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Interview: “Komet” Lulu Neudeck (Electric Moon, Worst Bassist Records)

A young Lulu (from her Bandcamp page)

Whether you know her as a cult hero on bass guitar for Electric Moon, a super friendly and generous distributor of vinyl through her Worst Bassist Label, or as a witchy cat lady living in a backwater woods area in Germany, you cannot have anything but the sincerest sympathy for Lulu -Komet- Neudeck. Since it is October 12 and International Hug a Bassist Day, I felt it was high time to honor her with a chat and some well deserved attention for her impressive contribution to the international psychedelic scene. Luckily, she felt the same way! So here we go:

Nice to finally do this interview with you! How are you these days?
Hi Jasper. Thanks a lot for taking your time for sending me some questions.
I am a bit puzzled by the circumstances. Having started my label right before the pandemic
kicked in, was a challenge for itself, that whole situation on the world doesn’t make it better. I have no new release in the pressing plant right now yet, so this means around 12 months
without a release… So I will have to check more artwork commissions to have a slight
stream of income. But it is important to see everything in relation again and again and to remind oneself that having something to eat and not facing a gun is luxury…. So all in all, I am fine, thank you, how are you?

First of all: can you introduce yourself, your music, your label, and your cat(s)? –insert
cute cat pictures here–

Yeah, hi, I am Lulu, nice to meet you 🙂 I am founder and bassist of the band Electric Moon, played bass in Zone Six for 11 years, graphic designed for both too and have founded a little independent label named Worst Bassist Records few years ago, of which my tomcat Johnny is the boss. Since some weeks, we have a new trainee-cat in the house, who learns quickly I must say. Since 2002 I do artworks as Lulu Artwork, commission paintings, logos, record covers, concert posters etc… The past 2 years I was diving into this a lot more again.

Johnny the Cat

How has the past pandemic period been for you as a musician? Did you see upsides next
to the downsides?

Yeah, all in all we all know the basic effects of the pandemic on musicians, so I won’t repeat those. But yeah, good question, and yes, there are indeed upsides! At least from my point of view… Times of lockdown forced ourselves to view the insides and I embraced that and took it as a possibility to get to know myself on a much deeper level. We always think we absolutely know ourselves, but spotting some blind spots can be very illuminating….

I enjoyed being a lot on my own, embracing the calmness of this state, create…The financial aspect is a total ruin but somehow it always goes on and on. I also learned to be more relaxed with that and to live more in the moment! Also, relationships changed and some improved, some fell away and that’s fine! Some connections even got deeper due to distance…Sounds weird first, but might make sense…

And how about for you as a graphic artist and label owner?
Well, same as above. For the label, it was and is still a hard challenge. But especially for visual artworks, it was kind of a blessing! It so much fired my creativity and changed my point of view to things. My sight changed. I saw art everywhere. In everything. Everything was kind of inspiring my view, my imagination, my senses, my thoughts…

Can you tell me what made you start the label two years ago?
In 2018, my collaboration with Sulatron Records as graphic designer, business consultant and trend spotter ended, so I needed a new job. I thought about what I can do and I thought, well, I worked with a label the past 10 years, which releases a band I am playing in – why not starting my own label and also release a band I am playing in? 😀 I needed an income and I did not want to go to government and ask for social system money. So I gave it a try and the 1st release started off well.

What does a regular “Lulu day” look like? And what does an awesome “Lulu day” look
Hehe… A regular Lulu day looks like:
I get out of bed quite early in the morning, to have some free time before busting out my work mode… So I get up and cook coffee, feed the cats, sit there, meditate, drink coffee and get awake slowly. This needs time. Later on I check my schedule and start to work on it.
If a fresh release is here, I pack parcels the whole day. Coming to an end of my working day, I do my bookkeeping so that everything is always well prepared for quarterly tax work which I do on my own. In between all that of course, I have 2 hours of break to calm down nerves, muscles and brain, feed the cats again, cook coffee, cook some meal etc…At the end of the day, I take a longer walk to complete work and get rid of the work atmo in
my living space! I love my flexible schedule, so when I am not able to sleep at night, I can work on it either way and take a day off after such a night.

