VITAL WEEKLY
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number 613
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week 6
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Vital Weekly, the webcast: we offering a weekly webcast, freely to download.
This can be regarded as the audio-supplement to Vital Weekly. Presented as a
radioprogramm with excerpts of just some of the CDs (no vinyl or MP3)
reviewed. It will remain on the site for a limited period of 5 weeks.
Download the file to your MP3 player and enjoy!
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* noted are in this week's podcast
C.C.C.C. - CHAOS IS THE COSMOS (CD by Cold Spring)
SOUTH SATURN DELTA - EXPERIENCE THE CONCRETENESS (CD by Cold Spring)
TALVEKOIDIK - SILENT REFLECTIONS (CD by Brume Records)
THERMIDOR - 1929 (CD by Brume Records)
ANKITONER METAMARS (CD by G3G Records) *
MACHINEFABRIEK - RANONKEL (CD by Burning World Records) *
SILVIA FÄSSLER & BILLY ROISZ - SKYLLA (CD by Editions Mego) *
OSSO EXOTICO & Z'EV (CD by Crouton Music) *
KYBERNAUGHTY - OBIEKT (CD by Flyco)
RASPUTEEN - DIE SEGNUNGEN DER NEUZEIT (CD by Bazooka Joe)
DAVOR MIKAN - TAUSCHUNG (CD by Cronica Electronica) *
I/O - POLYTONE (CD by Fratto9)
TANAKE - 3REE (CD by Fratto9)
ELSE JUSTEL - MATS (CD by Empreintes Digitales)
MARTIN LECLERC - HORIZONS DU SILENCE (CD by Empreintes Digitales)
PAUL BRADLEY & CRIA CUERVOS - MORAINES II (CD by Small Voices) *
CRIA CUERVOS - IL XUNX (3"CDR by The Locus Of)
TROUM - SEN (2LP by Equation Records)
RLW - CONTOURS IMAGINAIRES (10" by Drone Records)
THE YELLOW MOON BAND - MAYBACH (7" by Static Caravan)
THE ACCIDENTAL - KNOCK KNOCK/BRAVE NEW WORLD (7" by Static Caravan)
SMILE DOWN UPON US (3"CDR by Static Caravan)
FEDERICO BARABINO/CHARLES RICE GOFF III - METAMORFS (CDR by Taped Rugs
Production) *
TAUS - THE ORGAN OF CORTI (CDR by L'Innomable) *
DEADWOOD/RED NEEDLED SEA - SPLIT SERIES #3 (CDR by Dirty Demos)
SPOONO - SEA BREEZE (CDR by Dirty Demos) *
MACHINIST - BLACKBLOCK (CDR by Heilskabaal Records) *
BJERGA/IVERSEN - THE WORLD OF PRETEND IS A CAGE, NOT A COCOON (CDR by
Heilskabaal Records)
AHD + RAVEN - STRAIN THIN FEVERS (CDR by Sonora)
I/C/O/C - PARASITIC CONCUBINE (CDR by Sonora)
EYE - THE DRESDEN CODEX (CDR by Sonora)
JLIAT - NOW THAT'S WHAT I CALL NOISE VOL.11 (CDR by Larks Council Of
England)
PARMA DAY - NUSSBAUMS HEAND (2CDR/1DVDR by Tosom) *
JORIS J - OCHRANA BIRTH (3"CDR by Tosom)
SEBASTIAN ROUX - URBAN FIELD MUZICK (3"CDR by Field Muzick)
BIDIBOP - URBAN FIELD MUZICK (3"CDR by Field Muzick) *
GAS - GAS 0095 (MP3-album by Microscopics)
BAZTERRAK & VALVERDE & XEDH - SUBGRAVITY RADIO HANGOVER (MP3 by
Mastertoaster Recordings)
IZARZUGAZA & TUSURI & XEDH - BARNE HOTSA (MP3 by Idiosyncratics Records)
BAZTERRAK & VALVERDE & XEDH & IZARZUGAZA - FREMDSPRACHEN (MP3 by Clinical
Archives)
C.C.C.C. - CHAOS IS THE COSMOS (CD by Cold Spring)
SOUTH SATURN DELTA - EXPERIENCE THE CONCRETENESS (CD by Cold Spring)
A few weeks back, I had the pleasure of reviewing two folk-based albums from
British label Cold Spring Records. It was Von Thronstahl's latest effort
"Sacrificare" and the excellent compilation "John Barleycorn Reborn". Now
it's time for a radical change in stylish expression from the impressively
musically wide spanning Cold Spring label. As you probably know Japan is the
place to be if you're searching for ear-shattering symphonies of noise. Two
new albums from Cold Spring present some of the Japanese noise-legends.
