Die  vierteilige Story "...grüne Tage auf einem blauen Planeten..."(deutsch)

"we used to cut the green grass... / ...the war is over..."

"the inner garden"

"stolen dreams in a nearby lost & found"

 

...früher haben wir das gründe gras geschnitten... - we used to cut the green grass...

Die ganze Geschichte - (c) Rainer Wahlmann

03:44 a.m. Friday, 3rd of May 1985 Halsenna Road, Seascale

 

Schlaf? Der kleine Bruder des Todes
Eine schreiende Stille weckte ihn. Was war das?
Nicht der Wasserhahn, der wie immer vor sich hin tropfte. In seinem Kopf schmolzen die vergangenen Tage und Wochen zu einer klebrigen Masse. „ Ich brauche eine Auszeit“ dachte Dave.
Verschlafen rieb er sich die Augen, hinter denen stechender Kopfschmerz pulsierte. Er stand auf. Über leere Flaschen, Tabakbeutel und übervolle Aschenbecher suchte er sich seinen Weg zum Fenster.

„Vielleicht sollte ich mit dem Rauchen aufhören, oder mit dem Trinken; zumindest damit, beides gleichzeitig zu tun!“
Früher als sie noch das grüne Gras geschnitten und vorsichtig in der Sonne getrocknet hatten, hatte keiner von ihnen Alkohol angerührt. …früher..
Dave wusste, dass das Pochen hinter seinen Augen der verdiente Preis für diesen Tabubruch war.
Wie verloren lief er in seiner Küche herum; der Wasserhahn tropfte noch immer.
Er starrte durch das Fenster. Wie ausgestorben lag die Hallsenna Road da. Irgendetwas fehlte. Die Vögel! Nicht ein einziger Vogel war zu sehen!
Vom nahen Sellafield her erhob sich eine riesige schwarze Wolkenwand.
„Das war´s wohl! Diese Stadt wird sterben! Ich muss weg hier!“
Er schaltete das Radio ein.

Guten Morgen, es folgen die 4 Uhr - Nachrichten von Radio "Freak out - wir sind dabei!"

Unbestätigten Berichten zufolge ereignete sich ein nuklearer Unfall in der Anlage Sellafield
Wir weisen darauf hin, daß wir darüber noch keine offizielle Bestätigung haben,
werden aber selbstverständlich sofort unser Programm unterbrechen, um sie genauer darüber zu informieren,
sobald wir offizielle Verlautbarungen hereinbekommen

Immer noch kein Ende in Sicht bei den verheerenden Stürmen,
die nun schon seit 4 Wochen unser Land heimsuchen

Den Wetterfachleuten zufolge
gab es seit Beginn der Wetterbeobachtung noch nie eine solch lange Periode ohne einen einzigen Sonnenstrahl,
Jerry Baker
der bekannte irische Wissenschaftler behauptet,
es gäbe möglicherweise eine Verbindung zwischen der momentanen furchterregenden Wetterlage
und einer Reihe von Freiluftexperimenten mit

genveränderten Bakterien
die zur Zeit von

der Gesellschaft zur weltweiten Vernetzung künstlicher Intelligenz

durchgeführt werden

Wie auch immer
kein Grund zur Panik, Leute !

also bitte
bleibt auf unsere Welle eingeschaltet
für weitere Informationen und natürlich
Musik
Das waren die 4 Uhr-Nachrichten von
Radio "Freak out - wir sind dabei!"

*RADIO NEWS/THE MORNING AFTER - RADIONACHRICHTEN/DER MORGEN DANACH

 

„Was bedeutet das? “ Dave versuchte, zu verstehen.
eine Klimakatastrophe, aber damit nicht genug:
ein Flugzeugabsturz auf den Reaktor Sellafield 4
Tausende von Flüchtlingen, schlimmer als in jedem Science Fiction würden versuchen, sich nach Süden durchzuschlagen
Überforderte Behörden würden Rettungsoperationen diskutieren, Lebensmittel würden knapp, kein Strom, kein Wasser
die Welt sitzt in der Klemme - jetzt beten wir, ein Retter möge kommen
das hätten wir besser früher getan - jetzt ist es zu spät - viel zu spät...“

*BETTER CALL IT A DAY (...DAS WAR´S WOHL...)

*SO WHAT THE FUCK? (WAS ZUM TEUFEL?)

Kein Abendrot. Die Sonne kämpft sich nicht mehr durch. Bis in die Stadt schafft es das Licht nicht mehr, wie die gütige Mutter, die noch einen Sohn hat, aber keinen Mund mehr, ihn zu beweinen. Mutter Natur; mehr gibt es nicht mehr.

09:44 p.m. 05. Mai 1985 New Continental Hotel, Millbay Rd., Plymouth
Sarah hatte unmittelbar nach der Nachricht von der Katastrophe ihre Wohnung in der Gosforth Rd. in Seascale verlassen.
Eine unfassbare Völkerwanderung nach Süden hatte eingesetzt. Jeder wollte sich retten. Die Sonne zeigte sich überhaupt nicht mehr.
Neon wurde zum Tag.
Zwei Tage hatte sie bis hier nach Plymouth gebraucht. Die Stadt platzte aus den Nähten So weit es ging waren die Flüchtlinge überall in der Stadt untergebracht worden. „Etwas Gutes hat diese Katastrophe zumindest“, dachte Sarah. „das New Continental hätte ich mir früher nie im Leben leisten können“. Die Flüchtlinge hatten es im Handstreich besetzt.
Hunderttausende belagerten den Hafen, um noch einen Platz auf einer Fähre, einem Schiff, einem Kahn zu ergattern.

Gott sei Dank herrschte nur ein leichter Südwestwind. Viele konnten so der Katastrophe gerade noch entfliehen. Wie eine Riesenwand schob sich die nukleare Wolke in Zeitlupe hinter den Flüchtenden her.
Aber die, die oberhalb von Sellafield wohnten, mussten andere Fluchtwege suchen, oder wurden, wie die Alten und Schwachen, von überforderten Behörden aufgefordert, zu Hause zu bleiben.
„Keine Panik! Die Regierung hat alles unter Kontrolle!“
Ihre Mutter lebte in Whitehaven.
Sarah schrieb ihr einen Brief. Würde er sie in diesem Chaos überhaupt noch erreichen? …wohl kaum…

*SHE WROTE A LETTER (SIE SCHRIEB EINEN BRIEF)

09:44 p.m.05. Mai 1985 irgendwo in einem Schlafsack am überfüllten Strand in der Nähe der Plymouth – Fähren.
Dave dachte zurück an seine Kindheit.
Sein Vater hatte ihn und seine Mutter schon früh verlassen; er hatte seinen Sinn des Lebens in der Forschung nach künstlicher Intelligenz gefunden und war nach Kalifornien gezogen. Er brauchte keine Menschen mehr. Als Kind hatte Dave zusehen müssen, wie sein Vater immer wieder mit seinen Forscherkollegen auf dem Fußboden mit kleinen Robotern spielte, sie zu ärgern versuchte,…sie küsste….
Liebe gab es im Haus der leeren Seelen nur für die Roboter.
Träumen Roboter von elektrischen Schafen? Können sie lächeln? Spielen sie Schach? Sind sie gekränkt, wenn sie verlieren? (nicht nur in Russland?) Ist das Denkbare machbar? Ist das Machbare denkbar? Was ist die virtuelle Realität?
Die letzten rosa Brillen zerbrechen. Fortschritt. Oh nein, diese Welt wird nicht mehr von den Menschen zerstört! Die neuen Teufel sind digital-intelligent, höllisch klug und himmlisch genügsam. Noch grüßen sie dich verschlagen, unterwürfig..., doch ihr Gruß ist kalt wie Stahl. Seltsam..., Roboter können nicht lächeln....
Sein Vater hatte an den künstlich-intelligenten Computern mitgearbeitet, die jetzt überall in der nördlichen Hemisphäre genveränderte Bakterien freigesetzt hatten:
Er und seine Freunde hatten diese Katastrophe verursacht, im Namen ihres neuen cartesianischen Gottes: künstliche Intelligenz:
Warum? …für eine frühere Erdbeerernte und ähnliches…;nein,….kein Witz….

Aber auch Mutter in ihrer Trauer war für Dave nie erreichbar gewesen.

*MAMA (OH MAMA)

*ROBOTS NEVER SMILE (ROBOTER LÄCHELN NIE) - (Song nicht auf der CD)

*FREEWAY (SCHNELLSTRASSE) - (Song nicht auf der CD)

Fliehen - aber wohin? Deutschland, Frankreich und andere Staaten lassen bereits Militär an ihren Grenzen aufmarschieren. Die Schiffe lichten schon ihre Anker und jedes segelt wieder unter eigener Flagge. In den Süden kommt der Tod zuletzt. Das ahnen die Menschen und nehmen verstohlen die spanische Postkarte von der Wand. Niemand soll sie finden. Und doch, es werden Hunderttausende und sie alle wollen nach Süden.

 

Santander

*REFUGEES AND RESIDENTS (FLÜCHTLINGE UND EINHEIMISCHE)

 

 Von Santander waren sie weiter nach Llanes gezogen. Ein strahlend blauer Himmel ließ sie die Umweltkatastrophe, der sie knapp entkommen waren, fast vergessen.
„Wann war er das letzte Mal in einer Disco gewesen?
Tanz oder stirb! Der Rausch Harmageddons “
…Tanze Dave…

Sarah betrat die Tanzfläche des FANTASIA TRES
Tanz oder stirb! Der Rausch Harmageddons “
…Tanze Sarah…

*DANCE OR DIE (TANZ ODER STIRB) (Song nicht auf der CD)

*TAKES TWO TO TANGO (ZUM TANGO GEHÖREN ZWEI) (Song nicht auf der CD)

 

Wie ein verrückt gewordener Satellit streunte Dave durch die Irrgärten der Klänge; seine Füße schienen im Treibsand des Lebens zu versinken. Eine Fee tauchte neben ihm aus dem Nebel auf. Die salzigen Strassen waren vergessen.
…Zum Tango gehören zwei…,

...Sarah…
…tanze…

*SARAH (SARAH)

 

Das Meer war einmal ewig. Erinnern, spüren, lauschen; vielleicht sogar vergessen, dass die Welt zerbrechlich ist-...und die Liebe,...
wie ein Kristall,...,. Zeit - eine Linie? ...nein, ...Wellen..., Wellen ...., endlos..., wiederkehrend...

*TOO REAL (ZU WIRKLICH)

 

wie viel Zeit bleibt uns? Tage, Wochen, Monate…?
Ist es das, was wir brauchen?

Zeit?

….nein...,

… Liebe…

*TIME OUT (AUSZEIT)

 

Haben die Grauen gesiegt? Lass uns nicht aufgeben; lass uns weiter reiten zum Echo der Zeit;
auf den Schwingen des Warum und Wann werden wir wiederkehren…
Die Wälder halten den Atem an.

*THE UNDERGROUND (DER UNTERGRUND)

 

Mama, lass mich nicht einschlafen! Nicht jetzt...;
einer -, viele -, alle müssen kommen...und die Hoffnung schaffen!
Weiß erklärt schwarz,
Licht die Dunkelheit,
weiblich männlich.
... eins plus eins ist eins...
...alles schwingt...
... Hoffnung...?

*HOPE (HOFFNUNG) (auf CD inner garden 2000)

 

Sarah und Dave ließen sich in den Picos de Europa mit Gleichgesinnten nieder und nannten ihre Gemeinschaft Nutopia.

*A NEW TOMORROW (EIN NEUES MORGEN)

 

 ...früher haben wir immer das grüne Gras geschnitten...

Sarah und Dave bekamen das erste Kind in dieser neuen Heimat: einen Sohn, ein Symbol ihrer Hoffnung.
Sie nannten ihn Lennon „…imagine, there’s no countries…“

the inner garden - der innere garten

(Ein Tagebuch voller Erinnerungen)

...eng umschlungen laufen sie durch die immer wieder heranrauschenden Wellen: zwei Liebende, irgendwo an einem Strand an der nordspanischen Costa Verde, , in der Nähe von Llanes....

die Zeit scheint still zu stehen..., bewegt sie sich vorwärts? rückwärts? in Wellen? in Kreisen?
sie ist nicht wirklich linear....

die beiden setzen sich dort, wo die Wellen aufhören, den Sand zu benetzen, ihre Augenpaare treffen sich.
zwei Universen begegnen sich.
- ja -

ist die Antwort.