Where we come to a great Lulu day. A great Lulu day can be both, a very, very productive or
a very lazy selfcare day. A great Lulu day starts off with waking up somehow inspired and realizing, not so much physical pain is there right away. Having chronically lyme disease since almost a decade, sometimes fucks my system so hard, so a great day starts off with less pain and therefore more space for good stuff. After realizing my blessing, I cook coffee, take a walk in the morning sun and work a bit but mostly then on artworks, cause I feel so inspired then and happy. Sometimes, a great day also starts after a night I was painting the whole night and feel totally smashed but blissful. The great Lulu day often ends late at night, cause I have such a force of energy and drive on a great Lulu day, that I sometimes overwhelm myself with that, lol.

Where do you live and how does it affect your art and music?
I (yet) live in a very old house in the middle of nowhere in northern Hessonia in Germany. It is
the area where I lived in my early youth also and it’s not far from my dad’s house.
It affects my living as an artist / musician of course, surrounded by nature and the stillness at night… But I have to move out by the end of the year and this is a bit of a struggle right now, as it’s very hard to find something to live in this insane situation at the moment!

Art by Lulu

Tell me about your best memories with Electric Moon so far!
Wow, this is a difficult thing, not cause there are none, but as there are SOOOO many that
as soon as I wanna pick out some, I overtake myself in the brain, haha. Of course, the traveling in general when we have been on tour. It was always a blast, yet very exhausting, but also very inspiring and always a change of perspective, which keeps the mind on the move…

Some particular awesome moments have been on stage, where we all were so connected
and caught by the happening magic, that we all were looking at each other at the same
second, realizing what was happening there and feeling out of breath by that stunning
feeling of getting played by the music not playing it. Weird and intense and magical.
Also, I will never forget our 2 weeks Italy tour back then in 2013, where we traveled down to
south Sardegna, and when we played there in a little ancient town near a old spring with hot
sulfuric water etc…The night after the concert, we went to our sleeping place, which was a super old building, a small school. We arrived and there were some benches with trees around them, so we sat down and heard around hundreds of nightingales singing. When we went up to finally go to sleep, they all flew away which was a mesmerizing, sublime, and stunning moment. Never saw or heard SO many of them on the same spot…..

Or our residency in Tunisia where we stayed around 10 days with several bands, making
music together and hanging together and then, at the end of that, playing a festival where
you could hear a common influence on every band from every band. That was ace! It was in the middle of nowhere about 2 car hours from Tunis away, in an ancient area where an artist had built a cave for his artworks, kind of a showroom. There were so many weird, special and intense trips that I’ll never forget and am grateful for, having experienced them together. They’ll be locked in my heart for my lifetime. And, curious about what to come in the future….

What was your musical background before playing in Electric Moon? What and who made
you pick up that bass?

Mark Sandman of Morphine was the reason why I wanted to play the bass since I was a
teenager. But I learned Saxophone first, also because of them, haha. I have a total different musical background than you might think considering the sound Electric Moon had from the start. Of course, the “ol’ classics” are also in my background, like all that Pink Floyd stuff and so, from my dad. But also, I love electronic music, trip hop, punk, indie and am a huge, huge fan of Jason Molina / Songs Ohia…Also bands like Shellac and God Machine have been a huge influence to me.

Art by Lulu

What are you most looking forward to in the near future? And what would be a dream
goal for the longer term future?

I am most looking forward to finding a super nice place to live with my boss and his trainee, haha, sound like a old cat lady witch, but it might not be the worst (bassist lol). No, really, this is something I visualize every time I think about it and try to manifest it somehow. It is as it is, and what will be will be, is a good state of mind. What does not mean that nothing is a matter of interest to you, it just means to relax the tangling mind a bit more into the present moment…A dream goal for the longer future would be living near the northern sea. I have loved it since I was a kid. And I like the people in the north. Also, a more topic related dream goal would be making music with people like Emma Ruth Rundle

What is something that people should stop doing in your opinion?
Complaining less about others and checking in more on themselves might be a good start
:-D. Also, I think we all should feel more gratitude and should remember, that we’re a family here on this ball of rock, lava and other masses, floating through space, not knowing what would happen. I am not a fan of thinking about other people too much, so in my world, they’re free. But one thing, yeah, we all should stop, is this victim mentality position in which we put ourselves automatically, while complaining about others….