First album is by Mayuko Hino and husband Hiroshi Hasegawa operating under
the project C.C.C.C. (shortage of "Cosmic Coincidence Control Center") with
contributions from Fumio Kosakai (Hijokaidan & Incapacitants) and Ryuichi
Nagakubo (Tangerine Dream Syndicate). Having been active since 1991, this
album is their first release in more than ten years. Previous effort was the
"Flash"-album released back in 1996. The C.C.C.C.-project is first of known
(or rather notorious)
by the shocking live performances that earlier included onstage striptease
and the throwing of urine-filled plastic bags into the audience. "Chaos Is
The Cosmos" consists of one single track running 40+ minutes. Despite its
length there is a great development in the piece. Main part of the noise
creation consists of guitar distortion and keyboard generated noise with the
addition of vocals from Mayuko's peaking with some hellish screams of
fright. A great album that definitely has been worth the long wait! Second
album is one hell of a joint venture. Three of Japnoise-scene's true legends
emerge under the name "South Saturn Delta" to crush the brain of the
listener with an hour of ear-shattering harsh noise. Maso Yamazaki known as
Masonna is the composer. He is assisted by Hiroshi Hasegawa (a.k.a. Astro)
and C.C.C.C. both responsible for keyboard and voice inferno. The album
titled "Experience the concreteness" consists of four live recordings from
the period 2003-2005, recorded at
various locations in Japan. That Masonna is the brainman behind "Saturn
South Delta" becomes quite clear during this noise trip with quite a few
elements turning the memories back to Masonna's album "Frequency LSD"
(Alien8 Recordings, 1997) with the excellent trippy noise passages based on
ongoing repetitive noise loops. The frequent use of drumwork and
guitar-noise gives associations to early krautrock or Japanese psychedelia
in the style of Acid Mothers Temple. Two excellent noise-albums that proves
that there is plenty of explosives in the underground of Japanese culture to
let Japan defend its title as the true kingdom of Harsh Noise. (NM)
Address: http://www.coldspring.co.uk
TALVEKOIDIK - SILENT REFLECTIONS (CD by Brume Records)
THERMIDOR - 1929 (CD by Brume Records)
Brume Records is a French label covering a wide spectrum of experimental
electronic music including dark ambient, power noise and everything
in-between. The label established back in 2000 has a great release-catalogue
with albums from interesting acts such as Flint Glass, Oil 10 and others.
The two present releases is a good example of the quality standard of the
label. First album comes from German musician Kai Christian Hahnewald, also
known as the founding member of the S.K.E.T.-project that has had a couple
of releases on German Power Noise label Hands Productions. The new project
by Kai is called Talvekoidik. "Talvekoidik" is the Estonian word for a
foggy, winter-like atmosphere. Apparently not an accidental choice of name,
with an expression that blends atmospheric orchestral-based IDM with harsh
Industrial-based rhythm textures and gloomy ambience. The result is
impressive and definitely quite unique. Especially the inclusion of folk
music expressions from a number of cultural
traditions makes it unusual. Favorite track on the album is the awesome
track titled "Rough Baltic Shore" consisting of atmospheric ambientscapes
mixed up with various ancient folk sounds from flute to sack-pipes assisted
by great rhythm structures below. Awesome track and a very intense album.