Etwas weiter von ihnen entfernt liegt etwas Schwarzes im Sand.
der Mann steht auf und geht hinüber.
„Was ist es?“
„Irgendein Buch, oder ein Kalender.“
„Es sieht alt aus und nass.“
„Ja, scheinbar hat es im Wasser gelegen.“
„Was steht darin?“
„Ich kann es nicht öffnen, die Seiten kleben zusammen.“
„Trockne es vorsichtig in der Sonne, vielleicht kann man es dann später lesen.“

Der Mann legt das kleine schwarze Buch in den trockenen, von der Spätnachmittagsonne erwärmten Sand.

Stunden später, als es getrocknet war, öffnete er es und begann zu lesen:

*Der innere Garten( die Blumen) (the inner garden: the flowers) (nicht auf CD)

 

Wie war die Frage?

*Die Vororte der Stadt (The outskirts of town)

 

Wie ist das Leben jenseits des Horizonts? Ist die Welt größer als dieser graue, verregnete Vorort?
Wo gehen die Lichter hin, wenn sie verlöschen?
Was geschieht mit den Fremden in einer fremden Stadt, einem fremden Land?
Flüchtende und Verweilende

*Morvan*

 

Liebe

ist die Antwort.

*Vater(father)

 

…das Haus der einsamen Räume…, das Haus der leeren Seelen…, das Haus des bösen Königs,

*Das Land der Königin (queen´s land)

 

…ist die auserwählte Königin die Rettung?
…nein, auch sie ist nur eine fata morgana…


« …also

lebe nach dem Motto: ni dieu – ni maitre… »

*Das Leben ist eine Mutter (Life is a mother)

 

„…wo ich war, Mutter?
Ich suchte eine Königin; aber ich konnte sie nicht finden…“

*Der Strand von Brighton (wiederbesucht) (Brighton beach (revisited))

 

„Stell dir vor, dieses Sandkorn wäre ein Planet...“
„....und dieses auch ..,und dieses...“
„nein, das nicht...,.. das ist hässlich…“


Ein weiteres Universum ist verschwunden in der Unendlichkeit der Zeit

*Die Kahini - Brothers (The Kahini - brothers)

 

schon immer haben wir einen zeitlosen Walzer getanzt,
schon immer dem Gesang der Amsel zugehört,
schon immer beobachtet, wie die Blätter fallen, schon immer wussten wir,
dass der Herbst kommt...

*Hope (siehe) "…we used to cut the green grass…")

 

...vielleicht gibt es Hoffnung für uns und alle, die nach uns kommen, vielleicht können wir lernen, mit allem Leben auf dieser Erde in Eintracht zu leben?


bellum finitum

der Krieg ist vorbei

…the war is over…

...the war is over... - ... der krieg ist vorbei...

Das Wochenende nahte…- DAS Wochenende…das "Festival der sich Bewegenden- the festival of movers" – wie in jedem Jahr feierten sie ihren Auszug aus England, damals, nach der Katastrophe; Jahre waren seitdem vergangen; die Katastrophe war mittlerweile ein Event geworden – jeder, der als "kritischer Geist" anerkannt werden wollte, kam vorbei:
der Wahnwitz feierte sein Jubiläum: "Seid ihr alle da?"

 

"Ja, Kasper!."

"…dieses Mal, vielleicht -  kamen die Außerirdischen dieses Mal, um zu retten, was wert war, gerettet zu werden?"

Dave saß vor der Bar Z und nippte an seinem las campanas - Rotwein.
… die ersten Schatten milderten die Gluthitze des Nachmittags. Ein paar Fahrräder klingelten und waren wieder weg.
Auf dem Marktplatz vor ihm tummelten sich die Touristen an den Ständen seiner Freunde. Sie kauften die Lieder, die Musik, den Schmuck, das Obst und das Gemüse; kurz, alles, was Dave und seine Freunde zur Sicherung ihres Lebensunterhalts produzierten oder anbauten.
Wie in jedem der letzten Jahre waren Touristen wieder aus den Städten der Grauen zum "Festival of movers" angereist, dem Festival, an dem auch Dave mit seinen Freunden wieder einmal auftreten würde. (...let´s hope for the best - toi,toi,toi...)

Wie in einem zoologischen Freigehege besichtigten sie dieses Dorf der restlichen, mittlerweile in die Jahre gekommenen Aussteiger, der "Bunten" wie sie sich selbst immer noch nannten; die meisten ihrer Kinder hatten sich von den alten "Bunten" abgewandt und sich zurück in die schrillbunte, laut lärmende Welt der "Grauen" locken lassen
Auch Daves und Sarahs Sohn Lennon hatte die Gemeinschaft vor 3 Jahren verlassen und eine Blitzkarriere in der Medienwelt der "Grauen" als Produzent von Reality-Shows gemacht. Sein Durchbruch war die Show HARD TIMES...

*Let’s make up & be friendly (Lasst uns uns schminken und freundlich sein)

 

Wehmütig schweiften Daves Gedanken vierundzwanzig Jahre zurück:

Zusammen mit Gleichgesinnten hatten Sarah und er diese Gemeinschaft in den Bergen der Picos de Europa aufgebaut.
Sie hatten nicht wirklich an eine Zukunft geglaubt; nur noch gehofft, dass der Irrsinn der "Grauen" die Welt nicht endgültig vernichten würde.
Zeit und Natur ließen die Erinnerungen an die Katastrophe verblassen; auch Daves Wut auf die "Grauen", auf ihren Machbarkeitswahn, auf ihre Gier war lange schon verblasst, er hatte diese Energie abgezogen und für wichtige Dinge eingesetzt: Natur, Musik ,Malerei mit Farben und Worten.

Nach einem kurzen entsetzten Innehalten hatten die "Grauen" schon bald wieder dort weitergemacht, wo die Katastrophe ihren Anfang genommen hatte; ja sie hatten ihr System sogar noch weiter ausgebaut und perfektioniert.
" Legt ein bisschen Make-up auf und seid nett"; das war zum geflügelten Wort in der Gemeinschaft der Aussteiger geworden; Lennon, ihr Kind,  hatte diesen Spruch geprägt: in jedem Jahr zum festival of movers überfluteten tausende von fastbunten "Grauen" wie Pilger ihre Aussteigergemeinschaft und Dave und seine Freunde starrten in ihre hungrigen Kameras.

*The rising of the week-end (Das Herannahen des Wochenendes)

 

Damals als sie in Spanien angekommen waren sie Fremde, Fremde in einem fremden Land; - strangers in a strange land - unpassend – überall - misfits.
Sarah war lange schon tot.

Wie viele andere aus ihrer Gemeinschaft hatte sie die harte Strahlung der Katastrophe nicht überlebt.

*doctor, please (Doktor, bitte…)

 

Sie war es gewesen, die dieser kleinen Gemeinschaft den Namen Nutopia gegeben hatte.
Sarah hatte Dave eine Geschichte erzählt von einem Land, von dem niemand genau wusste, wo es lag und ob es wirklich existierte und weil der Gedanke an dieses Land vollkommen neu war und jeder hoffte, es möge existieren, einigte man sich darauf, dass es Nutopia hieße.
Nach dieser Geschichte hatten sie ihre Exklave der "Bunten" voller Hoffnung Nutopia getauft, die neue Utopie eines Lebens im Einklang mit der Natur.

…Nutopia ist außer Reichweite...(wahrscheinlich war das schon immer so gewesen)

*Strangers (Fremde)

 

Heilt die Zeit alle Wunden? Oder muss man, wenn man nicht vergessen will, die Erinnerungen immer weiter bluten lassen?

 

"Doktor, bitte, bleib draußen, ich will dass diese Erinnerungen weiter bluten!"

Nach dem dritten Glas campanas erklärte Dave einseitig den Krieg mit den Grauen für beendet:
" der Krieg ist vorbei!"

Nein, es war nicht die Resignation vor der permanenten Übermacht; es war der Versuch, nachhaltig mit der ihm verbliebenen Energie sinnvoll umzugehen.
Er würde auch weiterhin solidarisch mit jedem, der das System der Grauen hinterfragte oder bekämpfte, bleiben.

*dies irae praeterita (Die Tage des Zorns sind vorüber)

 

Aber seine Energie beschloss er nur noch einzusetzen, um hundert Blumen zum Blühen zu bringen, um Worte für hundert Lieder, Farben für hundert Bilder zu finden.

Für ihn war der Krieg vorbei; er hatte überlebt und zählte nach, ob der geringe Sold des Kriegers ausreichte, Saatgut für einen neuen Garten zu kaufen.

Er nippte erneut an seinem las campanas - Rotwein und begann zu singen:

...bellum finitum… nihil reliquum, dies irae praeterita.

...der Krieg ist vorbei, nichts ist geblieben die Tage des Zorns sind Vergangenheit…

Krieg wollte ich nie, aber die Grauen …

die Grauen: die, die das Kind fragten:
Willst du nicht lieber so sein wie die Anderen?

Sieh doch, die Anderen sind so viele, und du bist allein….

Wir werden dich immer lieben - solange du brav bist;
schau, wir sind so viele,
…wir sind… Gott… wir sehen alles
...wir sind… die Regierung… wir regeln alles…
...wir sind... dein Vater deine Mutter… uns verdankst du alles…
…wir sind… Musik… lerne unsere Lieder…

-wir sind die Grauen–

…Wer hat dir etwas von Farben erzählt?...
…Wer?...

…Vertrau uns… wir lieben dich…

…Grauen…?

…Farben…? Musik…?

…Gibt´s auch Musik oder gibt es nur Konzerte…?

Aber anders… irgendwie anders... "…I’m not like everybody else…"

Grau ist keine Farbe… ist ein Konzert Musik? ist Musik Tanz? ist Tanz Bewegung? ist Bewegung Veränderung? ist Veränderung grau?

.. nein…

Veränderung ist,… wie Jahreszeiten…, ein Wechsel…, ein Spektrum…, eine unfassbare, unbegrenzbare Bewegung…, Tanz…,.Musik, …. Konzert….,Farbe…, Konzert…, Musik…, Tanz…, Bewegung…, Spektrum…, Wechsel…, Jahreszeiten…, Wellen,…Veränderung?

Grau?

Nein.

Krieg?

Krieg den Grauen, dem grauen Gott, dem Volk der Grauen, der grauen Musik, den Tänzen der Grauen, den Spielen der Grauen, den Gedanken der Grauen…

…Mama, … es sind so viele…, sie sind so stark…, sie zweifeln nie…, ich habe Angst, dass sie den Krieg gewinnen werden….

…Gewinner? Verlierer?... das zählt nicht am Ende des Krieges…, am Ende gewinnen alle,…oder verlieren alle….?, egal…, es zählt niemand, nichts zählt mehr,…denn,


… es ist doch das Ende…!

.. Sarah…
Wohin gehen all die Lichter, wenn sie ausgehen,...all die Fremden in einer fremden Stadt…?

Nutopia?

Der Krieg ist vorbei!

*the war is over (Der Krieg ist vorbei)

 

…ist der Krieg vorbei…?


stolen dreams in a nearby lost & found - gestohlene Träume in einem nahegelegenen Fundbüro

CD  2018

…nein, er ist noch nicht vorbei, der Krieg…

"…there is a war between the rich and poor…" *, summt Dave plötzlich eine Melodie, an die er sich seit Jahren zu erinnern versucht, „ja, nur heute hat er ein anderes Gesicht: er trifft jeden einzelnen unterschiedlich“, denkt er und greift nach seiner fast leeren Las Campanas Rotweinflasche. Dave sitzt in der wärmenden herbstlichen Nachmittagssonne auf einer Bank auf der Plaza de las Barqueras in Llanes und denkt zurück an sein Dorf und die Gemeinschaft der „Bunten“ in den Bergen der Picos de Europa.

 Spekulanten hatten ihr kleines Dorf aufgekauft und auf den umliegenden Feldern graue Betonpaläste für die Touristen der „Grauen“ errichtet. Dave und seine letzten noch verbliebenen „Bunten“ waren obdachlos geworden und durch Spanien geirrt, auf ihrer verzweifelten Suche nach einer neuen Heimat: refugees –Flüchtlinge; letztendlich kehrte Dave nach Llanes zurück, als Wino lebt er seitdem unter den Brücken, gar nicht so weit entfernt von seinem alten Dorf.

Hier in Llanes werfen Passanten, "die Grauen", diesem Obdachlosen, diesem Tramp, diesem Hobo mit dem merkwürdigen Grinsen auf seinem Gesicht, der doch so gar nicht zu dieser fröhlichen Menge schöner, gut gekleideter Menschen passt, einen irritierten, fast verärgerten Blick zu.