What should the Weirdo Shrine readers do after reading this interview?
Make love :))))

Review + Q&A: Sula Bassana- Nostalgia (2022, Sulatron Records)

Nostalgia, the yearning for a bygone era. An era perhaps without all the incentives and stimuli of these modern times. A world without mobile phones, social media, or even the internet. A world in fact, that not so very long ago was a reality. In the 90s we had to find new music through magazines, word of mouth, real live contact, live shows, or by listening to mix tapes that we made for each other. It was the time of great excitement when crate digging and finding stuff you never heard before, and a time of full venues and bristling underground festivals…

A time you understand a guy like Dave “Sula Bassana” Schmidt yearns for. He lives by himself now, in a forest-y area of Germany and composes music for himself, for his bands Zone Six and sometimes other projects. But the times of the 90s, that time of true underground excitement, even before he lifted of the ground with Electric Moon and shone, that time will never come back. It seeps through the music on this album, from the grand cinematic post doom opening tones of Real Life, to the indie rock anthem We Will Make It, reminiscent of unsung 90s post hardcore heroes Slint, Sonic Youth, and Lungfish. It’s music that is quiet in all its heavy fuzziness. It has a warm glowing energy about it, but it is burning for the past, and through this fire it bears a heartbreaking melancholy too. For these times will never come back, and “the world has gotten itself in a goddamn hurry” to paraphrase one of my favorite movies of all time, Shawshank Redemption…

Sula Bassana will not follow in this rush of modern times. He will go his own tempo or no tempo at all. His stubborn creativity shines through his love of the music he makes, the effort he puts in it, his desperate attempts to preserve some of that glow that he felt in the early 90s and that slowly lost a lot of its magic but that also somehow still perseveres. That is Nostalgia; it harks back to the good old days, but it also stands strongly in the present. It is an album that could not have been made then, it is also very much now. Through all its reminiscing and melancholy that is in fact an uplifting message, and I am sure the deep diving listeners will agree that after relishing in it for all of its mesmerizing 42 minutes, you will invigorated and are ready for more.

Zone Six

I had to speak to Dave Schmidt again. The pandemic “ended” since last time we spoke, he left his longstanding band Electric Moon, and the world had gotten a lot more challenging for small underground labels like his bread and butter Sulatron Records. And now this brilliant new album, here is what he said about that…

How have you been since we last spoke in December of last year?
With the start of the war against Ukraine the sales went even lower, but the production prices rose a lot, so life for a small but professional indie label like mine became pretty hard. But we started recordings for a new album with Zone Six. It was short time after the war started, so it became dark and heavy. We try to go on working on it soon, but bureaucracy rose too so I have a lot of shitty office stuff to do and less time to be creative. My new album arrived and promotion started and soon I will ship all pre-ordered copies out etc. You see there is always work. 🙂 Also I went to concerts and festivals as a visitor, spend much time with friends and enjoy life. And I found 3 very cool other musicians to form my Sula Bassana Band and we start rehearsing soon and want to rock the nice stages in Europe from next year on. 🙂 This gives me a lot of good feel and power.

You mentioned back then you were burnt out, are you feeling better, and/or how are you dealing with that?
I’m still off power very fast and need a lot of rest. Now I also recover from Corona which makes me even less powerful. But I hope I will find back my energy soon.

In the meanwhile you quit Electric Moon, would you like to elaborate on that decision? Do you feel it is over for good or is there room for a reunion at some point?
I went off the band for private/personal reasons. Maybe we will be ready for a concert together in a bunch of years or so. No idea, and I focus on new things, especially my own band.