Similarly intense, yet remarkably darker is the solo-project "Thermidor" by
Portuguese artist J. Olivier. Similar to the aforementioned album by
Talvekoidik, the debut album of Thermidor titled "1929" has some
associations back to the musical culture of the historical past, but where
Talvekoidik was folk-inspired, Thermidor is more orchestral based and more
pompous in expression. Another sharp contrast to the Talvekoidik-project is
the complete lack of rhythm textures on "1929". The album is ambient music
of the dark kind entirely based on gloomy and melancholic ambience built on
solemn electronic soundscapes, distant voice and vocals, buzzing noise
drones and with momentarily occurrences of
acoustic sounds of piano and clanging bells. "1929" is a dark and sinister
trip back to the early days of 20th century. Very intense! (NM)
Address: http://www.brumerecords.com
ANKITONER METAMARS (CD by G3G Records)
If the word 'crooning' means the same for you as it does for me, then the
word 'crooner electronica' might be as alien for the both of us. Ankitoner
Metamars is Anki Toner (of Superelvis) and Javier Pinango (of Cerdos, Mil
Dolores Peguenos, Destroy Mercedes, Druhb), both of them and their other
bands unknown to me. Seven songs of crooner electronica on their album. They
play electronic keyboards, heavy loops of rhythm, in a noise rock vein, and
the vocals do not always croon, but its sung rather flat. Loud but flat.
Like crooning, I guess. I was thinking of Scott Walker, of Suicide, of
Philip Quehenberger - but Ankitoner Metamars certainly have something of
their own. The songs are rather long, but at the same time also something
hypnotic in these lengthy songs. Take for instance the opening of 'My Name
Is', with some scraped violin, fading into spooky organ sounds, and the
voice crooning 'my name is not, my name was what your name will be', while a
heavy rhythm bangs away. Is it
strange that the cover Leonard Cohen's 'Hallellujah'? Not at all. It fits
just perfect. Lydia Lunch is starred on one track. Perfect nightmare music
on this strangely compelling album. (FdW)
Address: http://www.g33grecords.com
MACHINEFABRIEK - RANONKEL (CD by Burning World Records)
As a sort of (sick?) joke I was thinking one could open a music store called
'M' - obviously 'M' for 'music', but also for Merzbow, Muslimgauze and
Machinefabriek - three acts that have been or still are very active on the
release front. Just sell bands whose names start with a 'm'. Machinefabriek
is the youngest of these three working musicians (although of course one of
them is no longer making music) and after some searching, a search we all
witnessed via his stream of 3"CDR releases, Rutger has found his sound, also
already for some time. The six pieces on 'Ranonkel' (which seems like a
Dutch word, and probably is, but I have no idea what it means) could all be
pieces that we heard before on the 3"CDR format, but they have reached a
more matured form in the versions presented here. Using guitar, effects,
vinyl and laptop, Rutger Zuydervelt creates highly atmospheric pieces of
music, like he always does. His previous effort, the soundtracks to films
for the Rotterdam Film Festival
,
wasn't so much of my liking but on 'Ranonkel' he more than makes up. These
are strong pieces again, varied in approach, although all centered around
the notion of dark atmospheric music, each of them has their own approach. I
wasn't too pleased with the use of reverb in the opening 'Trouringh' but in
the following 'Stofstuktoon', hints of melody arise from the mass of sound
and is a great piece. A very fine work, again! (FdW)
Address: http://www.burningworldrecords.com
SILVIA FÄSSLER & BILLY ROISZ - SKYLLA (CD by Editions Mego)
Maybe you encountered the name Billy Roisz before? That might very well be
possible, as he is part of Efzeg, the Viennese group in which he started as
the man of the visuals, but also started playing music. Here, on his first
release with Silvia Fässler (who has 'various curatorial roles' in the
Viennese subculture', which is all the information we get thrown), Roisz
plays computer and turntable, no doubt in this order, judging by the music.
Fässler plays computer, electronics and guitar, also no doubt in this order.
The computer seems for both the most important instrument. And this is on
Editions Mego, so we are not spared for noise. Things bounce off towards all
corners of the room, in a quick cut up style. Guitar and turntable are used,
but merely to generate sound; the building blocks for this computerized form
of noise. Eleven tracks ranging from seventeen second to eight plus minutes,
this captures the feel of noise, or punk even, but with a strong sense of
improvisation.