Ein weiteres, fast schon vergessenes Lied sprudelt über seine Lippen:

"Gonna pass me a brand new resolution,
Gonna fight me a one man revolution" **

Ein Tourist bleibt stehen und ruft wütend: "Was hast du hier zu suchen, Wino? Geh dorthin zurück, wo du herkommst, unter deine dreckige Wino - Brücke! Du beleidigst unsere Augen!

Sieht so das Leben aus, von dem geträumt hast, als du noch jung warst?"

"…when I was young, there was more important…" *** singt Dave aus vollem Hals, "…pain more painful and laughter so much louder yeah…!" *** und schreit ihm zu: "verpiss dich, Wichser, nerv´ jemand anderen! Was weißt du schon von Träumen? Hast du je einen großen Traum geträumt? "

Er leert die Rotweinflasche, seine dritte für heute, mit einem Schluck, und mit einem seltsamen Knirschen springt die Zahl von 24896 auf 24897, die Zahl auf seinem mechanischen Lebenstraumzähler; der Zähler, der sie alle zählt: die Tagträume, die Nachtträume, die wunderschönen, wie auch die Albträume, egal, ob Dave sich je wieder an sie erinnert oder nicht.

Seit ein paar Tagen hat er das Gefühl, in seinen etwas klareren Augenblicken, als knirsche der Zähler ganz seltsam – sollte ihn das nicht vielleicht beunruhigen?

"Keine Ahnung, wie viele Träume mein Zähler so aushält oder ob er, wann und warum auch immer, seine Arbeit irgendwann plötzlich endgültig einstellt? Vielleicht setzen Art und Intensität der Träume seiner Mechanik unterschiedlich stark zu? Vielleicht wird ein letzter Traum ihn unwiederbringlich zerstören? "…to dream the impossible dream…" ****

 ...und dann…?"

…er versucht, darüber nachzudenken: "...24897, …die Zahl kenne ich, aber wieso kann ich mich an keinen meiner Träume mehr erinnern! …irgendwer muss sie gestohlen haben! …wo sind sie?"

In einem kleinen Gässchen, ganz in der Nähe der Plaza Barqueras sperrt ein alter Mann gerade seinen Laden, ein Fundbüro, zu.

"Heute findet keiner mehr den Weg hierher und, sagen wir mal so: morgen ist ja wieder ein neuer Tag; neuer Tag – neues Glück - für all die 'noch immer Suchenden'", kichert er in seinen etwas ungepflegten Bart.

Auf dem Nachhauseweg denkt er nach über die seltsamen Träume, die sich in seinem Fundbüro angesammelt haben; weit mehr als 20 000 sind es bereits und fast hat er schon keinen Platz mehr für all seine anderen Fundsachen. Niemand hat bisher einen dieser verrückten Träume je wieder abgeholt.

"Was", fragt er sich, “soll ich damit anfangen? Sicher wäre der Verlierer glücklich sie wieder zu finden, aber sucht er denn wirklich ernsthaft danach? Kommt er überhaupt auf die Idee, in einem Fundbüro nachzufragen? Und was, wenn die Träume gar nicht verloren, sondern gestohlen sind?“

Er weiß natürlich, dass Einiges in seinem Laden Diebesgut ist. Nach einer "gewissen Wartezeit" versteigert er es gemeinsam mit den Fundsachen auf seinen Auktionen - business - , aber er muss ja von irgend etwas leben.

"Vielleicht kann ich diese Träume ja auch versteigern? Sicher gibt es genügend Realisten, die daraus noch Geld schlagen können! Die blöden Diebe konnten offensichtlich nichts damit anfangen!"

Am nächsten Morgen hängt er ein Schild in sein Schaufenster:

AM KOMMENDEN FREITAG GROSSE AUKTION TAUSENDER BUNTER TRÄUME!

 

Träume wie neu, unverwirklicht
und zu niedrigsten Preisen!
Sie träumen nie selbst? Können es nicht? Realist?
Machen sie Träume Anderer zu Ihrem Geld!

 

...elf Träume stellt er in sein Schaufenster...:

de groene slang/ die grüne Schlange (Amsterdam ´65 -´68)

After a cup of coffee / nach einer Tasse Kaffee

do the straycat / tanz´ die „streunende Katze“

Ulysses / Odysseus

dreams & clouds / Träume & Wolken

the morning / der Morgen

stay awake / bleib´wach

flying home / Heimflug

Mona

lost&found / Fundbüro

 

I don´t care / ist mir egal

An diesem Freitag durchstöbert Dave die Papier- und Müllkörbe der Gassen und Straßen von Llanes auf der Suche nach Pfandflaschen und sonstig Verwertbarem.

"Hey, da ist dieses Lied ja schon wieder!" Der Text fließt über seine Lippen:

"someway, gonna start my rebellion today.
but here come the people in grey,
to take me away." **

Eine Minute später schaut er in eine kleine Gasse, an deren Ende ein kleines Fundbüro liegt….

*       (“there is a war” -Leonard Cohen )
**     (here come the people in grey – RayDavies)
***    (“when I was young” – Eric Burdon)
****   (the impossible dream  -Alex Harvey)

 

Er betritt das Fundbüro und der Mann am Empfang fragt ihn:

"Kann ich Ihnen helfen?"

Dave antwortet:"Meine Träume liegen da in Ihrem Schaufenster; ich erkenne sie wieder. Kann ich sie zurück haben?"

Können Sie beweisen, dass es Ihre sind?" fragt der Mann.,

"Nein, tut mir Leid, kann ich nicht; aber glauben Sie mir: es sind meine!"

"Tut mir sehr Leid", antwortet der Mann;" aber vielleicht können Sie sie heute Abend bei der Auktion kaufen...?"

"Ich bin ein Habenichts, ich habe absolut kein Geld...", flüstert Dave und mit einer Träne in seinem Auge verlässt er den Laden.

"Ist mir egal", denkt er trotzig.

Draußen schließt er seine Augen und sieht einen blauen Mond über einer Marocco-ähnlichen seltsamen, burgunderfarbenen Landschaft aufgehen; er fängt an zu singen:

 

"...wahre Liebe gibt es nur dann, wenn der Mond blau ist..."******

"Ich werde einen neuen Traum träumen!

 

 

Er öffnet seinen Geist und sieht viele Menschen auf ihrer Suche nach dem blauen Mond – hinter dem Horizont...

 

 

 

 

 

 

     *(“there is a war” -Leonard Cohen )

    **("here come the people in grey" – The Kinks)

   ***(“when I was young” – Eric Burdon)

  ****(the impossible dream  -Alex Harvey)

 *****("here come the people in grey" - The Kinks)

******("Sarah" - green wave)

 

 

 

 

Ende

 

 

 

 

 

Story, Fotos und /s/w Graphik:Rainer Wahlmann

Malerei: Roswitha Thonet

https://www.pinterest.de/GalerieRotho/ 

https://www.rotho-malerei.info

 

 

 

 

 

 

 

…we used to cut the green grass…
(in short)
A worldwide network of artificial intelligence units, computers of the fifth generation, who operate genetic experiments in laboratories in USA, Great Britain, Sweden, Germany, Russia and Japan, unaided by human control has simultaneously set free genetic mutated bacteria into the environment of all its sites. Within a short time those bacteria cause a dramatic change of climate in the northern parts of the world.
There’s no sun anymore, only clouded skies, storms and disastrous hurricanes are the order of the day from now on.
This extreme climate leads to a catastrophe of grave consequence in Sellafield/Great Britain: A plane crashes down on the nuclear centre there; the population has to be evacuated. It comes to an uncontrolled flight of masses way down South. All streets are filled with refugees; chaos and anarchy start to rule.
Sarah too, has to leave her small home town Seascale, near Sellafield; she even hasn’t the time to say good- bye to her parents, who have to stay, like all the other old and infirm people, because there are not enough vehicles to evacuate all of them.
Dave, who lives also in Seascale, realizes only late, what has happened around him. He too decides to flee.
From the radio news the refugees learn to know, that the continent has not yet been afflicted by the climate catastrophe, but Germany, France and nearly all the other countries have decided to defend their borders with arms against the masses of refugees. Only Denmark, the Netherlands, Spain and Portugal agree to take up a restricted number of refugees. It follows a migration of nations down to Spain and Portugal. France declares to let the refugees pass the country within 72 hours.
Dave reaches the Costa Verde in Northern Spain. In a downtown discotheque in Llanes he finds an almost intact world, but it looks to him like the dance on the edge of the volcano, the ecstatic breath of a nearing Harma­geddon.
A warming ray of light strikes him in the icy coldness of the dance - palace: Sarah.
They fall in love with each other, spend a night on the beach of a deserted bay, soak up the endless roaring of the sea and for a few hours they forget all, which has happened in the last weeks.
Amidst the chaos, desperation and depression they find a niche of happiness. Even though the radio stations announce, that little by little the change of climate keeps spreading to the South too, their love lets sprout hope once again.
Together with like- minded folks they move to the caves of the Picos del Europa and try to find their way back home to the Indian nature of mankind.
Step by step they learn to understand, that the earth is a living being, able to strike back, and they hope mankind will have one more last chance for a new tomorrow.
…we used to cut the green grass…  (Part 1)
03:44 a.m. Friday,  3rd of May 1985        Halsenna Road, Seascale
Sleep? The little brother of death;
A crying silence let him awake. What the fuck was that?
Not the water tap, who kept dripping on and on like always. In his head the last days and weeks were melting into a disgusting sticky kind of substance. „ I need a time out“, Dave thought.
Sleepily he rubbed his eyes, behind which pulsed a stinging headache. He got up and tried to find a way to the window across empty bottles, tobacco bags and overfilled ashtrays
„Maybe I should stop smoking or drinking; at least doing both simultaneously…”
In the early days, way back when they used to cut he green grass and dried it softly in the sun, nobody ever touched booze; way back when…in the early days..
Dave knew that the aching behind his eyes was the well-earned price he had to pay for breaking the old-time-taboo. Like lost he strayed around the kitchen; the water tap still kept dripping.
He stared through the window... Hallsenna Road looked like dead and gone. Something was missing…?. The birds! Not a single one was to hear.
A huge black wall of clouds mounted from the nearby Sellafield
„I better call it a day! This town is gonna die! I gotta flee! “
He switched on the radio.
Radio news/the morning after
Good morning, here is the 4´o clock news from Radio Freak Out - I´ll be there!