When one door closes, others open, right? I heard about your new project with Ax Genrich? What can you tell us about that?
Exactly! I guess I haven’t seen Ax Genrich since our last gig with Psychedelic Monsterjam (or Neumeier, Genrich, Schmidt) in 2006 (at Burg Herzberg Festival) but met him on the Take Me To The Moon Festival a few months ago and we decided to make music again. At the same festival I met Steff Bollack again after many years and met Conni Maly. So we had the idea to do something together which led to the new project called Die Raumpatrouille, and to our first concert in November. This will be completely improvised krautrock and I’m really looking forward to this gig and hope we will go on then. Last weekend I joined Ax Genrich and his band for a little jam at their show in Kassel, at the Free Flow Festival, and it was soooo good to spend time with Ax! And the jam was great too.

Let’s go on to Nostalgia, your new album. What can you tell me of the recording sessions?
I started recording new songs in 2013 when my freshly bought Mellotron arrived, sadly only the new digital one, sampled from the original mastertapes from the sixties. Anyway, I love these sounds so much and recorded a track instantly (Mellotraum). Later I recorded more tracks here and there which not fitted to other albums, so I collected them and decided they fit perfectly for a album. But man, 2 of them were real songs, where I need vocals. And writing lyrics is definitely not my superpower, hahahhaha. So they stayed unfinished for years. And in late 2021 I forced myself to finish them, what I did. The title track based on a guitar-theme I had in mind since the early 2000’s, but it changed to a Mellotron dominated track. In 2015 I played around with my Korg Polysix (a early 80’s synthesizer) a few days before the first Electric Moon concert at the Planetarium Bochum, where I used this synth. I found a nice arpeggio thing and recorded it without knowing what to do with it. Some days later, at the mentioned concert, the synth died due to the leaking memory-battery (you can hear that in the first song of the concert: Later I added drums, bass, guitars and more sounds around the arpeggio and the result became one of my favourite songs of the last years. 🙂

Who was involved apart from you and what did they contribute?
Musically I did everything alone. But for mastering Eroc did his great work again and for the cover I used a fantastic painting by french painter Hervé Scott Flament. I also used some pix a friend did (Kilian CabGuy) and the title font painted by Ryan Koster.

A song like We Will Make It has a strong 90s feel, it kind of made me think of Slint, one of my favorite records from that time! Do you know them and do you feel the same?
To be honest I don’t know Slint. Will search and listen to it. After recording the basic guitars it reminded me a bit of Sonic Youth, what I heard a lot that time (around 2016 or so, when I did the recordings). Back in the 90s I was much more into electronic music first and then into late sixties and early seventies psych, kraut and space rock. Haven’t heard much of the 90s music.

I’d say the general mood of the album is quite melancholic, was that intentional? Can you recall what brought that up at the time?
I’m a very melancholic person. I guess you can hear it in a lot of my music. And the words in these 2 songs with vocals are impressed by the feel of these times…

Will you play any of it live? And when in which band will we be able to see you live soon?
There are too many things going on on that album, that I don’t think a four piece can nicely perform these tracks. But we will rehearse some older Sula “classics” and some more new songs. Also I want to play much more with my old bands Zone Six and Interkosmos. And of course with Die Raumpatrouille.

Would you like to pitch any upcoming Sulatron Records releases? What should we be looking out for?
There will be the new Farflung album Like Drones In Honey out in October (hopefully) on CD and LP. And I just received the testpressings for the debut LP Echo Colonnade by Ukranian krautrockers Reflector and listen to them right now. Sounds
great on vinyl! :-). In the same package I got the testpressings of the split LP of Speck (The Metz Sessions) and Interkosmos! Both LPs will be out in early 2023. And Tetrao Urogallus from Hamburg work on their new LP right now which will be released next year too.