Moving in between those parameters, this is quite a nice release, simply
because it's not tied to a certain genre, but takes the best of all, and
make something of their own in a crude as well as gentle way. (FdW)
Address: http://www.editionsmego.com
OSSO EXOTICO & Z'EV (CD by Crouton Music)
Curious. Just curious. A collaboration between Z'EV, legendary player of
percussion and tape-manipulator (among many qualities) and the Portuguese
trio of Osso Exotico (Andre Maranha, David Maranha and Patricia Machas), the
little chamber orchestra of all things minimalist? Maybe it's less of a
mystery than it seems. This release lacks any information besides artist
names and label's website (unless some insert is missing), so we have to be
guessing (again). Unlike some of his previous collaborations I think it's
not the result of some postal exchange of sound material, but the actual
playing together of these four musicians. When you hear it than the
unlikeliness of the recording seems to vanish - this is music that actually
sounds like it belongs together. The drones of Osso Exotico, tight, layered,
minimalist fits actually very well with Z'EV tribalesque percussion work
here. It's a jam, that seems a sure thing. No editing or overdubbing has
been used here, which is a pity, since
as a whole thing it is somewhat too loosely played. Certainly when the four
players are 'searching' for a sound. Once the ball gets rolling, it rolls,
it makes ripples becoming waves, waves becoming thunder storm. It's in these
moments when the true power of the music comes alive. A tribal version of
LaMonte Young, the grittiness of Tony Conrad on a multiple instruments and
the psychedelic power that is found in more of the recent Osso Exotico
recordings. Despite a few flaws in the recording, and the fact that it
sounds a bit muffled, this is a very nice work. Get them in a proper studio
and let them work on it more extensively. (FdW)
Address: http://www.croutonmusic.com
KYBERNAUGHTY - OBIEKT (CD by Flyco)
Another off spring label from legendary German labels Ant-Zen Recordings and
Hymen Records, Flyco-label is despite the rather limited release catalogue a
label with almost ten years behind its back. First album released on the
label was the debut of this German artist known as Kybernaughty. Originally
known as Kybernaut, he had his debut release back in 1998 with the LP titled
"Stalker". Now almost ten years later, Kybernaughty has finally released his
follow-up to "The Stalker". With a running time slightly more than 30
minutes, the album titled "Obiekt" is an over-the-top intense ride into a
sonic universe best comparable to the core-reaction in a nuclear power
station. The rhythm texture on the album somehow reminds me of the complex
jungle-patterns of British Jungle pioneer T-Power's classic album "The self
evident truth of an intuitive mind", but where there was a kind of emotional
warmth in T-Power's masterwork of 1994, "Obiekt" is a work of icy
technological breakcore-science.
And this quite cynic expression is what makes the album fascinating. Even
though there are no elements of traditional harsh noise, the rhythmic
structures itself are so extreme that it creates the same experience of
sonic extremity as Merzbow or likewise Japanoisists. An excellent moment on
the album is the bizarre track "Bars" sounding like a strange cocktail of
old-school electro and distorted Power Noise - a quite unique beast. There
are a few relatively downbeat moments on the album, for instance the strange
track titled "Rakkyouzon". Otherwise the rhythms are ultra-fast peaking with
the closing track "Hardkraut" that puts an end to this album in the most
thinkable violent way. Very interesting album from "Kybernaughty". (NM)
Address: http://www.myspace.com/kybernaughty
RASPUTEEN - DIE SEGNUNGEN DER NEUZEIT (CD by Bazooka Joe)
Being an offspring-label to German legendary experimental
electronics-labels, Ant-Zen Recordings and Hymen Records, Bazooka Joe
conceptually focuses on minimalist retro-oriented synt-pop. Apart from this
project called Rasputeen, the "Bazooka Joe"-label has also released albums
by the expressional similar project called The Rorschach Garden. As is the
case with The Rorschach garden, the style of Rasputeen is catchy and
original. Behind the Rasputeen-project, we have a joint venture between the
two artists Kurt Feltz and Heinz Gietz. Present album titled "Die Segnungen
Der Neuzeit" is the third full length from Rasputeen. There is a nice