According to unconfirmed reports a nuclear accident has happened in the Sellafield area.
We’d like to stress that these are only unconfirmed rumours,but we will of course bring you the latest news on these reports, as soon as they come in
No end in sightfor the stormy weather,that’s been striking our country for four weeks now.
Weathermen say there’s never been such a long period without any sunshine at all
Jerry Baker, the well-known Irish scientist stated,there might be a connection between the frightening weather situation and some series of experiments on
mutated bacteria, executed by the Artificial Intelligence Network Worldwide Association
What s o ever,there’s no reason for any panic at all!
So please,stay intuned to our station for further information and music!
This was the 4´o´clock news from
Radio "Freak out - I’ll be there!"
„What does this mean? “ Dave tried to understand.
An environmental catastrophe, but not enough with that: a plane had crashed on Sellafield 4
Thousands of refugees, worse than in any old science fiction book, would try to flee down South.
Overstressed authorities would discuss rescue operations, no food no water no electricity
“The world’s in a mess, now we pray for a Saviour,
We should have done earlier, now it’s too late, much too late – “
*Better call it a day
*what the fuck?
No sunset glow. The sun doesn’t get through anymore... the light doesn’t reach the city, like the kind mother, who still got a son, but no more mouth to mourn him: mother nature, nothing else left….
09:44 p.m. 05. Mai 1985 New Continental Hotel, Millbay Rd., Plymouth
Immediately after the radio news Sarah had left her flat in Gosforth Rd. / Seascale.
An unbelievable exodus down South had started. Everybody tried to survive. There was no more sun in the sky.
Neon became the light.
It had taken her 2 days to reach Plymouth. The town was bursting at the seems. As good as possible the authorities had tried to find a place to stay for everyone,
 „The best I can say about this catastrophe“, Sarah thought,” is that without it I would never in my life had the chance to see the New Continental from the inside. If that’s no luck; what is it? “. The refugees had occupied the hotel without asking.
Thousands gathered in the harbour region to find a ship heading down south.
Thank the Lord, only a harmless south-west wind reigned over the country. So many people succeeded in surviving by escaping. Like a monster wall in slow-motion the nuclear cloud followed the refugees down south
But those people, who lived north from Sellafield, had to find other ways to escape, or, like the old and weak ones, were asked by the authorities, to stay calm in their homes during the crisis.
“Don’t you panic! The government has everything under control!”
Sarah’s mother lived in Whitehaven...
Sarah wrote her a letter:
Would it reach her in this chaos?
…highly unlikely…
She wrote a letter
09:44 p.m.05. Mai 1985 in a sleeping-bag somewhere at the crowded beach near the Plymouth ferries.
Dave thought back to his childhood days:
Pretty early his father had left him and his mother; he had found his raison d´etre, his sense in life in the research & development of artificial intelligence and had moved to California.
Real people he didn’t need anymore... As a child Dave was obliged to see, how his father, together with his fellow scientists, kept playing  again and again on the floor with tiny little robots, they tried to madden them, they fooled them, they hugged them, yes, they even kissed them… , Love -  in the house of empty souls- only existed for robots.
Do robots dream of electric sheep? Are they able to smile? Do they play chess? Do they feel offended, when they loose their game? (Not only in Russia?) Is he thinkable makeable? Is the makeable thinkable? What’s virtual reality alike?
The last pink spectacles are breaking... Progress. Oh no, this world’s not gonna be destroyed by men!  The new devils are digital-intelligent, hell-wise and heavenly unambitious. Deviously they heed you, still submissively..., but their salute is cold as steel. It’s strange.., robots never smile....
His father had played an active part in developing the artificial-intelligent computers, which recently had liberated mutated bacteria into the northern hemiglobe:
He and his friends had caused this catastrophe; in the name of their new Cartesian god, A.I., (artificial intelligence)
Why..? …for an earlier richer strawberry harvest and similar…, no kidding, fucking truth,…no way….
But mother also, in her understandable mourning, never had been reachable for Dave
mama
„I always wanted you, but I never found you…“
Robots never smile
(Song not on the CD)
freeway
(Song not on the CD)
Flee, but where? Germany, France and other states soon had started letting military protect their borders. The ships already hoisted their anchors and each one sailed again under its own flag. To the south death will come at last. People suspect that and furtively take off their Spanish postcards from their walls. Nobody should find them. And yet, there were hundred of thousands and they all headed down south - Santander
*refugees & residents
From Santander they had moved on to Llanes. A sapphire blue sky let them forget the catastrophe; they had escaped by hair’s breadth.
„When was the last time he’s been to a disco“?
Dance or die! The ecstasy of Harmageddon!
“…dance, Dave…”
Sarah entered the dance floor of the fantasia tres club
Dance or die! The ecstasy of Harmageddon!
“…dance, Sarah…”
*dance or die
(Song not on the CD)
“*takes two to tango
(Song not on the CD)
Like a mad gone satellite Dave danced through the maze of sounds; his feet seemed to sink into the quicksand of life. Out of a blue a fairy appeared beside him out of the fog. All those salty streets seemed to be forgotten.
…takes two to tango…, Sarah…
…dance…


Sarah
Once the sea had been eternal. Remembering, feeling, listening, maybe understanding, that the world is fragile – and love…, like a crystal…
Time – a line? …no, waves…, waves… endlessly, eternally, always returning to their beginnings…
*too real
How much time we got left? …days…,weeks…,months..., years…?
Is it that, what we need? time? ….no…, ... love…
*time out
Have they really won, those people in grey? Don’t let us surrender let’s ride on to the echoes of time, on the arrows of why and when we will come back again…
The forests stop breathing….
The underground
Mama, don’t let me fall asleep! Not now...;
 One -, many -, all must come...and create hope!
White explains black,
Light the darkness,
Female male.
... one plus one equals one...
...all swings...
... hope...?
hope
(On the CD“the inner garden“ 2000)
Together with like-minded people Sarah and Dave settled in the Picos de Europa and called their community Nutopia
A new tomorrow
...you know we used to cut the green grass...
Sarah gave birth to the first child in this new home: a son, a symbol of their hope...
 They called him Lennon; “…imagine, there’s no countries…”


The inner garden (Part 2)
(a flashback diary)
...closely entwined they run through the endlessly approaching waves, two lovers, lost somewhere at the banks of the North-Spanish Costa Verde, near Llanes
Time seems stopping for a moment..., is it moving forward? Backward? In circles?
   Time is nonlinear ...., time is…., like waves
The two sit down, where the waves stop soaking the sand; their eyes meet, two universes come in contact…
Yes,
Is the answer...
A bit away from them something black lies in the sand.
The man gets up and goes there to take a look.
 „What is it? “She asks.
„Any old book or diary. “
„It looks old and pretty wet. “
„Yeah, looks like it’s been there in the water for a long time.“
„What’s written in it? “
„I can’t open it, the pages stick together. “
„Dry it softly in the sun, maybe, we can read it later on...“
The man laid the little black book into the warm, dry sand, that’s been heated by the burning afternoon sun
Hours later, as it had been dried, he opened it and began to read:
The inner garden: the flowers
(Song not on the CD)
What´ s  been the question?
The outskirts of town
What´ s life alike beyond the horizon? Is there more than these rainy grey outskirts of town?
Where do the lights go when they go out?
What happens to the strangers in a strange land’s town?
Refugees and residents
Morvan
Love ist he answer.
Father
…the house of lonely rooms…, the house of empty souls…, the house of the mad king,
Queen’s land
…will the chosen queen bring salvation?
…no, not really, she too is a fata morgana…
« …So always live: ni dieu – ni maitre… »
Life is a mother
„…where I’ve been mother?
I ´ve been searching for the queen, but I couldn’t find her…”
Brighton beach (revisited))
 „Imagine, this grain of sand was a whole universe...“
„....and this one too .., and this one...“
„No, not that one...,.. It’s too ugly…“
Another universe has vanished into the endlessness of time
The Kahini – brothers
We always danced the timeless waltz
We always heard the bluebirds call,
We always watched the leaves that fall
We always knew there’d be autumn time…,
Hope
(Belongs to the 2000 CD ²…we used to cut the green grass…²)
...Maybe there’s hope for us and all that’s bound to come maybe we can live to learn with all the life on this earth as one?
bellum finitum
The war is over
…the war is over…


“…the war is over…”  (Part 3) 
The rising of the week-end…- THE week-end…the „Festival of movers“ – like in every year before they celebrated their exodus from England way back then, after the catastrophe,; the years had slipped away since then, meanwhile that catastrophe had changed into  a kind of merry-go-round-event; all the critical, all the alternative people passed by to be part of…; …of what? Of the jubilee, the anniversary? Are you having a good time? …yeah! …do you like the music... eh?...no…! “
„…this time, maybe this time the aliens would arrive, the saviours, to save, what’s worth saving?“.
Dave sat in front of the bar Z and nipped his las campanas – red wine.
… The first shadows mellowed the sweltering heat of the afternoon. Some bicycles passed by ringing their bells.
On the marketplace in front of him tourists bustled around the stands of his friends, where they tried to sell handmade jewellery, artwork, books, fruits and vegetable, simply everything, Dave and his friends produced to make their living.
Like in all the last years before tourists from the cities of „the people in grey“ had travelled to the „Festival of movers“, the festival, where Dave and his friends too would enter the stage one more time.
Like in a zoological outdoor enclosure they were looking around this village of dropouts, who had got long in the tooth by now, „the multicoloured people“, like they still kept calling themselves.
Most of their kids had left their “multicoloured” community, allured by the gaudy noisy cities of „the people in grey"
Lennon, Sarah and Dave´ s son, too, had left the community three years ago and had launched a flash career as producer of reality shows in the media world of „the people in grey“.
Let’s make up & be friendly
Wistfully Dave casted back his thoughts twenty-four years:
Together with like-minded people Sarah and he had built up this community in the mountains of the Picos de Europa.
They had not believed in future anymore; they had only hoped the insanity of “the people in grey” would not destroy the world once and for all.
Time and nature had let fade away the memento of the catastrophe;
Dave’s fury with „the people in grey“ had faded too, his fury with their mania of makeability, their greed.
He had disconnected his energy and had fielded it for his vital needs:
Nature, music, painting with words and colours
After a first aghast break, „the people in grey“ had plugged along there, where the basic cause of the catastrophe had started; they had even expanded and perfected their system.
„Let’s make-up & be friendly“; had become the winged word in the community of drop outs;
Lennon too had grown up with this winged word: in every year at the festival of movers thousands of part-time-coloured “people in grey” flooded like pilgrims their community and Dave and his friends stared smiling into their hungry cameras.
The rising of the week-end
Way back then, when they had arrived in Spain, they had been strangers, strangers in a strange land; misfits almost anywhere. .
Sarah had died a long time ago. Like many others she had not survived for long the nuclear radiation of the catastrophe
Doctor, please
It had been Sarah who had named this community Nutopia. Once she had told Dave a story about a land, nobody knew exactly where it was or if it existed for real; because thinking of such a land was completely new, and everybody who heard about it, hoped it might exist, people agreed on naming their exclave Nutopia, a new Utopian dream of a life in accordance with mother nature.
…Nutopia is out of reach now... (Guess it’s always been that way)
strangers
Does time heal all the wounds? Or is it necessary, to let the memories keep on bleeding in order not to forget? „doctor, please, stay outside; I wanna keep my memories a-bleeding“.
After his third glass of las campanas red wine Dave declared one-sidedly: “the war with the people in grey is over”
“The war is over! “
No, it was not a giving up in face of a permanent superiority; he only tried, to find a long term sensible way of dealing with his own remaining energy.
Nevertheless he would keep on encouraging anybody who kept refusing to fall into a line with the system of “the people in grey”
dies irae praeterita
But he decided to concentrate his own energy on letting one hundred flowers come into blossom, on finding the right words for one hundred songs and on choosing the colours for one hundred paintings.
The war was over; he had survived and tallied, if the private´s small pay would last out seeds for a new garden, a new tomorrow.
He sipped again at his glass of red wine and started singing:
.. bellum finitum…, nihil reliquum, dies irae praeterita.
.. the war is over, nothing´s left, the days of anger have gone…
I never looked for war, but „the people in grey“ …
„the people in grey“: those, who asked the child:
Wouldn´t you prefer to be like all the others? Look, the others are so many, and you are alone….
We always will love you – as long as you behave yourself;
Look we´re so many,
…we are…,. God… ,- we see all  
   We are…, the government …, we control everything…
   We are…, your father, your mother…., you owe everything to us…
…we are…, music…, come here, learn our songs…
-We are „the people in grey“–
…who told you about colours?
…Who was it?
…trust in us…, we love you…
…grey…?
…colours…,? Music…,?
…is there music or are there only concerts…?
Different…, somehow different.., “…I’m not like everybody else…”
Grey ain´t no colour…, does a concert mean music? Does music mean dance? Does dance mean motion? Does motion mean change? Does change mean grey?
.. no…,
Change means,
…waves…,… seasons…, acceptance…, a spectrum…, an unbelievable, illimitable motion…, dance…, .music, concert…, colour…, concert…, music…, dance…, motion…, spectrum…, acceptance…, seasons…, waves,…change?
Grey?
no.
war?
War to„the people in grey“, to the grey god, to the grey nation, to the grey music, to the grey dances, to the grey games, to the grey thoughts…
…Mama … they´ re so many…, they´ re so strong…, they never doubt…, I’m afraid, they´ re gonna win the war…,
…Winners? Losers... won’t matter anymore at the end of war…, everybody wins,…or do they all lose….?, no matter…, nobody matters anymore…, nothing matters anymore…,
… Because, that’s the meaning of an end…!
.. Sarah…
Where do all the lights go, when they do go out?
...all the strangers in a strange land’s town…
Nutopia?
The war is over!
…is the war over…?
(to be continued?)





stolen dreams in a nearby lost&found
no, it ain´t over yet –the war
”…there is a war between the rich and poor…”*, Dave suddenly hums a melody, he had tried to remember for years.
“This war comes along in a modern-dress-outlook nowadays: individual – everbody gets hit in his very own special way “ Dave thinks and gets a hold on his nearly empty Las Campanas bottle of red wine. He sits in a warming autumn afternoon sun on a banket on Plaza de las Barqueras in Llanes and thinks back to his village days in that community of the “coloureds” in the mountains of Picos de Europa.
Speculators had bought up their small village and had established on the surrounding fields grey concrete bunker palaces for the “grey” tourists.
Dave and his last remaining fellow-"coloureds” had become homeless and had wandered through Spain on the renewed desperate search for home. Finally Dave had returned to Llanes, as a Wino he lived there under the bridges, not really too far away from his old  home village.


