AW-014: WORSHIP SUPPLY - Midnight Proxy Transit
- 1Stimmhäutung I
- 2Stimmhäutung II
AW001
•
Open edition
AW-014: WORSHIP SUPPLY – Midnight Proxy Transit
Label: Aurora Weltklang
Catalog No.: AW-014
Format: Cassette (Type II Chrome), graphite-dusted insert and archive strip
Original Release Date: January 1976
Edition: 94 copies (assembled Jan–Feb 1976 at Kopierstelle D4, Kassel)
Recording Location: Bunker 5A, Industrial Periphery Zone, Düsseldorf
Recording Date: November 13, 1975
Total Runtime: 35:39
Genres: Heavy Psych · Industrial Dub · Krautrock · Post-Punk Improv · Tape Sludge
SIGNAL PRESSURE REVIEW
Nobody in WORSHIP SUPPLY wanted to “document a space.” They wanted to blow one apart. Midnight Proxy Transit is three people finding the limits of electricity and groove at once—part doom-jam, part industrial free rock.
The first side, Stimmhäutung I, opens like a rusted motor catching spark: Krahne’s kick thuds into a slow, crooked 6/8, Duval lays a sub-bass line that could’ve wandered off a Lee Perry reel, and Loreta Svein drags a fuzzed-out chord through miles of delay until it folds in on itself. The trio rides that pulse for nearly twenty minutes—part Can, part Velvets basement séance—letting the groove melt and reform. Around the halfway mark, a high drone starts to creep in, almost feedback but not quite, the sound of tape hitting its friction point.
Flip it—Stimmhäutung II drops the dub undertow and goes straight kraut dirge. The rhythm stiffens, the bass grows heavier, and Svein switches from echo wash to jagged single-note stabs, playing like she’s trying to saw through the air. Duval and Krahne keep things primitive—kick, snare, hum—while bursts of shortwave chatter slide across the top. It’s not neat, but it’s alive: a live recording that sweats, stumbles, and keeps pushing forward.
There’s no ambient patience here, no academic chill. It’s garage repetition turned black-light psych sludge, one foot in Düsseldorf motorik, the other in proto-doom. When the last reel snaps off, it doesn’t fade—it drops, hard, like a breaker being thrown.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Capture: 2-channel live-to-tape; no overdubs
• Tape Machines: Tandberg 3000X (15 ips), UHER 4200 monitor loop
• Microphones: Sennheiser MD 421 pair; mono overhead + floor contact pick-up
• DRV-3 Delay + RHY-2 Clock
• Outboard: Steel-spring reverb canister, delay pedal feedback, oil-drum echo rig
• Mixdown: Single-pass to cassette master; no EQ correction
• Engineering: Gernot Wolff (1975); restoration Agnes Furch (2003) — dropout shielding only
• Duplication: Manual real-time to Type II Chrome at Kopierstelle D4, Kassel
TRACKLIST + CUE LOG
Side A – Dämmerflur (18:22)
1․ Stimmhäutung I – 18:22
Side B – Larynx Feedback (17:15)
2․ Stimmhäutung II – 17:15
Total Runtime: 35:37
INSERTS & VISUAL EPHEMERA
• Graphite-transfer insert diagramming amp and mic positions, smudged by hand
• 4-frame photo strip from the session—Svein half-blurred behind feedback glow
• Red “FOR INTERNAL USE ONLY” stamp inside fold
• Optional slip: “Do not listen during sun hour.”
PHYSICAL RELEASE DETAILS
• Cassette: Matte black Type II Chrome shell, white hand-inscribed glyphs
• Packaging: Grey archival sleeve, adhesive seal marked “No Channels Closed”
• Edition: 94 copies, logged not numbered
• Duplication: Real-time manual dubbing from master cassette
SUBSEQUENT FORMATS & VARIANTS
• 1976 – Düsseldorf communal redub (~48 copies); alternate insert Formblatt B (Transitzeit) used by KLAN DER KDK / ZIRKEL 92
• 1985 – Unofficial reel re-edit (Transit Mix), limited to 12; low-end emphasized
• 1999 – DAT archive transfer (Room B5); restored from spool #2; basis for 2025 digital
• 2005 – Belgian bootleg Dust Index No. 4 (CD-R); fake stereo, missing drums; denounced by Svein
• 2025 – Digital Archive Reissue (Aurora Weltklang); includes bonus track Stimmhäutung III (11:05)
EPILOGUE
What Midnight Proxy Transit really captures is three players grinding the line between kraut groove and industrial collapse. Svein’s tone prefigures noise rock; Duval’s low-end hints at dub; Krahne’s drumming keeps it tethered to earth. It’s not a document of walls—it’s a record of sweat, distortion, and nerve.
If Faust IV had been recorded inside a storm drain, it might’ve sounded like this—half trance, half demolition. Nearly fifty years later, it still plays like a warning: when you strip rock to pulse and pressure, you find the power source underneath.