retrospective line in the project pointing back to the heydays of early
minimalist electro-pop and industrial culture. Throughout the album
associations back to legends such as DAF, SPK, Einstüerzende Neubauten and
Suicide shines through, even though Rasputeen does it in its own way with a
blend of synth-sequence sounds of the 80's, cool electro-beats
and vocals sounding like a mixture of Blixa Bargeld (Einstürzende Neubauten)
and Alan Vega (Suicide). The expression has a humorous and ironic touch
giving the music a cool edgy approach to 80's electro-pop. Everyone
interested in this growing wave of retro-oriented synth-pop that seems to
flourish these years definitely has to check out this new album from
Rasputeen as well as earlier releases from the Bazooka Joe-label. German
electro-minimalism at its best! (NM)
Address: <http://www.bazooka-joe.com
DAVOR MIKAN - TAUSCHUNG (CD by Cronica Electronica)
From Vienna comes one Davor Mikan, of whom I
never heard, 'where he creates music about failure, beauty, lust and
delusion in the context of psychoacoustic effects and in a personal sense
(self-delusion)', as it is said on the blurb. He is using generative graphic
tools together with granular synthesis to transform sound. Whatever that may
mean, even when I think he uses sound software to transform work generated
with software that is in general used for design. Which is not a new thing,
as some programs do allow you to open a text or image file and then it will
'read' as music. Judging by the same what harsh, crude and loud music Mikan
produces on 'Täuschung' this is the case here (unless he uses the 'pencil'
in the audio software program to re-draw sound curves, which might give a
similar effect). Thirty one tracks, spanning just over thirty seven minutes
means that we are dealing with short pieces here. Very short but partly loud
pieces. I don't recall such a noise based release on Cronica, which I think
is a good move.
Noise, certainly when it's done well, is the new main thing. Be it the
crude, Merzbowian blasts of noise, the lo-fi noise of New America, the end
of soft glitch seems imminent. See last week's Josh Russell's release and
this week it's Mikan. Maybe the pieces could move away from the sketch like
character and grow into something more composed like, but otherwise this is
a most promising start. (FdW)
Address: http://www.cronicaelectronica.org
I/O - POLYTONE (CD by Fratto9)
TANAKE - 3REE (CD by Fratto9)
Two Italian groups are presented here on the Fratto9 label, a small
independent also from Italy. I/O, formed in 2002, make no secret of it that
they are followers of Can. So no surprise that they have performed with Damo
Suzuki. It is a quartet made up by Luca Mauri (guitar), Paolo Romano (double
bass), Paolo Benzoni (drums) and Andrea Reali (voice and electronics),
presenting with 'Polytone' their second release. The guitarstyle reminds of
the playing of Michael Karoli. The non-verbal singing is another similarity
with Can. By repeating rhythmic patterns they create a hypnotizing
atmosphere, the guitar playing simple riffs above it, and the drummer trying
to keep it going and together. In each track they fulfill this same ritual
of minimalistic rock. In some of the tracks the magic happens, like in the
second track. Because of this stripped down approach it is important that
during the piece gradually a tension is built up that leaves you no escapade
as a listener. But that didn't
happen with me while listening to I/O. Although it must be said that this is
a good band with potential. Like Can they used no overdubs. Everything was
recorded live in the studio in order to capture as much as possible of the
created atmosphere. By the way, the mastering was done by Giuseppe Ielasi.
Tanake is about something else. It is as trio: Martino Acciaro (drums,
typewriter, noise), Maurizio Bosa (bass, Am Fm waves), Roberto Acciaro
(guitar, trombone, Am Fm waves). In 11 tracks they try to visualize their
version of free rock. Their music arises from endless improvisation I
suppose. As they are experienced in this, they choose to record their CD
live, using no overdubs. In several pieces they worked out there ideas
satisfactory, like in 'Dustin soup'. Other pieces however remain on an
experimental level and fail to impress. Acciaro plays some great trombone in
'Ingredienti per 3 persone'. And I would love to hear more of it. But in
most tracks however we hear him on guitar.