Here in Llanes passers-by throw an almost irritated angry look at this homeless tramp, this hobo with the strange grin on his face who, in no way, fits into this crowd of happy, beautiful, well dressed people; the “grey”.
Another song flashes back into Dave´s mind:
“gonna pass me a brand new resolution,
gonna fight me a one man revolution”**
A tourist stops and shouts furiously: “What the fuck you´re doing here, damn Wino? Go back to where you came from – to your dirty place under your Wino - bridge! You offend our eyes!
Is that the life you´ve been dreaming about when you were young? “


“When I was young”**, Dave sings at the top of his voice, ”pain was more painful and laughter so much louder, yeah!”*** and screams at him: “fuck off, wanker, go on somebody else´s nerve! What the hell does somebody like you know about dreams? ever dreamed a real big flash dream?“
He empties his bottle, his third one today, at one gulp, and with a strange grinding jumps the number from 24896 to 24897, the number on his mechanical life's dream counter; that counts everything: daydreams, night dreams, the wonderful, as well as the nightmares, no matter if he ever remembers them or not.
Since a few days, in his clearer moments, he has the feeling that the counter grinds quite strangely – shouldn´t he really be concerned?
„ No idea, how many dreams my counter stands anyway, or whether it, all of a sudden, finally ceases to work at all? Could it be that the intensity of the dreams has a bad impact on its mechanics? Maybe the last dream will blow it up irreparably? “…to dream the impossible dream…****
... and then after …? “
“

…he tries to think about it: „... 24897, …well, I know the number, but why can´t I remember any one of my dreams any more! …somebody must have stolen them!
…where could they be? “
In this very moment, in a small alley not far away from the Plaza Barqueras an old man locks his lost & found office.
„Looks like nobody will find his way down here today; so let´s put it that way: tomorrow is a new day; new day-new luck - for all the "real searchers", he giggles in his somehow untidy beard.
On his way back home he wonders about the strange dreams he collected in his lost & found; far more than 20,000, and worries about how long it will take till there will be no more place left for all his other lost&found things.
Till now nobody ever had passed by and asked for some lost crazy dreams.


“What´s the use," he asks himself, “ of collecting and keeping all those crazy dreams? Sure, the loser would be happy if he should find them again someday, but is he really lookin´ out for them sincerely? Does he ever get the idea of asking for them in a lost&found? What if all those dreams have not been lost but stolen? “
Of course he knows well about all those stolen goods in his office, but it s quite easy to sell them together with the lost property after a “certain period of waiting”.
„ So why not auction these dreams likewise? Certainly there are many enough realists able to make a buck out of them! Those silly thieves themselves obviously have found no way to cash them.
The next morning he puts a big sign in his office-window:
NEXT FRIDAY BIG AUCTION
OF THOUSANDS OF MULTICOLOURED DREAMS!
Dreams like new, unrealized, to lowest prices!
never dream yourself? unable? too realistic?
Make lots of money out of some crazy dreamer´s dreams!
On this Friday Dave ransacks wastepaper basket and garbage bins of the lanes and streets of Llanes in search of returnable bottles and other somehow usable stuff.  “uh, yeah, there is this song again!”, the words flow over his lips:


someway, gonna start my rebellion today.
but here come the people in grey,to take me away.”*****
A minute later he peeks into a small lane with a small lost&found office at the end of it…

He enters the lost & found and the man behind the desk asks him: " how can I help you". "
Dave answers: "My dreams lie there in your window; I recognize them. Can I have them back again?"
"Can you prove that they are yours?" the man asks.
"No, I´m afraid I can´t; but believe me, they are mine!"
"So sorry" the man replies, " but maybe you can buy them at the auction this afternoon...?"
" I´m a have-not, I haven´t got no money,..." Dave whispers and with a tear in his eye he leaves the shop. " I don´care" he thinks rigidly.
Outside he closes his eyes and sees a blue moon rising above a Morroccan-like village in a strange burgundy-red landscape; he begins to sing:

"...true love comes only once in a blue moon..."******
 

"I´m gonna start a new dream!"
He opens his mind and sees many people in search of the blue moon – beyond the horizon...
the end
           *(“there is a war” -Leonard Cohen )

        **(“here come the people in grey” –The Kinks)

      ***(“when I was young” – Eric Burdon)

    ****("the impossible dream" – The Sensational Alex Harvey Band)
  *****("here come the people in grey"- The Kinks)
******("Sarah" - green wave)

 


 

 

Korrektur der untenstehenden Pressnotiz  (SZ):

Rainer Wahlmann war 1975 Mitbegründer von green wave

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Geschrieben von Holger Härtel   

http://allover-ffm-rock.de/joomla/index.php?option=com_content&task=view&id=5295&Itemid=91

 

12.02.2010




VÖ: bereits erschienen
(Eigenproduktion)

Homepage:
http://green-wave-live.jimdofree.com/

Dies sind 2 CD’ s, erstere mit dem Titel "…we used to cut the green grass…", die auch mit 11 Tracks und einem Bonus gut gefüllt ist. Die zweite CD mit dem Titel "…the war is over.." ist mit 6 Tracks (jedoch fast alle im 7 Minuten-Bereich) nicht so prall gefüllt. Die Spielzeiten sind mit 62:39 und 41:46 aber ausgewogen und nun werde ich mal schauen, ob man sich die 104 Minuten auch ‚antun’ kann.

Die Gruppe ist seit 1975 aktiv und hat diese Doppel-CD als Eigenproduktion aufgelegt, so dass ich nun noch gespannter bin, vor allem, weil das Intro mit einer unglaublichen Länge von fast 2 ½ Minuten mich auch vom Stil her irgendwie an Marillion erinnert. Die Gruppierung aus der CDDB ist jedoch "Alternative & Punk" und so geht es dann auch bei "Better call it a day" gleich mal in die Vollen. Die Stimme erinnert an eine Mischung aus Talking Heads und Fischer Z., passt somit nicht nur hervorragend zum Stil, sondern fügt sich in den akustischen Rahmen der vorherrschenden Instrumente (Drums & Gitarre) perfekt ein. Da die CDs wirklich umfangreich sind und mein Platz hier doch recht beschränkt, gehe ich ab jetzt nur noch auf die besten und schlechtesten Lieder der CDs ein. Mit "What the fuck" liefert die Band gleich als dritten Track einen Song ab, der seinem Namen alle Ehre macht und fällt gleich mal in den negativen Bereich der Wertung. "She wrote a letter" kann die Scharte danach aber wieder auswetzen und geht dann vom alternativen Punk schon etwas in die Richtung Rock. Dann mit "Mama" bringen die Jungs ein Lied, das wirklich einen umhaut. Die Stimme jetzt nicht mehr so schrill, mehr Keyboard dabei und eine hervorragende Gitarre. WOW – wenn ich mich anstrenge, höre ich hier viele Interpreten raus (Queen, Genesis, Scorpions, Gary Moore, Dire Straits, Queensryche – um nur einige zu nennen), wobei hier keiner der genannten Interpreten kopiert wird. "The Underground" ist mal wieder so ein Highlight, beginnend mit der Mundharmonika, etwas Blues ist hier drin, im Gegensatz zum Bonustrack "Too real" ein wirkliches Bonbon. "Too real" fällt hier leider (als zweites Lied) ein wenig nach unten raus, da es mir persönlich zu jazzig ist.

Nun die zweite CD eingelegt "…the war is over…"

"Let’s make up & be friendly" hat leider wieder ein wenig zuviel Jazz-Elemente, aber "The rising of the weekend" entschädigt dann zum Glück dafür. Ein sehr melancholisches Lied, zu dem die Gitarre richtig perfekt ‚weint’. Mit der Geige wirkt der letzte Track "The war is over" noch um einiges melancholischer und stimmungsvoller und ist wirklich ein gelungenes Finale für eine wirklich gelungene Produktion.

Fazit: Für eine Eigenproduktion ist es akustisch absolut gelungen und kann auch mit professionellen Produktionen mithalten. Auch wenn ich ein wenig voreingenommen an die Sache gegangen bin (saarländischer Alternative & Punk und noch selbst produziert), so musste ich das schnell revidieren. Mir persönlich gefällt die Doppel-CD sehr gut und ich kann sie weiterempfehlen. Ich sage mal so: Wer Fischer Z, Marillion (vor 1987) und Talking Heads mag, der kann sich hier sicher mit anfreunden, wobei ein Reinhören vorher empfehlenswert ist.

Kauftip: Also ich würde mir diese CD auf jeden Fall kaufen, auch wenn einige wenige Tracks mir persönlich nicht so gut gefallen. Aber zu mindestens 90% ist es absolut hörenswert.

 

 

 

 

Stefan Uhrmacher für Kultur regional (Saarbrücker Zeitung)

 

green wave am 11.06.09 in der Breite63, Saarbrücken

 

 

 

Saarbrücken. Selbst Stehplätze waren gefragt beim Andrang zum Konzert von Green Wave in der Breite 63. Besonders erfreulich: Generationen-übergreifend reichte das Altersspektrum zur Vorstellung des neuen Doppel-Albums „We used to cut the green grass/The war is over“ (Leico Records) vom Green-Wave-Fan der ersten Stunde anno 1975 bis hin zu ganz jungen Gesichtern. Geboten bekamen alle starken Artrock in der Tradition der 70er-Jahre - der hier mindestens eine Nummer rockiger tönte als auf der Studioaufnahme. Via Elektronik waren auch viele der von der CD her bekannten Geräusche präsent; massig füllte der Live-Sound den kleinen Saal. Im Bassregister meinte es der Mann am Mixer für empfindliche Ohrnerven gar zu gut. Unterm Strich brachten Green Wave ihr kniffliges Konzept-Opus spieltechnisch grundsolide und quicklebendig an den Hörer. Man merkte einfach, dass es den alten Hasen Riesenspaß machte. Zugpferd war selbstredend „Mister Green Wave“ Rainer Wahlmann am Sangesmikrofon, der allerlei Details der verwinkelten Story um die Folgen eines Atom-Supergaus geradezu mit den Händen ins Scheinwerferlicht zu malen schien. Wahlmanns Sonnenbrille, seine diabolische Stimme mit dem Cockney-Akzent, dazu schneidende Synthesizer-Wellen und Gitarrenakkorde wie Peitschenhiebe - da rieselten schon mal wohlige Gruselschauer den Rücken herunter. Vor allem weckte das Konzert aber durchaus wehmütige Erinnerungen an eine Ära, als Rock noch (Kunst-)Anspruch und Botschaft hatte – Green Wave halten sie jung.

 

uhr

 

 

 

 

 

 

 

 

...und er träumt ...van Nederland...

 

 

 

Ein Gespräch mit Rainer Wahlmann, Frontmann und Sänger von

 

Green Wave, der letzten Rockband vor der Grenze

Von NewcomerSzeneSaarland – Redakteur Ferdinand Martinelli

 

Er schrieb saarländische Rockgeschichte. Und Geschichten über grüne Tage auf blauen Planeten...seit über 40 Jahren ist Rainer Wahlmann als Musiker und kreativer Texter aktiv.

 

Wir treffen uns in Saarbrücker Chinesenviertel an einem der letzten schönen Herbsttage. Die Newcomer Szene Saarland wollte für euch die neuesten Infos von der saarländischen Rockband Green Wave – aber wenn man einen Menschen wie Rainer trifft wird aus solch einem Vorhaben unweigerlich eine Zeitreise in Sachen Musik, die mehr als 40 Jahre umspannt.

 

Seine musikalischen Anfänge liegen in der Gründung der Band „Dies Irae“ im Jahre 1968, die 1971 ihr erstes Album „First“ veröffentlichte und somit unweigerlich der „Kraut-Rock“ Epoche zugeordnet wurde. Mit Bands wie Moody, Blues, Edgar Broughton Band, Uriah Heep oder The Pretty Things traten sie auf – und auch auf einem erst vor ein paar Jahren veröffentlichten exotischen Krautrock- Sampler sind sie mit ihrem auf youtube tausendfach angeklickten „trip“ zu hören.,.

 

Möglicherweise war Wahlmann der erste deutsche Rockmusiker, der es schaffte, aus dem damaligen Radioprogramm wegen aufrührerischen und provokanten Texten verbannt zu werden.