What should the Weirdo Shrine readers do after reading this interview?
Hug someone, spread love and listen to great music. 🙂

Dave “Sula Bassana” Schmidt

Upcoming Gigs:
02.09.22 GER-Bielefeld, Potemkin Bar
10.11.22 GER-Heidelberg, Commissary PHV (South-Gettysburg Avenue 45)

Find Sula Bassana and his projects here:

Zone Six- Beautiful EP (re-release 2022. Sulatron Records)

A long time ago, in December 1997 to be precise, a couple of gifted musicians found each other and started jamming. They jammed for hours and hours, and decided that they would name themselves Zone Six. At that time the band consisted of a couple of ex-Liquid Vision members (Dave “Sula Bassana” Schmidt, Hans-Peter Ringholz, and Claus Bühler), a keyboard player named Rusty, and an amazing female singer from Australia by the name of Jodi Barry. The EP pretty much revolves around her Portishead-like story telling, while the band anticipates and weaves its patterns of psychedelic triphop jamming.

The EP starts off with Something’s Missing, a mysteriously spiraling thing, that strangely resonates the lyrics “Beautiful” throughout its ten minute haze. Jodi Barry’s vocals are of a mystique subdued beauty that fits the mystery. The lyrics forbode the next song Beautiful, which is a twelve minute triphop piece revolving around Jodi Barry telling her creeped out story about Jack and Jill. It is quite a different piece to anything Zone Six did before or after, but that’s also the cool thing about it. It makes you wonder what this amazing vocalist did after Zone Six, apparently she moved back to Australia but I cannot find anything else…

I guess it is a fitting final mystery for this hazy little gem, which will be released on “beautiful” green vinyl by Sulatron Records. An obligatory buy for later krautrock completist to say the least.

Interview: Dave “Sula Bassana” Schmidt (Sulatron Records, Electric Moon, Zone Six, and many more…)

Dave Schmidt

Where to begin introducing Dave Schmidt aka Sula Bassana? The German musician has been a household name in the psychedelic music scene for ages it seems, playing festivals and releasing records with his (ex-) bands Liquid Visions, Electric Moon, Zone Six, and many more. Not to mention running his own label, and releasing important albums by bands like Giobia, Saturnia, and Sun Dial. There is a ton of experience and interesting stories to explore here, so let’s dig in, because Dave is willing to share!

Can you tell me how you have managed as a musician and a label owner during the corona crisis so far? In what way(s) has it affected your ways?

For me as a single person in a single house in the countryside it made no big difference in life. Only the sales got really low because everyone was in fear and stopped buying unnecessary stuff. But after a while it slowly got a bit better. And I’m happy I received some help (money) from the government one time, which helped me to survive.
Also I am burnt out and need some rest and much less gigs. So it came at the right time for me. And I moved into a new house (new, hahahaha, 200 years old and a total mess) where I had (and still have) to renovate a lot. And we played a few gigs anyway, which was nice.

Can you tell me a little bit of where and how you live and how you usually go about your day?

I live in a small farmers village near the beautiful Kellerwald (wood area) in northern part of Hesse (a county in the middle of Germany). I work around 6-12 hours a day for the label/shop/promo… and sometimes (very seldom at the moment) I make some music or do long walks in the woods.

Sula at work

You have been around in the psych/stoner/kraut scene in Europe for quite some time, what is or was the best time for this scene would you think and why? Can you share some memories?

Uh, in 35 years on stage there are a lot of stories. Don’t know which ones to pick out. I always had some great times and some bad ones. The best time for this scene is always, hahahaha. It always was a small scene (I mean the psychedelic/acid/kraut scene, not the stoner/doom/metal scene, this one is MUCH bigger!) with just a few bands and possibilities. I started in the 80s with electronic music and we had some nice highlights as playing in 2 Berlin Planetariums (at Insulaner and Zeiss Großplanetarium), making small cassette tape issues as our releases, and contributed some tracks to CD samplers and a vinyl sampler (in 1987). Later, in the 90s, with Liquid Visions we played some sixties style psychedelic with some pretty spaced out psych rock jams, with full liquid light shows and blacklight performance. Maybe it was 20 years too late or too early, not many people might remember this band, but we released 5 vinyl albums and played around 10 years! Mostly in Berlin, but also in Germany, Austria, Denmark, Czech Republic and Switzerland. So, there were plenty of funny stories.

