Nurse With Wound do us all a favour and sort the wheat from the chaff of their legendary “List” in a bountiful new trawl for their spiritual descendants at Finders Keepers, this time with a focus on German artists. Wigs will be flipped, we tell thee.
For the uninitiated; on the back cover of their 1979 debut album, ‘Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella,’ Nurse With Wound alphabetically itemised a stack of records that had influenced them, often for the inclusion of only one track on the record. The records were so rare and obscure that people who picked up the album thought NWW were having a laugh, but eventually realised they were real, obtainable things, leading them to become proper collectors’ items. After more than 40 years, and to the delight of many, NWW’s Steven Stapleton now dissects the pertinent bits of heart, liver and vital organs from those records, highlighting a shared consciousness of the ‘60s / ‘70s experimental, psych, and avant garde scenes in the years before record collecting of that voracity became a competitive pursuit and the fancy of hirsute record fair hunters.
This second volume examines Germany's inclusions on the list and is another precious haul of spannered, synapse popping prog 'n psych rawnesz thru to druggy, burned out eccentricity and ragged Prussian post-funk fuzz. It's a wild, narcotic voyage down the styx, all loose jazz rawk rhythms, ripped woofer bass and screaming detuned axe leads, everything assembled with a pre-punk middle finger to established ideas of order and genre. More importantly, it avoids the gilted critic-proof Kraut canon of Neu!, Can, Amon Düül, Popol Vuh and the like, mostly 'cuz if you've missed that you've probably not been listening very closely.
Instead, we get to experience the jagged, off-key improv splatter of Wolfgang Dauner's 'Output', that pulls us into the Deutsche smokescape kicking, screaming and frothing at the mouth. It sounds like musicians playin against each other rather than together: drums are an assemblage of occasional fills, guitar riffs are mangled, smacked and panned, oscillators squeal drunkenly like sick insects and piano rattles and rolls to underpin everything with nautical anxiety.
Avant legend Limpe Fuchs and her husband's Anima-Sound duo appear with 'It Loves Want To Have Done It', a haunted, sparse improvisation that pits screams and whispers against tidal free-wonk percussion and pinging left-bonk effex. Underrated Detroit x Stuttgart Kraut-funk oddbods Exmagma fight thru blotter breath with 'It's So Nice', drawing a clear line in Sharpie between Black US innercity innovation and German commune-adjacent anti-establishment experimentation. It all follows a line far beyond the usual krautrock and kosmiche culprits to perfectly demonstrate the Germans’ rhythm-driven and psychedelic urges in abundance, highlighting the way a generational wave of musicians sought to create a new music unshackled from folk music tainted by their fathers’ generation, or imitating British and American styles; broadening their horizons while cognisant of the need to make a music that was, after all, expressive of a new society. Trust Steven Stapleton has picked out the most virulent, enduring examples for a new generation to absorb while watching their hairlines recede and waists and beards bloom…