 

Im Jahre 1975 gründete er, zusammen mit Marc Fournelle, Deddé Schäfer, Hans-Gerd Schäfer, Bernard Ayling und Helmut Scheid Green Wave und beschritt wieder Neuland – die Musik der Band war stark geprägt von amerikanischer Musik, Rhythm`n`Blues sowie Rock. Für die damalige Zeit für eine deutsche Band sehr außergewöhnlich und weitsichtig.

 

Im Eilverfahren handelt Rainer seine Musik-Karriere ab. „Ja, wir hatten einige Erfolge, Drogen,Beziehungen zu Frauen, Geld meist weniger...und auch alles was man nicht haben will – Abstürze, Trennungen, Manager die einen verklagen, Schulden und Hoffnungslosigkeit. Heute ist für mich Musik reine Expression und Meditation, ich bin immer noch leidenschaftlich, ...ehrgeizig leider seltener... – aber dennoch: wenn ich dann etwas mache, soll es so gut wie möglich sein.“

 

„Meinen nächsten Song würde ich gerne auf niederländisch singen...“

Rainer sprüht vor Energie und Lebensfreude, als er nach flotter Abhandlung seiner musikalischen Laufbahn über Dinge redet, die ihn begeistern und die er liebt.

 

London 1978 , Punk....und Rainer mittendrin

„Ja, ich liebe Punk, und ich fühle mich auf eine gewisse Art und Weise immer noch als Punker. Aber ich verstehe darunter Punk in seinem eigentlichen Sinne: Anders sein wollen, nicht in ein Schema passen wollen. Das in Worten und Musik auszudrücken, dafür brenne ich immer noch. Und wenn es Menschen wie Bob Geldof gelingt, tatsächlich auch politisch was zu bewegen, weiß ich, welche Kraft Musik hat“

 

Voller Phantasie und Poesie, aber auch kalter Realität und Brutalität ist die Trilogie „...green days on a planet blue...“ von Green Wave. Auf dem Doppelalbum „we used to cut the green grass/the war is over“ und dem Album „The inner Garden“ erzählt Wahlmann eine spannende Geschichte, die in England und Spanien spielt...nachlesen lohnt sich! (http://www.green-wave48.blogspot.de/)

 

Was träumt, was plant ein Mann, der solche Geschichten schrieb und der selbst ein Stück Rockgeschichte schrieb?

 

„Ich war (und bin) schon seit den frühen Sechziger Jahre immer wieder in den Niederlanden und beherrsche auch die Sprache mittlerweile ziemlich gut. Auf unserer kommenden CD wird mit Amsterdam ´65(de groene slang) auch ein Song mit niederländischem Text sein.“

 

Das würde Sinn machen, sang er doch schon auf deutsch, englisch und saarländisch (mit einer Band, die wir hier nicht unterschlagen wollen: „d´hemm“) – auf zu neuen Ufern!

 

„Ich erfinde mich immer wieder neu und bin auch immer wieder ein New Comer“, so Rainer in Anlehnung an den Namen unseres Lieblingsmusiklabels.

 

Rainers Stimmung passt sich plötzlich der Jahreszeit an, trotz der herbstlichen Sonne, die wir draußen sitzend im Nauwieser genießen dürfen.

„Mein langjähriges musikalisches Alter Ego, Stefan Richter, ist beruflich mittlerweile so eingespannt, dass er weniger Zeit für Musik findet – er ist erfolgreicher Psychologe und Berater in Frankfurt.“

Zusammen mit Stefan Richter schrieb er den Großteil der Musik für die Alben, aber es ist mehr als nur eine musikalische Partnerschaft. Sie kennen sich schon ewig und teilen viele Interessen und Einstellungen, politisch, musikalisch und über das Leben allgemein.

 

Die anfängliche Frage, was es Neues bei Green Wave gibt, können wir euch schlussendlich doch noch beantworten:

 

Auch wenn Rainers anfängliches Studioequipment aus der Zeit des green wave Studios in Riegelsberg Svens Hightech-Equipment (PCs, Digitalpult u.ä.) weichen musste und in einer Ecke von Verwendung träumt, laufen seit Anfang September im Hüttersdorfer Studio bereits wieder die ersten Aufnahmen zur nächsten green wave CD.

 

Sven Gross ist seit ein paar Monaten Besitzer und Produzent der ursprünglich von green wave angemieteten Studioräume.

 

Er und Daniel Minnerath hatten schon bei der Doppel-CD2009 Stefan Richter und Rainer Wahlmann als Produzenten abgelöst und produzieren auch jetzt die neuen Songs von green wave

 

Rainer hofft, dass er sich vielleicht noch soweit in Cubase einarbeiten kann, dass er vielleicht mit Stefan Richter über Internet noch weiter musikalisch zusammenarbeiten kann.

 

derzeitiges green wave Line-up: Sven Gross – keys, vocals, programming, recording; Daniel Minnerath – guitars, banjo, programming, recording; Deddé Schäfer – bass, vocals; Manuel Schwierczek – drums, percussion; Rainer Wahlmann – vox, harps, noises; Christoph Waltner- guitars;

 

Gastmusiker bei den neuen Aufnahmen wird auf jeden Fall auch wieder Stefan Richter- keys sein.

 

 

 

Also stehen die Chancen gut, dass wir bald den ersten Greenie-Song auf holländisch hören dürfen!

 

 

 

Danke für dieses ausführliche Gespräch, lieber Rainer Wahlmann!

 

Weitere Infos zu der Band findet ihr hier :

 

https://green-wave-live.jimdofree.com

 

Natürlich ließ sich Rainer nicht lumpen und brachte ´nen Sack voller CDs mit, die ihr gewinnen könnt!

Beantwortet folgende Frage und schickt eure Antwort an https://www.facebook.com/szenesaarland

 

Wie hieß die Band, mit der Rainer Wahlmann auf saarländisch gesungen hat?

  1. Preis: Die komplette Trilogie „...green days on a planet blue...“ auf 2 CDs

  2. Preis: Original Backstage und Artist Pässe aus den 90ern

 

Ian Gledhill(Canada), www.progarchives.com

 

cd review auf seiner homepage www.thedayoftimestops.webs.com

 

(unter nofreakouts!, downscrollen bis dies irae) 

 

 

 

The first striking feature of this double disc from German psychedelic mushroom rock band Green Wave is the spectacular panoramic artwork by Marc Friese that adorns the cover. Simultaneously real and surreal, it perfectly describes what the listener is about to share with the characters in this epic story as they endure conflict, love, confusion, isolation and separation with a certain togetherness in a dangerous time.

 

It would be best to begin with the one minor drawback of this work. Unfortunately the complete story is not included on the two discs which might cause some initial confusion. However, this is compensated for by the excellent descriptive liner notes provided ( in both German and English) that also guide the listener towards the superb Green Wave website where they can find all the lyrics to the three part story or trilogy as it is referred to by the band. The general concept is nonetheless maintained so the missing part of the story is just a minor detail. And if one just wants to enjoy an hour and a half of some wonderful music without worrying about the story then one will find an excellent selection of songs that can be considered individually that paint, sequel and blend with on another beautifully.

 

But for those interested in both the story and the music this is where the treat lies on "...we used to cut the green grass... the war is over...." So without spoiling the story ( I'll leave that up to the band) it can be best summarized as a post-apocalyptic tale. While most stories of this sort are of a science fiction nature this one centres around the spirit and emotions of human beings within a threatened and fragile environment. In other words, it could really have happened or could happen. The story centres around a toxic event that occurs over Great Britain. The main characters are exiled to the Spanish coast where they hope to find a better life and happiness. I said that I would not give away the story so that's all I'm divulging.

 

While musically, this very electric (I didn't hear an acoustic instrument anywhere) orchestral rock epic doesn't reach virtuosic proportions, the musicians on the work are superb players. At times they play with the fire and fury of heavy metal and punk but become solemn and sullen like a classical master in order to reflect the moods of the individual songs .There are no less than 7 of them. They are Daniel Minnerath, guitars Dedde Schafer, bass/vocals, Stephan Richter, keyboards/vocals, Klaus Kliebenstein, drums, Christoph Waltner, guitars, Sven Gross, keyboards/vocals/production with Rainer Wahlmann on lead vocals, mouth harp and making noises. While the writing is an all out group effort the lyrical concept is the brainchild of Wahlmann the poet laureate of the group. It is worth commenting a bit about his uniquely wonderful voice that could mistakenly be compared to that of Roger Waters of Pink Floyd fame.

 

During the early seventies Wahlmann was busy being a full blown hippie in a rather obscure German band called Dies Irae. Even though this band only produced one record some of the attitude that was present in Dies Irae carried over to Green Wave through Wahlmann. Wahlmann himself readily admits that he might sound a bit like Waters but this is not intentional. So, this work might take a bit getting used to as result of Wahlmann's unique voice which just happens to sound like Roger Waters. Unfortunately it is too easy to make comparisons. I might add that Wahlmann is a 60 something and sounds no different than he sounded in 1971 when singing with Dies Irae. I might add as well for those who might be familiar with Dies Irae that this is an entirely different band.

 

As this is a German band ( who sing in English ), those who are familiar with some of the zany and bizarre effects employed by such bands from the early seventies Krautrock movement such as Guru Guru, Grobschnitt and others will be delighted just as I was to hear some of that here. If you're a fan of air raid sirens, fear not, there are even some air raid sirens. But these sound devices are used very effectively within the contexts of the songs and not indiscriminately. Also on a personal note, and speaking of the 1970s, I am a big fan of the longer concept albums of that period (Yes, Focus etc.), I was very surprised to find a concept album of this length appearing in the year 2009! So this is another treat for those who relish those precious years.

 

Green Wave's opus "...we used to cut the green grass...the war is over" will definitely take a few listens to fully appreciate. But once you get it will give you a great feeling. Maybe take it out to the park on a sunny afternoon where there are children playing, dogs chasing sticks and people strolling. That would be the perfect backdrop over which to enjoy this forward looking album that does not forget the terrible lessons of the past but above all gives hope in this world that can change without notice and will never be the same regardless of how much we might long for it.

 

Catch the Green Wave 5/5 for this jewel.  

 

 

 

 

 

  Early Krautrock, Dies Irae and the Green Wave Concept Albums

 

vibrationbaby (Ian Gledhill, reviewer of the Canadian www.progarchives.com )

 


Rainer Wahlmann was a founder member of the German psych/prog band Dies Irae. Formed in 1968 they released a single LP in 1971 simply entitled "First " which met with some controversy as result of Wahlmann's lyrics .He ultimately left the band in 1972 and by 1973 the band was no more; although there was a brief reunion and an attempt to reform the band in 1992. In 1975 Wahlmann along with guitarist/vocalist Marc Fournelle formed another band called Green Wave that was initially heavily influenced by American R&B, rather unusual for a German band at the time. They were exclusively atouring band playing on concert bills with the likes of Guru Guru, KRAAN and Embryo and only released  their first English language album, “the inner garden” in 2000, which by this time contained a mixture of styles. Another double album followed in 2009 that sounded even more progressive. They are currently working on another project that will be sung in the German language.

Both Dies Irae and Green Wave are represented here on PA. Since I wrote both of the bios with the assistance of Wahlmann I decided to ask him if he wouldn't mind doing an interview for us. He graciously did not hesitate to say certainly. So..............

VB :
 Hi Rainer
RW
: It's really funny, how the stories of yesterday return, when somebody asks for them.

 VB :
 First off, how did you get into music in Germany back in the 60s? How did your musical trip blast off?
RW :
 It's been a strange post-war scene that I grew up in a village near Saarbrucken. The adults always used to  keep discussing the shame of having lost another world war, at family parties, in drunken moments, they started singing their German folksongs again, that they used to sing while marching throughout Poland, Russia, The Netherlands or France and they tried to tell us kids stories about all our ( still ) enemies in the world : the French, the Russians, the English, the Americans and all the others .We kids playing in the corners of our attic or basement, found the old  nazi--propaganda books and papers our parents had forgotten to burn and we played our own war games in the back yard. Like after the First World War, our home region Saarland was occupied by the French and had to pay back war reparation debts in coal and steel. I had two older cousins, living in the same house. If I remember well, they started messing and upsetting the whole house in the late 50s/early 60s with, what my father called American negro music : music of our "enemies". They played Elvis, Eddie Cochran, Buddy Holly, Little Richard, Bill Haley and others. One of my cousins saved all his money to buy an old Adler motorbike and with that bike he caused some trouble as one of the first teddy-boys in our region. I was honestly impressed : this kind of weird music really disturbed the adult world so much and was able to make them really angry! My father played the guitar and he always tried to teach me the songs he used to sing. I hated those songs and as a result I never really learned to play the guitar. Later, about 1963/64, I started to listen to early British beat bands like The Searchers, The Kinks, The Animals, The Who etc. My first records were of the ( then really weird looking ) Rolling Stones and my record player got thrown out the window by my father. The war had begun : I decided to fight with music for freedom of thought and against intolerance. With some schoolmates we began practicing. I couldn't play anything, but I thought I had something to say. I pretended to be the singer.