In 1997 I founded the free form impro spacekraut band Zone Six, which is still active and will have its 25th anniversary next year. 2 vinyl-albums to celebrate it are already in the pressing plant. We jammed with some guests over the years: Nik Turner, Huw Lloyd Langton (both Hawkwind), and Ax Genrich (early Guru Guru)!
Later (in 1998) I was drummer in Growing Seeds, a band who travelled to Portugal in several camping vehicles to record an album. That was a fantastic and strange trip, with recording sessions at spectacular places. Best was a (I guess) 100 meters high cliff, were the shore was loudly breaking below and we were jamming on top of the rocks. Sadly we never released these recordings, except just a 7“ ep.
I also have played some gigs in a acid rock trio with Ax Genrich and Mani Neumeier (Guru Guru) and had some more projects.

Growing Seeds

When I moved to Austria for a few years I played in a indie rock band called Alice Dog and founded Interkosmos with Pablo Carneval (later Zone Six and Electric Moon) and Sergio Ceballos (Mohama Saz, ex Rip KC, Melange) for some serious spaced out music. We played gigs in Austria and Spain and made one album. After 2 years we split because Sergio went back to Spain and I moved back to Germany. But we are back after a 12 years hiatus, had 2 gigs this year and started new recordings!

In 2009 we founded Electric Moon with Pablo and Komet Lulu. Our first gig was at the legendary Duna Jam in Italy and we released a huge amount of albums. This is the most known band I’m a member of I would say. We played (almost) all over Europe and had a fantastic residency week and festival in Tunisia in 2019!
We also did some albums with a project that lived only for 3 days or so, called Krautzone. This is real krautrock!
Sorry for telling my history in very short words here. Just to show you it is hard to pick out some special moments. There are so many… 🙂

Electric Moon and Talea Jacta

About Electric Moon: can you tell me a bit more about how you got to know Lulu and Pablo and how you managed to stay creative and prolific for such a long time? And are you only in a band together or are you also friends outside of music would you say?

When I moved to Austria in 2006 I met Pablo (Bernhard Fasching) at concerts of his band The Blowing Lewinsky and we became friends. Actually he is one of my closest friends! He started playing drums in Interkosmos and later I met Lulu and she moved into the cold house in the woods where I lived and we became a couple for several years. When Lulu wanted to start a band we did some recordings as a duo (I played the drums in the very first recordings and overdubbed Guitar and Organ then. You find the tracks on Lunatics & Lunatics Revenge). But this way was a bit frustrating so we invited Pablo to join us and the first recording became Moon Love. So it worked very well from the beginning. When Lulu and I moved back to Germany Pablo left and we had some years of changing drummers, but in 2017 he joined us again and is still the drummer. Last year we invited Joe Muff to play Guitar in Electric Moon, so we have been 4 members since a while.

Growing Seeds

Could you elaborate a bit more about Growing Seeds? It sounds like a really awesome and important event in your musical journey! Also the pictures are great; real Pink Floyd-y :))) Can you tell me what influence those jams had on your later career?

Oh, that was a story… We played some gigs together with my band Liquid Visions, and also with Zone Six, around 1997/98 and all 3 bands were booked for the Burg Herzberg Festival in 1998. So a few days before the festival I went down to Bayreuth (where they lived) to have some nice days with them (we instantly became good friends when we met at the first concert with our bands). First evening we jammed a bit and I played the drums. Next day we found a note from the Growing Seeds drummer, that he moved to Nürnberg and left the band. Bang! 3 days before a nice festival gig! So they looked at me and asked if I could replace him. I never played drums in a band and didn’t know all their live tracks, so we rehearsed hard for 3 days and already made a new song in those days too and then played the concert. It was big fun and so I became their drummer. I hitchhiked from Berlin to the gigs we had, only equipped with my pair of sticks (really only one pair! Hahahaha). That was so much fun that I decided to move to Bayreuth in late summer 1998. I quickly bought a 1968 Trixon Drumset and some hardware in Berlin and then moved to Bayreuth. Suddenly the idea was born to go to Portugal to record an album somewhere in nature. We borrowed some camping mobiles, stored our equipment in the vehicles and went down south in October 1998. It was a super intense trip with tons of stories. Enough for a nice little book. We recorded 12 tapes on my kassette 8-track in several spots in Portugal, but never released these monumental jams. Only a 3 track 7“ EP that runs on 33 on one side and on 45 on the other side (incl. 2 tracks from the coast) was released (Pleitegeier Records). In early 1999 we split up due to private reasons and I moved back to Berlin. The first pair of sticks was still in use! 😀

