with the teenage rowdies by burdening her to take care of her little brother .
That didn't go so well as planned. The siblings made a deal that when the brother did not tattletale, he would be able to come along with her wherever she went. Places he normally would not be allowed at his tender age.
Thats how the little rabbit, and the other native german songs and associated rigamarole got replaced quite early by Elvis Presley. The first half of the 60's, I survived on a diet of a Science fiction novels that i bought for few cents in crammed, non-heated second hand book stores.
From the first apprenticeship monies, my sister bought a portable radio where we heard the music broadcasts of ally radio stations AFN and BFBS. Music which sounded like the promise: Out there must be something more and/or better, than just post-war Germany, something where not only grey walls existed. The universe out of the SF magazines offered infinite vastness, but also was very far away.. So music was a more earthly pleasure and one that you could make for yourself. With 15, I began playing drums in Beat bands, which at the time, began popping up around every corner. (shooting up like mushrooms).
Neither entitled by originality or even professionalism, but rather propelled by excitement, Beatwave was something like taking re-education in your own hands. A moment that freed both the ghost and body from the past. One of the most favorite tunes in these days was " We gotta get out of this place" by The Animals. A couple of years later, the band Ton Steine Scherben, would use "We gotta get outta here" as a Hookline, putting the attitude to life of these times into a few words.
When the Beat Wave - propelled by excitement but not entitled by originality - turned into a kind of professionalising and commercialising Rock and Pop music, the amateur bands disappeared. After finishing high school, i began some dull university studies, which was soon discontinued.
Around the end of the 1960s, I was drawn into the circle of Düsseldorf-hailing Conrad Schnitzler (a student of Joseph Beuys) and his Zodiak Arts Lab. This was one of the cradles of the sound which would later be called Krautrock. In the beginning it was called Free Beat, a much more neat expression.
Then two things happened at the same time, I was playing in Conrad Schnitzler's band Eruption, which was the successors of Kluster, the group Conrad had left. Actually Eruption was much less a Band than an open concept, a test assembly looking for new sounds and new forms of musical interaction. And in 1970, I was one of the founding members of Ton Steine Scherben, one of the very first bands to marry german lyrics with rock music.
If the time with Ton Steine Scherben was rather a short term affair, because a band repeating the same song repertoire night by night proved too narrow of a concept for me to stay happy with, the collaboration with Conrad Schnitzler endured until his passing in 2012. Around the year 1980, I managed to combine the experiences of Rock music and free improvisations within groups like Populäre Mechanik and in cooperation with Alfred Harth...
After an interval of doing more bread and butter jobs, I am now a drummer and synth player in Berlin's Echtzeit - scene. Having recorded albums with Conrad Schnitzler and Populäre Mechanik, "Five Eyes" with Alfred Harth was then released in 2014. And even if Rock music remained rather just one episode, the re-issue of the 1970s Scherben debut album hit the charts at position 29 with some 45 year delay...
In Hall 2, from 7pm - 11pm, every hour on the hour in 30 minute clips, the passing public will be presented with a mixture of colored concerts, installations,
live and complex arranged applications from our in part, prominent and experienced customers and artists.
In Hall 1, starting at 8:30pm and at 9:30pm, panels and discussions to different themes will be presented. Invited guests are requested to play an instrument prior to it's explanation and provide commenting. The short appearances and performances will be moderated.