 VB :
 Legend has it that the early Krautrock or kosmishe bands were spaced out on LSD and other mind altering drugs. The music certainly reflected that. They were pretty "out there" when compared to American or British bands that appeared during the summer of love of 1967-69. Bands like Guru Guru, Amon Düül and your own band were much darker and not as happy. In Germany it was more like the summer of "freakout", Could you offer some thoughts & comments.
RW :
Yes indeed, we were pretty " out there ". Different from Great Britain or American rock 'n roll and beat music had no real roots in Germany. Since the 19th century Germany has always been an authoritarian country we had no democratic tradition like other countries. We even had to be forced to democracy by wars. Many of them Krautrock bands such as we were involved in a political process too. We tried to escape from the system of boredom people in grey, of adaptation to the modern capitalist way of life with a barely hidden fascist background, that' s why they called us communists ( It was so easy ). We had been born as the children of the world's biggest murderers. No, of course we were not guilty - but we felt like it. Beautiful losers (I really love that Leonard Cohen expression  ), that's what we were and, at least I think so, we still are. We were no winners, like some of them happy Californian acid freaks. We made music with a dark cloud hanging over our heads and hoped to build a better new world. I got influenced by the summer of love very much, but inside if me there was a lot of anger still.

 VB :
With some exceptions why did most German bands sing in English? I've heard various explanations for this. Some say it was for commercial reasons while others day their music sounded better in English than German. In 1980 one of the members of Grobschnitt joked that it was nice to understand what he was singing about when they wrote a few songs in German. Could you give your take on this ?
RW :
I myself never wanted to be German out of the reasons mentioned previously. I wanted to be part of a tolerant global English speaking community (sounds rather naive when I'm looking at the crimes of globalization nowadays) In the early sixties I really considered emigrating to Holland. The German music on the radio sounded mostly like the songs my father used to sing. Childish songs with silly lyrics supposed to put everyone to sleep, so they would not notice that there are wars and riots in the streets. Even when we played the Amsterdam Melkweg I didn't agree that they wanted to announce us as a German band. I insisted that the band came from Saarland which is, I sadly have to admit, meanwhile part of Germany and no autonomous country like Luxemburg or Liechtenstein. Sometime in the late 90s Stefan (VB, Green Wave's keyboard player ) suggested maybe to get a bit more commercial to sing in German. We compromised in starting a German dialect project called d'hemm in the language of our home region "Saarländisch one of the most disliked dialects in Germany.

 VB :
I'd like to talk a bit about Dies Irae, because there would not have been a Green Wave had there not been a Dies Irae. You were banned from German radio (with a few exceptions) because of your anti-establishment lyrics and this contributed to the end of the band. You actually wanted the lyrics printed of the one and only Dies Irae album "First" that was released in 1971. Could you be specific on what it was that really ticked people off about your lyrics because personally I thought they were pretty cool when I first got a hold of the album in 1977.
RW:
A part of the answer already lies in your question. You are Canadian, with a long liberal tradition behind you, since the early days of rock, the English speaking world got used step by step to lyrics dealing with sex & drugs by hearing songs they understood immediately what was meant. On German radios you could hear songs with sex & drugs lyrics as well, but not too many understood the lyrics and the songs came as chart hits from the US or Great Britain. The late 60s/early 70s in Germany were determined by a yellow-press caused McCarthy-like persecution complex for sex addicted drug-taking-long haired communist (in fact, sometimes we were ) street fighting musicians. I guess, if I had not insisted on printing the lyrics on the cover no one would have taken any notice of the lyrics at all. But I desperately believed in what I said then and I wanted to be understood, so it happened that way. I found it somewhat ridiculous to imagine that some people thought that we were a threat to society even if I hoped we were! Georg Kreisler, a very famous Austrian singer once sang "but the world even shoots sparrows with cannonballs" I felt a bit like a sparrow then.

VB :
You're a big fan of British punk and new wave bands. Would you consider Dies Irae an early incarnation of punk?
RW:
Yes, I felt like a punk ( and I still do), even if it started years later. I tried to be different in many a way. I had been listening to many groups then that had that kind of a punk spirit. So I liked The Pretty Things, Downliner' s Sect, MC5, The Electric Prunes, Iggy & The Stooges and many others. Even The Rolling Stones were rather punky in the beginning and I adored the work of Bob Geldof in the late 70s and what he politically achieved with music worldwide.

VB :
We have to talk about the "Trip" video. It gets thousands of hits on You Tube. What made you go out to an excavation site and go crazy. Were you "tripped" out on something and decided, let's go out to the sand pit and film ourselves going crazy or was it though out ? It blew my mind when I first saw it and everybody I show it to freaks right out. Could you tell us how and why it was made and where it was shown back in 1971 and what the heck is it supposed to mean??
RW :
The location where we filmed it has a WWII military background. It had been a drilling area for soldiers, SS and police during the war. Nearby, about 1km away, there had been a concentration camp. At that time they had just started to remove the remnants to build up an industrial area. The only "plan" for the movie was: the war is over, and crazy long haired hippies desecrate "this holy ground". The television crew had no idea, what they should do with us, so Bonny our "natural high" drummer suggested, that the camera man should bind his camera to his hand and shake it all around to make it more psychedelic. To make it even more freaky we entered the bus. I had found a plant that had got removed by one of those caterpillars ( VB' excavation machines ) and we planted it back into the sand and watered it to let it grow again ( maybe this was the beginning of the Green Wave idea ). I had smoked a joint before filming but it was stronger than I thought. Unfortunately the guitar player was only a substitute for Harald Thoma and, like I told you before, for that reason and for Jo Schiff's grimacing, I didn't like the video too much.

 VB :
Now Green Wave. Why the name Green Wave and how did the band get started?
RW :
In !975 our California guitar player Bernard Ayling suggested to give us the German name Grüne Welle, which means, that all the streetlights should turn green when you're in a hurry. My then girlfriend didn't like this German name,so she suggested "Green Wave", and I ,as a real friend of nature, preferred the idea, that a green wave is necessary to prevent this world from drowning into a sea of grey So we had the ”green“ in our name, I believe, 3 years before the German environmental party "The Greens" started. With the somewhat arrogant slogan "the last rockband before the border " we entered the scene and played  a lot of late hippie festivals and left wing parties.

 VB :
Green Wave was a live band for almost 15 years before you even recorded your first album in 1999. This is rather unusual and I never heard of it before. I started researching Dies Irae for Progarchives in 2006. Could you briefly tell us why it took so long to produce an album. 
 RW :
When I left Dies Irae in 1972 I felt deeply frustrated, as well by music industry as by my former fellow musicians. Most of the people who I thought they were my real friends turned out to be real fans instead and followed the without me still performing group for one more year. With Green Wave my only wish was to build up a band of friends, not caring about the commercial thing. So we did. We played live gigs all the time and loved it. Fact was also and till today is, same like in the Dies Irae days, in our home region of Saarland there is no kind of music business at all. To be noticed, you had to leave for the big towns like Frankfurt, Cologne, Munich, Berlin, Hamburg. We made some efforts to interest some major companies and played some big towns, but musicians came and went and so we finally decided to save all our money, to build up our own independent recording studio and do whatever we wanted to do. !999 I finally thought, we were ready to record a CD; so we started our independant recording and producing. Looking back I must admit, I was never quite aware how fast the years had been passing by.

VB :
When you finally did record the Inner Garden which was the second part of a trilogy entitled "green days on a planet blue ", that began with the rock opera "we used to cut the green grass ", I was a bit confused because I heard the double CD " we used to cut the green grass/ the war is over" first. Why didn't you just record the three parts in order?
RW :
At the time we decided to record our first CD we had been playing " We Used To Cut The Green Grass " live with changing musicians for about 9 years and the songs did not excite us very much anymore. We had raw material and fresh songs ready for "The Inner Garden " (Part II )and thought it would be much more exciting to start with the songs, we never played live before and so it went. With the death of our drummer Hans-Gerd Schäfer it took us 10 years more till we finally recorded parts I & III. First time in my life I had realized that" time waits for noone".

VB :
How did the whole concept evolve? Did it take form in your head or was it based on something in real life? Why did you choose Great Britain and Spain as the settings for the trilogy? While listening to the last part "The War Is Over" I found that some of it could have been interpreted as the state of Germany after the second world war. Were you thinking about this or is the trilogy a completely fictional story?
RW :
In the early 90s I read an article about how they set free genetic mutated bacteria into the Californian atmosphere in order to change the climate for their strawberry harvest in the environmental magazine Nature. The bacteria delayed the forming of ice crystals in the clouds, what meant a lot of money could be saved. I swear, I'm not joking: this was and still is the true story. This was the basic idea in my head, the rest took time to develop. I chose Great Britain's Sellafield as one of the greatest senseless symbols for nuclear power in the world. Still I strongly believe we'd be better off without such an indomitable energy. I was so glad to see the Sellafield cooling towers fall some years ago on You Tube ( I saw the movie ) because I had been hitchin' through that part of Great Britain in my youth and been walking through the lake district for one week following the paths of some great British poets. By the way I love that Shelley poem you chose for the biography. I've also been travelling through the Spanish part of the story, the Costa Verde, and the landscape of the Picos de Europa, a beautiful place to start anew. The war is over impression you get sure is not limited to Germany after the war, it is the same all over the world. Too many people have died, life goes on, the soldiers are forgotten and pretty soon there are new soldiers marching through the streets and people shout hooray! f**k it!

 VB :
How would you categorize the music of Green Wave today? Alternative? Progressive? There's a lot of influences that can be heard from The Talking Heads to Pink Floyd,
RW :
I declare every musician who's not satisfied with the way the human race behaved towards this planet in the last decades is my friend, even if he doesn't know me or likes me at all. If you've been listening to rock music for about nearly 50 years there's a lot of fantastic bands, musicians, melodies and lyrics floating through your head. I guess we got influenced by all the bands and musicians we liked. I don't know exactly how to categorize our music. I like the true sense of alternative, but in the end I like to say, it's simply music, you have to hear it and to feel it to see, if you really like it.

 VB :
 Stefan Richter, the keyboard player, writes all the music and you write all the lyrics. You interact very well. The music is very descriptive of the lyrics. Could you reflect on this close knit creative process.
RW :
Stefan and me, that's a real long time companionship, every time we meet in the rehearsal room or in the studio something new gets on the way, we share a similar point of view on music, politics and life in general. But to put it right, on "The War Is Over" there are also a lot of ideas from Sven Gross and all the others of the team. Sven and the others had not yet been members of GEMA, the German royalties´ society, so we had our separate way to deal with that. Some of the brand new material that we are working on at the moment is written by one of the guitar players Daniel Minnerath.

 VB :
Where did you find that hot lady, Andrea Bettinger, who does female vocals on a couple of tracks on both albums and appears in the Hope video from The Inner Garden? She's got a very unusual voice that complements your own unique voice.
RW :
I always went crazy about Andrea's voice every time I heard her. So when we started writing songs for  "We Used To Cut The Green Grass" I asked her the first time to take over some vocal parts in a our songs, but she was too busy with other projects. Second time I asked her was with "The Inner Garden ". You can hear her on Hope and Morvan. Since then she is with us on every project as guest singer . She's really great and you're right, we fit together pretty well.

 VB :
Any last words. What does the future hold for Green Wave and what's the best way to obtain your music which has been independently released on the Leico label ?
RW :
We hope to get our new video " Let's Make Up & Be Friendly" finished until autumn. Marc Fournelle, guitarist from our first line-up in 1975, who's living now in France,  is probably bound to return as gig manager, so we hope to play some gigs over there in France pretty soon. New song material is already on the way. We plan to get the new CD ready in 2011. We really are independent! Sometimes that's a problem and no solution at all, because it means, it's not so easy to get our music or CDs .Independant means, you can be sure, that we sent it ourselves. At the moment you can order the CDs via our German label www.leico.de and you can hear our music on  https://www.facebook.comgreenwavesaar or on https://www.soundcloud.com/green_wave

 


Last word?

 

If you're not ready to fight for peace, then forget it.