Growing Seeds, playing in a meadow in Portugal

I’m still in touch with these people. Andi and I did another Weltraumstaunen album some later. Silke (Ellipopelli) and I started Südstern 44 together when she moved to Berlin, but after a CD and CD-R I left Berlin. In 2006 we did the Sula Bassana and the Nasoni Pop Art Experimental Band Vol. 1 album for Nasoni Records, which will be re-issued in 2022.
The Keyboarder Vuzz T. (Sebastian Züger), plus Hale Prob (Holger Probst), a friend of him, and me started the Space Shuttle Pilots project with several recordings, one concert but no official release, except a cool video which is hard to find on youtube.
Growing Seeds and all the experiences with these people made of course a deep impact into my soul. Silke and Vuzz T. are still very close friends of mine.

Can you tell me what it has been like starting up and maintaining your own music label? Would you recommend it to anyone? Why or why not?

After a long time without a proper job it was the only way to survive for me. I worked hard to get into the business and still do. But I’m so happy I did it. For me it was the right way after being a musician for more than 20 years. I started in a time when not many labels in the psychedelic rock direction were active, which is completely different to today. Which makes it even harder to survive. So, I can not really recommend it. It brings not much money and is tons of work. But I run my label for over 15 years now and have a strong base in the meantime. And I release and promote my own music too, which makes it easier for me to do nothing else than this job. 

Are there stories to tell about certain artists on your label and how you met them? Saturnia or Giobia for instance? How did you get to know them? And how do you rather get to know new artists? I bet you get a lot of demo admissions…

In most cases I prefer to release music of people I know personally.
Sometimes music I found somewhere and went in touch with the band then. But this is mostly only for an album, not many real friendships happen this way.
Or just asking bands even though I think they will never reply, like Sun Dial. But they did and now we are friends and I can release a lot of their wonderful music.
Giobia just sent me a demo which I liked. So I asked for more and got the chance to take my favourite tracks for the first release I did with them. After the second release things got weird, so we ended our relationship.
Saturnia is a band/project I have really liked for almost two decades. I sold a lot of Luis’ stuff via my shop, which was released so far by Elektrohasch. Elektrohasch is one of the few labels I work directly with. But Stefan stopped releasing non-Colour Haze-acts, so he was interested in handing Saturnia over to Sulatron, which was a fast decision for me to make! I really love this album I released!

Luis Simoes of Saturnia

Which or what influences have made you into the musician you are today? Can you recall the moment you knew you just had to “go for it”?

Oh, there were several. It all started in the 70s when I fell in love with synthesizer sounds. So for me it was clear that I will do electronic music when I get the opportunity. So with the years some gear was collected and I started playing concerts in several electronic duos, trios and solo. But when I saw Hawkwind playing for the first time (early 90s) I was so fascinated by Alan Davey’s sound that I decided to quit electronic music and start playing bass. And since then I love to play every instrument I get between my fingers. 🙂

Dave’s first band Liquid Visions

What do you think about the European “scene” today, is there one? Do you feel there is a lot of support for our music these days? Was it better before, and how?

As I told already there is no real scene for my kind of music. Only a few bands get the chance to play at bigger festivals or tour more than a weekend. Except Electric Moon, which has some doomy moments which makes it more popular, and we play a lot of festis. And I’m thankful there are some really open minded festivals around, such as Yellowstock (Belgium), Roadburn (Netherlands) or Kozfest (UK), where you can see really far out  bands from all countries. But most of the nice small and cozy festivals are not existing anymore, which is very sad.

