FAUST Together

An interview with Joachim 'Jochen' Irmeler from each found what the other was doing very thought: “Hey, that makes an interesting strange. We decided to do something noise, we'll record this when we return from FAUST together. But what? Faust was never a the demo”. And that's what we did. 'political' group. As individuals, we were political, but not as a group. The most PT: So the “demo” you presented to PT: Let's start right at the beginning. interesting thing about Faust was that we Polydor was exactly that! No music? Where do you originally come from? were six totally different individuals. From that resulted the idea: Let's move J: There was some music on it. To record J: I come from the south of Germany, from somewhere together where everyone can that, we went into Studio Hamburg, which the Bodensee. At the end of the Sixties I live out his preferences, yet has to stand his was just like paradise for us, just as we had went to Hamburg because I wanted to get ground against the other five. Which always imagined it to be. A big high room, as far as possible away from my home. At sometimes led to a real fights. But it was where orchestra recordings were made. the time Faust was formed I was working in and is a concept I can recommend. Together with the music that we produced an advertising agency, which is where I met there, the demo-tape was so cranky and Zappi, who became Faust's drummer. I PT: So each brought a different element to obscure that Polydor just couldn't say have always been involved with music: as a the band? no(laughs). child I played recorder, zither, and the guitar. Somebody in Hamburg enquired if I J: We said, “We have to do something PT: So you were awarded a contract? played any instrument. I had already built radically different: let's create this band out my first small organ, since I always had a of nothing”, so that we could draw on all J: We had the contract, but no place to stay. liking for electronics. So when that guy the creativity there was in us and not go the This was solved when Petra, Uwe's wife, heard that I had an organ which ususal way of channeling the ideas and remembered her father's house on the heath, unfortunately I had left at my parent's playing your way up in the clubs. We'd which was empty. So we moved there and house when I moved to Hamburg he put rather not have done any music at all than practised living together, which, apart from me into a car straightaway and we drove all to do that. a little friction here and there we managed the way down to the south in one night, quite well, given the fact that we hardly just to get this little organ. And that was PT: How did you come to meet Uwe knew each other. In the meantime, we were the beginning of this first band, which Nettelbeck? looking for a house that was big enough for consisted of myself, Zappi and another us all to live in and that could drummer, Arnulf Meifert, who also J: Luckily, we hung out with the accommodate a studio and rehearsal room participated in the making of 'Faust 1 Hamburger Film-Co-operative, a scene of as well. And then we found this old school (clear)'. The group was called young, avantgarde film producers who did in Wümme, which lies southwest of 'Campyloblatus Zitelli', which is the name short Super-8 films, where for example a Hamburg. The house, resembling a large 'i', of a Swabian flying saurian. At least that's man walked through Hamburg with a had a part where we could inhabit, while we what I always thought it meant (laughs). drinking glass in front of his eye. And there used the part that had accommodated the This was the beginning of one half of Faust. we finally found somebody who knew school as rehearsal room and studio. It was And then there was this other band, who someone. Nobody from the record industry, ideal. Then we started to think about how played more song-orientated music, whereas but a journalist, Uwe Nettelbeck. So we to build the studio, which wasn't easy, since we were pretty much into anarchic free- told him our story, and he was interested, none of us really knew how to do that. We form stuff and more interested in sounds since he was frustrated by his job as a only knew that it had to be sound-proof. In and 'abnormal' things. We didn't want to journalist. We liked him instantly and he the end we managed to build it exactly as play any beat-music, which wasn't always liked our idea and concept. He started we wanted it to be. It was a great time, easy, since we had a bass-player whose thinking about where we could go to. being able to research and record every biggest idols were 'The Rattles'. sound. Often, late at night, when the others PT: Was it Uwe who took you to Polydor had collapsed into sleep, I'd make myself a PT: Ouch! Records? big can of coffee and then go back. I always left the organ and the other machines J: Exactly. This sometimes led to internal J: I have always been a hi-fi-freak and so I running, so by the time I came back with conflict, but the guy was very talented and knew which were the best pressing plants the coffee, I often had to literally fight my at 36 years by far the oldest member, since and who owned them. One was in Japan way through a wall of sound, that the we were all around 20. He came from and the other belonged to the Deutsche abandoned machines produced. There were Hamburg's red light district, a really tough Grammophon in Hannover. At that time about twenty big speakers and they were all guy. It was quite a strange combination of we didn't even know where Japan was, so vibrating, so that you could actually feel personalities who were working on this we thought “Let's try Hannover”. We the sound. Wümme was the place where we project. I can remember that at one point thought, hmmm, Deutsche Grammophon could really experience and live our music. we had three drummers, two or three and Polydor, they are rich, they can give us guitarists, bass, organ and some other money. So we choose Polydor (laughs). PT: What kind of music did you decide you instruments, all in all more than 10 people. wanted to do? And then there was the other part of what PT: This all sounds a bit like a fairy-tale... was to become the Faust-sextet, who were J: We didn't want to do any beat- or rock- 'normal' musicians, who did real songs with J: Yes, it does. I wasn't present at the music, that was agreed upon. Compared to a clear and set structure. negotiations, but when Uwe came back a today's standards, the music-scene was fortnight later, he said “They want a demo”. relatively easy to survey. There were the PT: How did the two halves come to meet? Which we didn't want to do. “How shall we Yardbirds, the Small Faces, Kinks, Stones, do a demo if we do not know what kind of somewhere there also were the Beatles, J: At one point, Zappi got to know the music we want to make?”. So we played although at that time they'd split up, thank girlfriend of one of the others quite well, dumb: If they want a demo, they'll get one. God. Which was what I thought then, and so it happened that the two groups met. What we did was to go out and make a today I can listen to their music, but back And our group found it interesting to get recording of a demonstration (laughs). On then I wasn't a Beatles-fan. We liked Frank some structure into the chaos that we our way there, we passed a giant pile-driver, Zappa, and just today I've been listening to produced. The two groups took an the biggest we had ever seen. And we Vanilla Fudge again. I personally was more immediate liking to each other, although into English music, I didn't like much transparent record. But it turned out that it [the Stern]. The rest of the press ignored or American music, apart from Soul, which I wasn't as easy as we thought. Because back disliked us. always loved. But in 1970 we wanted to then, you had to have a label to keep the leave all these things behind us. I mean, hole of the record in the centre. So we went PT: The second LP, 'Faust so far', appeared now I can play tonic, dominant and to Hannover many times and experimented. in 1972. I always found it amazing that subdominant in their correct order, but We wanted to have a clear vinyl record, Polydor let you do another record after the then I just couldn't, I was horrified by that. without a coloured label in the middle. financial disaster that the first one must So I thought if I can avoid that, then I will After many experiments, we agreed upon a have been.

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