 


 

It´s psychedelic,baby magazine
(Interview m. Rainer Wahlmann)
Dies Irae was a short-lived band from Saarbrücken, Saarland, Germany. Started as a blues inspired band, soon to become a heavy psych band that was driven by progressive guitar and lots of crazy effects. Their political sharpened lyrics and criticism of the times brought a lot of trouble to the band. Their only release was First. In the following interview we discuss the recording process with Conny Plank, LSD-inspired lyrics, making of “Trip” footage and many more.
Were you involved with music before forming Dies Irae?
Joachim Schiff, the later bass-player of Dies Irae, who played guitar in the early days and me sat in the same class at high school. He had some little song ideas to impress his girlfriend, and since he had no idea for lyrics, I started writing lyrics during the boring school lessons. A bit later another schoolmate who played guitar joined us and we began jamming with different bass-players and drummers.
The first band we called The MMB369, but that day we were about to play our first gig (1965), the guitar-player, who owned ¾ of the equipment, didn’t show up, neither did the drummer: so we had to look for new musicians. Pretty soon Harald Thoma, the later Dies Irae guitar player came along with a bass player, different drummers came and went; we had some gigs as The Orchid, then things started getting better when we called ourselves The Flash (1966/67). First we covered The Beatles, Stones, Kinks, Small Faces. But as soon as we discovered all the fantastic British Blues Bands like John Mayall’s Bluesbreakers, Fleetwood Mac, The Yardbirds, Cream, Taste and started listening to the American Blues Legends like Muddy Waters, Howlin’ Wolf, Willie Dixon, Elmore James, B.B King, we knew we wanted to play a kind of  progressive music
How did Dies Irae come to life? Where did members meet?
After having tried out about 12 different drummers in the first three or four years, we found Manni von Bohr (until today still one of the finest German professional drummers) and changed our name into Dies Irae; still cover music, but progressive. Jo changed from rhythm to bass guitar, and Harald – already in those early days one of the finest guitar players here around grew better and better day by day!
But Manni failed at school with his examinations and his father locked him away from music (for one year – he failed a second time and decided to become a professional drummer). We had gigs, but our drummer couldn’t come, because he was locked at home! It was a sad goodbye, but we had to look for a new one, because in the meantime we had gathered lots of gigs.
After some rehearsals Andreas “Bonny” Cornelius came along, a really spaced-out high-class free jazz drummer. He said: “I’m gonna join your band, but only if you start writing your own material!” – All of our friends disagreed: “Do you guys think, you can write songs like John Mayall, Fleetwood Mac, Cream, Taste, Jimi Hendrix and all the other progressive musicians? You megalomaniacs?” Two real good friends that had managed us left us with these words.
Jürgen Schmeisser of Pilz Records signed you up and you released single “Lucifer” / “Tired” and an LP entitled First. How did the label got ahold of you?
After Bonnie had joined the group we build up a new program with own songs and found a manager, who did a good job in getting gigs for us, but he was a real strange person (to put it mildly) 4 blue-eyed musicians signed an exclusive management contract without reading it. (The bill we had to pay later).
But now we played gigs outside of our home country Saarland. One of them was in Lila Eule/Bremen where a goup of people were having a party. We didn’t know them, but after the show Jürgen Schmeisser came up and told us, that they, PILZ-record label people, really enjoyed the show and he asked for our address. Some months later, he asked us to hire a stage and to show him, why PILZ should produce an LP with us. We hired a small location and played the show for one person, him. He liked it.
Where did you record the songs?
It took some months more till we were invited to record an LP in Hamburg. In the mean time, PILZ –records had changed a lot.
BASF (the owner of PILZ) didn’t want to invest too much more money into progressive music, more and more they changed their program to German “Schlager”.
We were quite surprised, as we heard we got only about 20 hours to record an LP plus 2 songs for a X-mas sampler. Can’t remember the name of the studio, only remember it was a small one in a sub-urbian terraced house area; good thing: they had hired Conny Plank to do the recording; bad thing: after some hours of recording he left for a mixing job with Kraftwerk at the Hamburg Markthalle. After a 5 hours break he returned into the studio at about midnight, along with him some Kraftwerk and some The Rattles folks.
We got stoned, forget to record the lyrics to a pretty complicated jazzy “shepherd’s song” for the X-mas sampler Heavy Christmas and returned back home. They dropped the instrumental, all that’s been left is a 20 secs long stoned  la-la-la singalong of everybody in the studio at the end of the song.
What kind of audio equipment did you use for the recording?
I can’t remember anymore; maybe because, to say it with Shel Silversteins words: “I was stoned, and I missed it.” (part of the time)
Was there a certain concept behind the album?
Yeah, I was the one with the words; nobody else in the band cared too much about the lyrics.
At that time I was convinced, that left wing movements combined with drug inspired hippies could start a world-wide revolution to build up a world without wars & religions. In my childhood days I had believed in religion and the bible until I started to understand how churches, governments and the big business always work hand in hand together to oppress the people.
I read a lot of philosophy, like Sartre, Karl Marx, Sigmund Freud and many others. I studied education and wrote my dissertation about the entitlement and the questionability of the antiauthoritarian  education.
… and I believed in drugs…(then), which opened more and more strange doors to me, most of them, regarded from my nowadays point of view, better should have stayed closed. I had flirted with black magic and begun slowly to lose control.
Would  you share your insight on the albums’ tracks?    
“Lucifer”
I chose Lucifer, the fallen angel, to be my alter ego. He had revolted against God, got thrown out of paradise for bringing the enlightment to mankind. This world is not holy, holy; it’s death, hatred and war, but nevertheless, let’s search for live, love and peace, not to forget – satisfaction, let’s find our real selves without any restrictions!
Looking back, many of my beliefs haven’t changed that much until today.
“Salve Oimel”
If my memory serves me well, Conny Plank brought up this silly little Latin sentence. Like Joe and I, he had run through an humanistic education and what the result this was! We had a good time with Conny.
Joe spoke the words and Harald showed the world how it feels like.
“Another Room”
I had suffered from a authoritarian education. When my fascist father threw out my girlfriend out my room, I left home and started my new life in the city.
“Trip”
Need to explain acid?
This song live never had a fixed structure. We always let it flow. Main direction was chaos-beauty-chaos. Only Harald’s guitar riff always stayed the same. On our 1991 revival-live version in Le Garage (CD-R Make Ends Meet – Dies Irae) you can hardly recognize the song “Trip” until Harald’s beautiful riff sets in.
“Harmagedon Dragonlove”
A strange disturbing flashback to my childhood bible-poisoned days ringing in dies irae, the day of doom, the last days, mixed with Romanticisms blue flowers and a touch of Wordsworths mellow meadows descriptions.
“Witches’ Meeting”
For me, my most uninspired lyrics on this record! Sorry for that, really!
“Red Lebanese” 
Might sound strange today, but I always was in search of the mind-expanding effect of drugs then, the heightening of my awareness; I liked the softness of red lebanese.
“Tired”
Here I tried to express the right to live your own dreams, as long as you do not hurt anybody by purpose. As I see it now I waved my freak flag a bit too high in this one, and I understand by now some critics I unleashed at that times, even if I’m still convinced, that smokin’ a joint really is much more harmless than carrying a gun.
“Run Off ”
Harald and me liked Elmore James. This was our bow to him.
How did critics receive the album? Did it break in any markets?
Our local TV station SR produced this “Trip” video (that gathered that much youtube-clicks since ROCKPALAST emissed it again in 2006); for a short time we were treated like local heroes. Manfred Sexauer from our local radio station SR and Frank Laufenberg from radio SWR presented the record in two of the best radio shows of that time.
But all the other German radio stations boycotted the record because of the lyrics. I had insisted on the lyrics being printed on the record sleeve.
Nobody had read them before the release, neither the people from PILZ, nor my bandmates. I was sentenced GUILTY! The German market was closed for us. I became the persona non grata – the fallen angel.
Did you do any promotional touring with the band?
We toured from Zürich/Switzerland throughout many German towns up to Hamburg, together with other PILZ artists like Ardo Dombec, Virus and McChurch Soundroom and did many solo gigs (Dies Irae), best of all in Fabrik, Hamburg.
First is among my favourite albums from Germany. Was there ever a plan to record second LP? Is there any unreleased material?
In our contract with PILZ there was an option for a second LP. But PILZ informed us pretty soon after the radio stations had refused to play our songs that First was definitely our last record with PILZ. 1992 after our revival concerts, we recorded 5 new songs “rough mix” in the Green Wave studios. (on CD-R Make Ends Meet)
Were you inspired by psychoactive substances like LSD at the time of writing the album? What’s your opinion about it?
Like I told before, I was. Having been the drug apostle, I was then, I persuaded Bonnie and Harald to check it out later, but they didn’t like it.
I stopped taking LSD in 1973. No more need to be crazy by purpose.
Today my only drugs left are Spanish red wine (Navarra) and, Belgian beers, even though I still support the movement for a legislation of drugs.
What happened to the band after the album was released? Were members involved with any other bands?
No, we all only played with Dies Irae.
What would you say were some of the major influences for making First? 
Sure all of them British progressive bands like The Yardbirds, (early) Led Zeppelin, Ten Years After, Taste, John Mayall and funny but true: my all time favorites were The Kinks (because of Ray Davies’  fantastic lyrics) as well as Bob Dylan (lyrics) and Frank Zappa.
Were you in contact with other “underground” bands from Germany?
Not really. Living in a part of Germany, most of the German people thought: “Belongs to France, or…?”, without any music business, we didn’t get the entrance tickets to the underground in-crowd that easy. When we first got invited to a kind of underground party in Hamburg I really was shocked by the political unawareness of some of them “underground-stars” – they just partied with the Big Biz, I really felt pissed off.
You’re still very active and have a band called Green Wave which is kind of a continuation of Dies Irae. Would you like to talk about it?
Active –  right; very- no; by the time it’s getting less!
After the exitus praemortalis, name it the sudden death of dies irae, I first thought of turning my back on music. But 1975, with a bunch of friends, we formed Green Wave, who now, after 41 years slowly seem to face the final curtain. To celebrate this kind of good-bye-for-long in a suitable way, we just finished recording a fantastic CD in our own studio, that we’re gonna release at the end of the year or maybe in springtime 2017.
It will be the finest record I’ve ever took part in.
I could write books about those 41 Green Wave years, but it would take too much time to read them. The coming new CD Stolen Dreams In a Nearby Lost & Found is part of my concept story  “… green days on a planet blue…”, which includes our former CD’s The Inner Garden (2000) and double CD …we used to cut the green grass…/…the war is over… (2009)
If you read the story behind all of our CDs at http://green-wave48.blogspot.de maybe you will understand the philosophies behind my 51 years of music.
What are some of the favourite memories from Dies Irae?
Anyway we had a rather good time. In the sixties and the seventies young people had the chance to check out many different ways before they finally chose one. All those ways had memories worth being preserved. I still preserve them all.
1991 Dies Irae revival concert in Le Garage, Saarbrücken on CD Make Ends Meet, includes 5 new songs (rough mixes 1992). Order it from http://green-wave-live.jimdo.com/shop/ 
What’s the story behind making footage for song “Trip”?
The location where we filmed had a WWII military background. It had been a drilling area for soldiers, SS and police during the war. Nearby, about 1 km away, there had been a concentration camp. At that time they had just started to remove the remnants to build up an industrial area for Mercedes and others. The only “plan” for the movie was: the war is over, and crazy long haired hippies desecrate “this holy ground”. The television crew had no idea, what they should do with us, so Bonny our “natural high” drummer suggested, that the camera man should bind his camera to his hand and shake it all around to make it more psychedelic. To make it even more freaky we entered the bus. I had found a plant that had got removed by one of those caterpillars (excavation machines) and we planted it back into the sand and watered it to let it grow again (maybe this was the beginning of the “green wave” idea). I had smoked a joint before filming but it was stronger than I thought. Unfortunately a few weeks before, Harald Thoma, our guitar player had just received his notification of recruiting and was replaced by our manager. The one in this movie was only a substitute for Harald, who rejoined the band months later, after he luckily failed the second examination for military: he appeared there pretty stoned.
After that episode we sacked our manager, but paid a lot to have him go.
Why the name Dies Irae?
I happened to hear some medieval church song, called dies, irae – dies illa.
Very angry young man that I was – politics, education the Vietnam war – I suggested the name – the day of anger, the last revenge for all the evil.
Concluding out of the lyrics, you must have been reading a lot of esoteric literature at the time?
I was pretty much into reading all kinds of books, and I still am.
– Klemen Breznikar
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Rainer Wahlmann

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