FOR LISTENERS OF:
• Can – Tago Mago
• Faust – IV
• Public Image Ltd – Metal Box
• Amon Düül II – Yeti
• Lee “Scratch” Perry – Super Ape
credits
released February 1, 1976
• Loreta Svein — guitar, vocals, delay feedback, tone abrasion
• Hennix Duval — bass guitar, low-frequency loops, tape hum control
• Mika Krahne — drums, percussion, contact-amp noise
license
all rights reserved
Label: Aurora Weltklang
Catalog No.: AW-014
Format: Cassette (Type II Chrome), graphite-dusted insert and archive strip
Original Release Date: January 1976
Edition: 94 copies (assembled Jan–Feb 1976 at Kopierstelle D4, Kassel)
Recording Location: Bunker 5A, Industrial Periphery Zone, Düsseldorf
Recording Date: November 13, 1975
Total Runtime: 35:39
Genres: Heavy Psych · Industrial Dub · Krautrock · Post-Punk Improv · Tape Sludge
SIGNAL PRESSURE REVIEW
Nobody in WORSHIP SUPPLY wanted to “document a space.” They wanted to blow one apart. Midnight Proxy Transit is three people finding the limits of electricity and groove at once—part doom-jam, part industrial free rock.
The first side, Stimmhäutung I, opens like a rusted motor catching spark: Krahne’s kick thuds into a slow, crooked 6/8, Duval lays a sub-bass line that could’ve wandered off a Lee Perry reel, and Loreta Svein drags a fuzzed-out chord through miles of delay until it folds in on itself. The trio rides that pulse for nearly twenty minutes—part Can, part Velvets basement séance—letting the groove melt and reform. Around the halfway mark, a high drone starts to creep in, almost feedback but not quite, the sound of tape hitting its friction point.
Flip it—Stimmhäutung II drops the dub undertow and goes straight kraut dirge. The rhythm stiffens, the bass grows heavier, and Svein switches from echo wash to jagged single-note stabs, playing like she’s trying to saw through the air. Duval and Krahne keep things primitive—kick, snare, hum—while bursts of shortwave chatter slide across the top. It’s not neat, but it’s alive: a live recording that sweats, stumbles, and keeps pushing forward.
There’s no ambient patience here, no academic chill. It’s garage repetition turned black-light psych sludge, one foot in Düsseldorf motorik, the other in proto-doom. When the last reel snaps off, it doesn’t fade—it drops, hard, like a breaker being thrown.
TECHNICAL INFORMATION & RECORDING SPECIFICATIONS
• Capture: 2-channel live-to-tape; no overdubs
• Tape Machines: Tandberg 3000X (15 ips), UHER 4200 monitor loop
• Microphones: Sennheiser MD 421 pair; mono overhead + floor contact pick-up
• DRV-3 Delay + RHY-2 Clock
• Outboard: Steel-spring reverb canister, delay pedal feedback, oil-drum echo rig
• Mixdown: Single-pass to cassette master; no EQ correction
• Engineering: Gernot Wolff (1975); restoration Agnes Furch (2003) — dropout shielding only
• Duplication: Manual real-time to Type II Chrome at Kopierstelle D4, Kassel
TRACKLIST + CUE LOG
Side A – Dämmerflur (18:22)
1․ Stimmhäutung I – 18:22
Side B – Larynx Feedback (17:15)
2․ Stimmhäutung II – 17:15
Total Runtime: 35:37
INSERTS & VISUAL EPHEMERA
• Graphite-transfer insert diagramming amp and mic positions, smudged by hand
• 4-frame photo strip from the session—Svein half-blurred behind feedback glow
• Red “FOR INTERNAL USE ONLY” stamp inside fold
• Optional slip: “Do not listen during sun hour.”
PHYSICAL RELEASE DETAILS
• Cassette: Matte black Type II Chrome shell, white hand-inscribed glyphs
• Packaging: Grey archival sleeve, adhesive seal marked “No Channels Closed”
• Edition: 94 copies, logged not numbered
• Duplication: Real-time manual dubbing from master cassette
SUBSEQUENT FORMATS & VARIANTS
• 1976 – Düsseldorf communal redub (~48 copies); alternate insert Formblatt B (Transitzeit) used by KLAN DER KDK / ZIRKEL 92
• 1985 – Unofficial reel re-edit (Transit Mix), limited to 12; low-end emphasized
• 1999 – DAT archive transfer (Room B5); restored from spool #2; basis for 2025 digital
• 2005 – Belgian bootleg Dust Index No. 4 (CD-R); fake stereo, missing drums; denounced by Svein
• 2025 – Digital Archive Reissue (Aurora Weltklang); includes bonus track Stimmhäutung III (11:05)
EPILOGUE
What Midnight Proxy Transit really captures is three players grinding the line between kraut groove and industrial collapse. Svein’s tone prefigures noise rock; Duval’s low-end hints at dub; Krahne’s drumming keeps it tethered to earth. It’s not a document of walls—it’s a record of sweat, distortion, and nerve.
If Faust IV had been recorded inside a storm drain, it might’ve sounded like this—half trance, half demolition. Nearly fifty years later, it still plays like a warning: when you strip rock to pulse and pressure, you find the power source underneath.
FOR LISTENERS OF:
• Can – Tago Mago
• Faust – IV
• Public Image Ltd – Metal Box
• Amon Düül II – Yeti
• Lee “Scratch” Perry – Super Ape
credits
released February 1, 1976
• Loreta Svein — guitar, vocals, delay feedback, tone abrasion
• Hennix Duval — bass guitar, low-frequency loops, tape hum control
• Mika Krahne — drums, percussion, contact-amp noise
license
all rights reserved