Throughout it is the drummer where most ideas come from. In a piece like
'Utilita...', they prove that also in introvert pieces they can built
interesting structures. No doubt that I/O and Tanake are two interesting
bands of good musicians, not convincing in all aspects, but I hope they will
find more of a own voice. (DM)
Address: http://www.fratto9/
ELSE JUSTEL - MATS (CD by Empreintes Digitales)
MARTIN LECLERC - HORIZONS DU SILENCE (CD by Empreintes Digitales)
Music released by Empreintes Digitales is music that seems to be made
according to a matrix or certain schematics. Or so it seems. Of course it's
never easy to be fully original, but with the composers/performers on
Empreintes Digitales it seems that they use the same software, both
editing/processing and the input is usually one or more instruments. I must
admit I never heard of Elsa Justel or Martin Leclerc, and yes, there are
differences between the two, be it, however, minor. Leclerc seems to me the
one who incorporates more musical elements in his musique concrete, whereas
Justel is more opts for concrete sounds. The running of the tap, naked and
unprocessed, is a nice gesture in her work. She sort of breaks with the
self-seriousness that is part of so many of the releases on Empreintes
Digitales. Throughout I think both releases have certainly nice moments, but
it's all way too long. It seems as if the music is put on repeat or
self-generating new bits of music. Maybe there is
a
world out there which I just fail to see? (FdW)
Address: http://www.electrocd.com
PAUL BRADLEY & CRIA CUERVOS - MORAINES II (CD by Small Voices)
CRIA CUERVOS - IL XUNX (3"CDR by The Locus Of)
About two years ago we reviewed 'Morainos', a collaboration between Paul
Bradley and Eugenio Maggi, aka Cria Cuervos from Italy (see Vital 516).
Since they have been working on 'Moraines II', or rather re-working the
first one. Such can be the world of drone music. One drone - endless
possibilities. The original recordings have been used, highly processed
field recordings that is, and together they created quite a dark album of
drone music. Rather than moving about in one single drone, this new piece
moves along various paths, clearly divided into separate parts, each with
it's own build up and changes, before moving to the next piece. Some clear
field recordings punctuate the music, such as rain sounds, birds and
footsteps. Perhaps nothing new, but the minor changes, such as the various
parts approach, make this however quite a nice disc. Plus more treatments
arrive through the work of Andrew Liles, who was given all the material and
made a remix (a phrase we should not use for the
first track). Liles has a distinct sound (well, as far as I know, as his
output is vast and incomplete here) that is somewhat close to the more eerie
Nurse With Wound sound. Here via the reverse sound approach, like a single
wave washing ashore and a metallic drone rumble make up a creepy soundtrack
to a perfect nightmare. Sounds arise from previous, and make this a more
singleminded piece. Quite a nice one at that.
Cria Cuervos also just released a solo 3"CDR, so its interesting to compare
it with his work with Bradley. The music here is more experimental, more
loud and, dare we say it, more industrial. Cuervos scrapes the barrel of
metal and picks up the sound to give it some additional treatment, by adding
a bit of reverb here and there. Over the course of the piece things develop
in a rather minimal manner - it seems as if sounds are stretched out and
more space is added between them. Later on these empty spaces are filled
with what could be field recordings. Quite interesting, since this piece
moves out of the known drone field and crosses the field of noise and
industrial on one hand and microsound on the other - certainly in the second
part of the piece. (FdW)
Address: http://www.smallvoices.it
Address: http://www.thelocusof.freeuk.com
TROUM - SEN (2LP by Equation Records)
To grasp some of the success of Troum, or their predecessors Maeror Tri, one
only needs to realize that by now they have the opportunity to pick out
anything from their backcatalogue and re-issue in what ever format they
prefer. The limited edition live recording Troum made at VPRO Radio 'De
Avonden' was released as 'Mort Aux Vaches' by Staalplaat, so hey why not
re-issue it on vinyl (which I expect to be the preferred format by these
boys)? In three versions: a double picture disc, on white and black vinyl
and one edition on clear vinyl. A collectors nightmare, but as said, these
boys have fans. Remastered of course to send better (or perhaps, sound right
on vinyl). Of course the one piece that was the CD (and thus the live
recording) had to be cut into four parts to fit on vinyl, which is a pity,
since the continuous playing works better. 'Sen' was a piece Troum had been
playing right before this recording in Poland and is among the first works
they ever played when arising from
the
ashes of Maeror Tri. Now, almost a decade later, it still sounds as fresh as
back then. Slow drones, hypnotic rhythms, swirling organ like sounds, all in
mesmerizing colors. Their means were and still are relatively simple, but
they know how to play their instruments (accordion, gas tanks, sound
effects, guitar, gong, melodica, to mention a few) to full effect. Their
ambient is always full on present, the 'industrial' version of ambient (even
when the word industrial is entirely inappropiate here). Dream music for
those who are awake. The four sides are cleverly cut and one has the idea
there are four pieces. Nice. It's easy to see why they are still one of the
best around and why their previous output will be in print for years to
come. Textbook stuff. Listen and learn. (FdW)
Address: http://www.chronoglide.com/equation.html
RLW - CONTOURS IMAGINAIRES (10" by Drone Records)
Drone Records, best known for a long line of drone 7"s, started already a
while ago with a new series: Substantia Innominata, in which artists deal
with the unknown, in whatever way they feel ('unnameable, unspeakable etc).
