It’s time for another installment of the Endless House series on 20JFG. If unfamiliar, we once again refer you to its origins. A Google search or click on the above category wil unveil further pieces of this incredible Diorama. As per last time, we’re presenting another extract from their forthcoming book ‘Sketches of the Endless House’ – a collection of miscellaneous editorial/episodic prose from the three fateful weeks of Endless House’s existence in 1973. The sketch below is from Razvan Effenberg of The Suddeutsche Zeitung, the other paper that dared send ‘establishment’ journalists to investigate Jiri Kantor’s rogue forest ‘happening’. Razvan’s is a touching sketch of Klaus Pinter – the singular personality behind “Bewussseinweiterung” and “Soul Flipper”.
“…A man of just over six foot shuffles nervously around stage. Sprouting reels of tape like tangled branches, he looks lost, as if blinded by the fidgeting blinks of his own synthesizers. Groping over his shoulder at a strip of tape, he draws a small knife and cuts a length from it with studied imprecision. The reel grips the spool, and seconds later the Endless House is drenched in its oceanic pulse. The audio expands and contracts like the tide of a lunar estuary, asteroids and shooting stars occasionally penetrating its surface…
This was Klaus Pinter, and – after ten days of fruitless pursuit – this would be the first and the last time I would ever set eyes upon him. I had promised the Suddeutsche Zeitung an interview with the man they had labelled ‘Germany’s rebel architect’, but all I could deliver were mirages reflecting in the chrome.
Pinter, you see, brought a bewildering new dimension to the term ‘elusive’. Intensely secretive, alarmingly paranoid and highly
competitive, Pinter’s scheduled performances were the only place you knew you could find the man. His custom was to send Kantor’s vanguard into hysterical search-parties, only to re-deposit himself on stage just when you suspected his latest evaporation was final…
Pinter’s party trick, of course, only served to contribute to the ‘deus ex machina’ shock of tracks like “Bewussseinweiterung” and“Soul Flipper”. ‘Elevator music for the lower circles of Dante’s Inferno,’ as Kantor’s press officers used to tell me…”
The Endless House album is still very much available and amazing, and look out for the Endless House Foundation in a forthcoming edition of Wire magazine. More from them soon we hope.