Sigmund und sein Freund - Totally different, and as many fans as naysayers

What makes a musician or a band interesting?  And why is that same musician or band still well remembered, even though its heyday is long gone.  For yours truly, the answer is simple: to be authentic, to be innovative, to go where no man has gone before, and to take the spirit of the times by the scruff of the neck. 

Sigmund Und Sein Freund (SUSF), active until 1997, scored well on both counts for at least several years.  The West Flemish band, initially a duo, was soon labeled ‘Industrial’ and was conveniently put in the same box as a; Grumh, The Klinik and related.  There was something to be said for that but at the same time that label was too limited to properly situate the Van Severen - Belaen collaboration. 

Yes indeed, the band was unmistakably strongly influenced by the better cut-up work of experimental bands from the late seventies such as Cabaret Voltaire and the 200% adversely Throbbing Gristle.

Like its great examples, SUSF (also) grossed in alienating, hard electro but mostly created its own sound that found a place in haunting soundscapes.  Bizarre-sounding synth loops, trumpet, and muted vocals were its main components.  In a sense, it was late 20th-century blues, “electroblues” that pierced through the marrow.  At least if you wanted to listen. 

Since really no one was waiting for the innovative clattering of the two gentlemen, SUSF limited itself for years to releases in-house, on tape.  In unadulterated DIY - style only for sale after concerts and in a handful of 'better record stores'.

They also toured intensively.  With the unconventional live performances, a strong live reputation was built up in addition to a small but loyal fan base at home and abroad.  Without any record work on offer, the group secured a spot on various stages but also as a support act for such renowned industrial acts as Laibach, SPK, Test Dept. and Psychic TV.  Back then, that was still possible. 

The album debut followed in 1987 via the Belgian independent Antler Records.  Mindful of their quirky nature, the release of a classic album was foregone. Instead, two EPs were released simultaneously: ‘Secret’ and ‘Sacred’, equipped with a white and black sleeve respectively.  Each referring to a different period in the group's history.  ‘Like a Full Fixed God’ (Secret ep) still sounds overwhelming after all these years and is among the best the band released. 

After the release of the EPs, it became clear once again that the band had unconditional fans as much as outright haters who didn't care for that ‘strange mash’ of sound.  With SUSF, a strong polemic was never out of the air.  Even in the press.  You were either for it or against it.  Something in between was apparently impossible. 

The first album ‘See Emily Play’ followed a year later. Still later followed ‘Innate’ in 1988 and ‘Love Lust Leave’ in1989 and finally two CDs ‘In Theory and Practice’ and ‘GASP’ on the Manifesto label.  After ‘Love Lust Leave’, Kris Belaen called it a day and both bass guitar and guitar took a more prominent role in the band’s sound, to move toward steel-hard-logged noiserock and bands like Cop Shoot Cop and Swans.  At least the trumpet shifted to the background.

Before Kris Belaen left SUSF, Karl Farazijn had been recruited as drummer, complementing/replacing the electronic rhythm machine.  After Kris' departure, Karl also took over vocals and Ivan Missinne joined SUSF as guitarist and bassist.  Ann X was singer and guitarist for a short time, but called it quits after one tour.  Dirk, Karl and Ivan continued to serve until the end. 

SUSF never outgrew its underground status and it came as a big surprise that in 1992 the band was featured extensively - interview included - in a special about Belgian rock on MTV in 120 Minutes, presented at the time by the sympathetic Paul King.  Probably tipped off by Marcel Vanthilt, at that time also active for the music channel. 

In 1997, three years after the release of the album ‘GASP’, driving force Dirk Van Severen put a final stop to SUSF.  After the swan song, Van Severen continued to work as a researcher for television, acted as a multimedia performer and professionally... grave digger.  The other part of the SUSF nucleus Kris Belaen is to this day active as a producer in the CCR studio and worked with an endless array of metal and hardcore bands including Amenra.

Wouter De Sutter

Luminous Dash