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Dystopian Dub Developments

Instead of a bio:

Two texts, re-used and only so slightly revised originally published by Tomoroh Hidari on Ivory Bunker Blog:

In Theory

Dystopian Dub Developments text #6: ‘Pataphysics of a whateveristic-phenomenological system, mostly in A-minor

DDD’s autopoiesis occurred through strange attractors, a weird social constellation in the gravitational pull of a chancedrifters’ refuge, a night-time wasteground, near Vienna’s heart-bypass. As, when like minds meet in extravagant consensual niches of the nach-post-modern bohemia, with almost satanic certainty something is bound to happen; something indeed happened.

From the suggestion of having a monthly jam-session at the Name-Sake - back then the name was Dondrine Dub Developments - bar, sprang forth a nomadic rhizome, an open whateveristic system- a modus 93, declared to be matter to best be dealt with by 'Pataphysics.

A ‘pathaphysical system is surreal in structure, fundamentally arbitrary and subject to fluxus. Constantly puking out realities in its collapse, its negative entropy is as superficially endless, as the improbability of its occurrence.

The border between system and environment, the fundamental difference causing a difference, is crushed by music-manic Will-to-Power games, in the name of the hedonistic-dionysian gnosis.

Thus we push the Wittgensteinian “Grenze meiner Welt”* far beyond language to the semiotic Pan, the Nyarlatothepian Chaos of music- and sound-created hyper reality.

Our guts, vibrating with the flesh-turned-soundwaves’ pulsating, act as anti-poles to Ubu’s brainfarts. Our spirits breathe the madness of various soundmasturbatoria in self-created meanders of inspiration, which creep through the permutations of the spectacle, like fractals of possibilities.

Never naivistic!

Nonetheless, did the golden hour of beginnings seduce us into the end, as we came to witness, as constituting parts, the entrance to the cycle of multiple phenomenological- and musical – orgasms that constitute the ‘pataphysical system that is dondrine dub developments, procreating through earsex and brainfuck. A cycle of imaginary conception: forth springs a concept – a structure – thus a basis of imitation the soul of repetition, lasting to the final collapse through boredom or loss of interest.

As is with all uncertainties, its future is bright!

*boundary of my world


In July 2005 friends opened up a bar in Vienna. Called ‘Dondrine’ a name given to weirdly psychedelic candy-canes in the German animated kids’ TV show ‘Mouse on Mars’ (yes, that is where they got their name from) it soon, at least for a while, became a vibrant hotspot of the Viennese underground.

That very same July, not foreseeing the hotspot thing and with the support of good friends (and great musicians), I initiated a monthly improv session there. At first taking place on Sundays and later moved to Saturday night, the Dondrine Dub Developments kept running regularly for a couple of years and attracted both, a faithful audience and a variety of occasional guests. (Unfortunately the Dionysian nature of these events kept us from keeping any logs, so before naming the few I remember, better let their Namelessness be, for now)

Most of those nights were, however, recorded – the task of working through those archives seems so gargantuan, everyone of ‘us’ still seems to shy away from it. A few of the ‘better’ (in terms of both, music, but more importantly quality of the recordings) ones we did however rudimentally edit, like, for example those online on

It should be noted, lest false expectations arise, that we (almost) never really played dub. We made heavy use of the technique, but musically there’s any- and everything from electronics to rock to free jazz to noise in those often a few hours lasting jams.

After a while the regulars – Bernd Rausch (The 24/7) Ernst Gerdenich (aka Adam Strang), Martin Sägmüller (aka DFKT / Telluric Currents), Mario Stereo and myself started to play occasional gigs outside Dondrine, the highlight being the support for Dub Trio at Arena Wien, and when the bar got new ownership – although they were friendly and supportive to us (and are by now good friends of mine) things had, in a way, had run their course. We played a few more sessions here and there, including two more at Dondrine.

At that point we changed the name to Dystopian Dub Developments, Under this moniker you’l find a neglected myspace page and a slightly better tended to profile

dystopian_dub_developments.txt · Last modified: 2014/10/14 14:52 by dubnihilist