Whilst it is everyday that 20JFG receives myriad packages of incredible trax tied with binary strings of love, it is not everyday that they come accompanied by extensively researched and elaborately written tales such as the one beneath. So it is with great pleasure that we let Dramatic records take over the blog, and share with you the intriguing and historical tale of the Endless House. Please may we get more heavily augmented submissions like this….
‘An obelisk of noise that rose rudely above the treetops of the Bialowieska Forest, The Endless House project shone for a mere six weeks in the spring of 1973. The outlandish brainchild of wealthy audiophile/maniac Jiri Kantor, its stated mission was “to become the cradle of a new European sonic community…a multimedia discotheque” that should “surprise and delight” artists and dancers alike.
For all the wide-eyed optimism of its manifesto, however, the enterprise was never unknowing in its flirtation with disaster and self-destruction. The brilliant Czech may have made his millions as the midas-touched entrepreneur/taste-maker behind Paris-based magazine ‘Otium International’, but Endless House was always a vanity project as irredeemably vain as its maker.
Still, determined to enjoy this most glorious and (perhaps inevitably) most fleeting of follies, Kantor did succeed in attracting a host of weird and wonderful sound artists to ‘The House’s’ utopian terraces. Indeed, when Felix Uran and Rasmus Folk performed opening night on the ‘Spaceship Earth’ stage, 500 revelers were there to enjoy the party.
Alas, with its 5 pneumatic dancefloors, domed ‘environment bars’ and unmanageable cyber-baroque décor, Endless House was in decay almost as soon as Dutch beat scientist Ernest Rogers had sent his first trademark bass drum rippling through its cavernous underbelly. With journalists berating the club’s indulgent, excessive sonics, and the dance (under)world increasingly unwilling to brave its unreasonable location, Endless House was losing $60,000 a night by the time Kantor himself played out with his melancholic proto-techno anthem “Warum ist alles so schnell passiert” (Why did it happen so fast?).’
Vienna’s Rasmus Folk was dashing, debonair, and as famous for his womanising as he was for his music – he lit up The Endless House with his super-sleek anthem ‘Coupe’.
Today, Rasmus illuminates the bedim circumference of this shadowy surface with his “I’m Not in Love” era 10cc meets Ghostbox semblances. ‘Coupe’ takes us on a test drive through unchartered fictions, extravagant in construct yet delirious in believability – whether it was made in 1973 or 2010 changes not the fact that it is a superb piece of valerium-drenched psuedo-remnant, from what sounded like the most fun party this side of the Siberian wastelands.
Rasmus sits alongside many other awesome ‘electro-acoustic supernerds reimagined as superstars of their age’ on the Endless House compilation, which is available in the form of 500 handcrafted packs direct from Dramatic records.