The psychedelic music scene has of course always had associations with drug use, or at least being inspired by the use of certain psychedelics. In what way have you experienced drugs as an inspiration for your art?

Oh, acid was a big changer in my music back in the 90s. It had a deep impact and changed my own music and taste in a great way. But I don’t recommend any drug use. Everyone must decide for her/himself.

Can you tell me about your latest works? Which records should be one everyone’s mind right now and why?

My very new Sula Bassana CD (2-LP will be out in summer next year on Pancromatic Records) is called Loop Station Drones and contains tracks I did in spontaneous sessions all alone, plus loopstations, effect pedals, a drumcomputer and a bunch of Instruments, in 3 evenings. These are almost live played tracks with only a little post production and sound relaxed and trancy.

Also freshly out is the album Sabotar (CD and LP, marbled 180 gr. wax, lim. to 500!) by Electric Moon together with Portugal’s psychedelic trance duo Talea Jacta. The music was created live as one band with all members from both bands and is completely improvised live on stage of the legendary Sabotage Club in Lisbon during the concert in 2019. This is a really tripped out cosmic krautrock of the experimental kind.

And I just finished a new solo album with more band orientated songs, with Drums, Bass, Guitars and everything. I started recording in 2013 but didn’t find the time and energy to finish earlier. But it will definitely be released next year!
Ah, and around April next year will be the release of a 15 years old album, I made with a bunch of friends back then, called Sula Bassana and the Nasoni Pop Art Experimental Band (Vol.1) and came out originally in 2006 on Nasoni Records Berlin, to celebrate Nasoni’s 10 years anniversary. And now, 15 years later (sadly the LP is delayed to 2022, argh!) it is the 25 years Nasoni anniversary album. It will come with a new artwork, 2 patches, and on 180 gr. colour vinyl, limited to 500 copies.

And next year we have 25th anniversary of my band Zone Six! To celebrate it I already have 2 albums in the pressing plant, a 10“ EP with 2 songs from our second recording session (1997) and the vinyl re-issue of the debut album (recorded 1997 and only released on cassette tape) which was out in 1998 on CD only and with overdubbed vocals by a friend from Australia (Jodi Barry). In 2017 I released this album in the original instrumental version on vinyl (as 20 years anniversary LP) and it sold out fast. So there will be a re-issue of that LP with slightly changed cover and with 2-colour vinyl!

Can you tell me when a record becomes a Sula Bassana record and when Zone Six or Electric Moon? What is the deciding factor creatively? And how do you separate all your musical endeavors?

That’s easy, because it always depends on the people I play with. Electric Moon is a band with members, so it is Electric Moon. And so with Interkosmos and Krautzone. In Zone Six people change from time to time. And everything I do alone will become a Sula Bassana release.

What are the plans with Electric Moon recording-wise? And how about live? Will there be any more future Planetarium sessions for instance?

We just returned from a intense concert at the Desertfest in Gent (Belgium). And we will have another concert at November 26 at the Vortex Surfer Club in Siegen (Germany). Sarkh, the band run by Electric Moon’s new second guitar wizard Joe Muff, will play that night also.
We all for sure hope that we will play at Planetarium Bochum again. But as far as I know there is nothing fixed so far.
I guess we finished 2 new tracks for a 4-band split double LP which will be out on Komet Lulu’s label Worst Bassist Records next year. You will find one LP side by Kungens Män, ElonMusk and Kanaan, next to us.
And we recorded more and will go on recording for a new album.

Growing Seeds in Portugal

What should the Weirdo Shrine readers do directly after this interview?

Whatever they want 🙂
Stay healthy, peaceful and psychedelic. Listen to good music, enjoy nature and animals, be nice to others, laugh, love and spread good vibes! 🙂

Thanks for the long interview!!!
Love and peace

Fotocredits: Kilian Schloemp