concert Töne und Gegentöne, Wiener Secession, 23. 5. 1983, with
Felix Dorner (voc., guit.), Karl Kowanz (as., ss., synth., voc.), Renate Kowanz-Kocer (dr., perc.), Wolfgang Poor (bass guit., perc.), Günther Schrom (bass guit., voc.), Wolfgang Stengel (voc., guit., synth., bass guit., perc.), ManfreDu Schu (Manfred Schus) (voc., synth.), Hans Weigand (guit., bass guit., voc.), 15:56 min.
Film: Romana Scheffknecht and Tommy Schneider
A concert recording from the Vienna Secession shows the group at the height of their densely interlocking collective process. In May 1983, the »Heimvorteil« section at the Töne & Gegentöne festival offered young, edgy Viennese groups a platform, which they otherwise found only in galleries (such as Galerie nächst St. Stephan, where Pas Paravant also performed in 1983) or at the University of Applied Arts. Pas Paravant, its ranks now expanded by singer and guitarist Felix Dorner, who had joined the group shortly before, were on brilliant form the night they played. During the sound check, a blasé coolness still prevailed, swelling up in the course of the concert to brusque, compact iciness. A tribal beat forms the backbone, coupled with the two guitarists’ insistent, filigree riffs, overlaid by the anti-anthem fanfare signature of the two saxophones. Both singers—dressed with a brilliant flourish in collarless shirts and pleated trousers with braces—flung themselves into onomatopoeic Dada grunting, mostly limited to single, endlessly repeated syllables. »Gutta,« »Hu,« or »Freedom Hopapa Io« are some of the fitting titles of the group’s music. The musicians later described their style in a nutshell as »future jazz.« Their category-defying experimental gesture, which persisted until the early 1990s, would however never again be enacted as intensively as in this performance.