For someone who likes his imagination go wild, Drone Records made a fine
decision in choosing RLW to be part of the series. On the cover it says
'built from a few seconds of piano and vocals. Everything else:
imagination'. Quite right. Good music is like a good movie: you create
images that might not be what they seem to be. And musique concrete, since
this is what is primarily the concern of RLW, is always a good way of
imaging. You hear music, which could be voice, which could be piano, but
then it could also be something else. Deceiving music. That is what RLW does
best. In none of the three pieces it's easy to determine what the original
sound is, or how it was treated. No doubt inside the bits and bytes these
days (unlike the good old days of four track and
reel to reel, where RLW learned the trick of the trade) things are
transformed to such an extent that your imagination is free to run wild. It
makes a movie in your head. For me an abstract movie, of squares and
circles, using only a few colors and they spiral around, bounce off screen
and back in. And no doubt it might be something entirely different for
someone else. A great record. One that leaves more space to guess than some
of the work RLW has recorded in the past, usually with others. His solo work
goes out to no man's land more, which is great. (FdW)
Address: http://www.substantia-innominata.de
THE YELLOW MOON BAND - MAYBACH (7" by Static Caravan)
THE ACCIDENTAL - KNOCK KNOCK/BRAVE NEW WORLD (7" by Static Caravan)
SMILE DOWN UPON US (3"CDR by Static Caravan)
The three faces of Static Caravan here. They are a great pop label, most
likely the best pop label around, I think. Lots of cute 7"s, great design
and some great music. The first one is a 7" by The Yellow Moon Band. For a
moment I thought I died and was shipped back to the past (who said we can't
reincarnate to the past?). I woke up in the mid-seventies. Fleetwood Mac are
on the radio, and all those bands which names would elude me in 2008 (but I
always liked the Mac), and The Yellow Moon Band offer nothing but a great
west coast rock imitation. Great solo on 'Focussed'. If you like solo's,
that is. 'Maybach' hammers nicely away in a nice prog-rock sense of the
word. Great record to be filed under 'utter retro'.
But I'm not dead. And it's not 1975, but 2008, says Static Caravan with
their second new release by The Accidental, the duo of Stephen Cracknell and
Sam Genders. The latter also works as Tunng, and as such he is responsible
for the mix of 'Brave New World', built around bouncing vocal sample, with
nice bass lines and likewise bouncing beats. Benge remixed the other side
has a down beat bass, great vocals, both male and female and tribal rhythms.
Slow, moody, atmospheric. A great dark popsong. Great 7".
Not much information on Smile Down Upon Us, which is announced as a CD
release on the website. Perhaps a 3"CDR, of which Static Caravan is also an
advocate (all in a cunning ploy to annoy those who listen to music on their
'computer'). Smile Down Upon Us represent the folk element in the catalogue
of Static Caravan. Sweet female vocals, flutes, percussion, acoustic
guitar - the whole works are used here. In the third track the elph sounds a
bit like Björk, which is perhaps an too obvious reference, but throughout
this was highly enjoyable. (FdW)
Address: http://www.staticcaravan.org
FEDERICO BARABINO/CHARLES RICE GOFF III - METAMORFS (CDR by Taped Rugs
Production)
Charles Rice Goff III has been around for ages, at least in what can easily
be tagged as underground. Here he takes control of work recorded by the
unknown, at least to me, Argentinean guitar player Federico Barabino. His
improvisations are called Expresiones. He sent seven to Goff and in return
Goff thought of seven different ways to rework/remix/recycle them. This
ranges from recording them to cassette and re-record them as they spun on a
turntable, converting to midi files, looping it through a digital mixer and
adding some of his own sounds: all to create metamorfs. The approach taken
by Goff make this a highly varied disc, that however makes much sense. Some
of these pieces may be too long, such as 'Zapatos De Patos' and 'Four By
Ten', which could have been easily trimmed in half, but the electronic
manipulations of the short 'Escuchame' and 'Fuerte Suerte' proof that a
concise approach works best. The prize winning piece is the creepy and
intense 'Be Like A Chair' however. The
guitar has been processed beyond recognition and crawls like a beast around.
