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The second chapter of Power Plant Records’ story exists within Jesper Ryom’s refined musical universe, where samples and live guitar merge and mesh for a kaleidoscopic whole that’s greater than its parts. As Ryom drifts in a dream-dance state, he delves further into sonic experimentation, but is ever mindful of the dancer and the DJ.

Artwork by Sätty

Sätty (Wilfried Podriech, 1939-1982) was born in Bremen, Germany. In the late 1940s he played among the surrealistic ruins of buildings bombed during WWII. As an apprentice to a heating systems contractor he learned to make detailed technical drawings, in ink. He emigrated to San Francisco in 1961, where he lived in North Beach, the center of the West Coast Beat scene, and associated with artists. Soon after the HIppie culture erupted, in 1965, he began creating psychedelic posters with images combined with intricate patterns drawn in ink. He also began making collages with images cut from magazines. Influenced by Max Ernst, he soon began composing illustrations with lithographic images cut from 19th Century books and newspapers. In the early 1970s Rolling Stone magazine published two books of his collages, and he illustrated a scholar’s book on the Dracula myth, and also a book of stories by Edgar Allen Poe.

Sätty’s masterpiece is a series of visionary illustrations depicting the history of San Francisco, from the chaotic, lustful era of the Gold Rush to the 1890s. Selections from the series were published in the book Visions of Frisco, 2008. (www.regentpress.net). Satty’s art has been included in many exhibitions at prominent Museums in the US, in Belgrade and Warsaw. A significant collection of his artworks is installed at Ogda University and at Kathedral Scollen in Kristiansland, Norway.