(FdW)
Address: http://www.geocities.com/padukem
TAUS - THE ORGAN OF CORTI (CDR by L'Innomable)
No instruments are mentioned on the cover of 'The Organ Of Corti' by Taus,
the duo of Tim Blechmann and Klaus Filip. But me thinks that it's a duo of
laptops, no input mixers and perhaps a turntable. That's about what I could
detect on their release as sound sources. Things peep, scratch and hum for
about fifty one minutes, but that may sound a bit unfair. Taus do a very
fine job I'd say. They built up their pieces from just a few sounds, but let
them develop in a natural manner, give them space and they grow. Then they
take back sound, close in the space and it seems that the music is
disappearing again. When almost silent, they start again. Taus easily takes
minutes to let theme's explore, but then the result is a great one. Music
that you should hear rather loud; loud in the loudest parts, but then the
softest parts also become audible. The music will wash over the a warm flow
of water. Rather than full concentration, it's best to enjoy this with eyes
closed, headphone and on
repeat. (FdW)
Address: http://www.linnomable.com/
DEADWOOD/RED NEEDLED SEA - SPLIT SERIES #3 (CDR by Dirty Demos)
SPOONO - SEA BREEZE (CDR by Dirty Demos)
Maybe there is a world wide alliance going on to call things 'Split Series'?
Following last week's 'Split Series #5' on Tib prod, here is 'Split Series
#3' on Dirty Demos, and although one can't be sure, I don't think they are
related. Not in music that is. Whereas the two from last week played
improvised music, here Deadwood and Red Needled Sea operate from the drone
music end. Deadwood has a minimalist pattern that repeats itself with
irregular intervals, in a sort of Oval manner when they turned more ambient
and less rhythmic. Towards the end things get a bit distorted. Red Needled
Sea hoovers nicely on the bottom of the sea with a low rumble bass sound.
From standing on the bottom we hear a hovercraft
passing. The piece stays on the same level throughout, but has quite an
intense feel to it. Scary ambient.
The other new release on Dirty Demos is by Spoono, being on Jack Allett. He
opens with 'Bagpipe Song', and, sure it may include bagpipes, but they are
not easy to detect in the barrage of noise and drone. It's a heavy piece,
but it flies about, sparkling, furious and it's nice. On 'Fuck It, It's
Broken Again', I think he means the guitar that sounds about. It's also
loud, but more improvised sounding. A bit incoherent this one. The noise of
guitar and drums (courtesy of Ben Pruess) sound more better. A slow menacing
piece of music. The final piece moves into feedback land again, and here,
oddly enough, it could a bagpipe. The first and last piece were my
favorites, as they sound the most coherent. (FdW)
Address: http://www.dirtydemos.co.uk
MACHINIST - BLACKBLOCK (CDR by Heilskabaal Records)
BJERGA/IVERSEN - THE WORLD OF PRETEND IS A CAGE, NOT A COCOON (CDR by
Heilskabaal Records)
The name Machinist may suggest something industrial, mechanical, something
alien (as in 'not human') perhaps, and the three long pieces by Zeno van den
Broek, the man behind Machinist is alike that, yet it has a certain quality
that makes it very human. Machinist is inspired by the art of Richard Serra
and Anselm Kiefer, the beauty of decay, rust, earth, brown and grey. In the
opening piece Machinist plays a very dark ambient tune which is along the
lines of Lustmord, in a very cinematographic way. The desolated and empty
industrial park at night with strong suspense. Soundsources are hard to
trace down. The second piece seems to be drums and guitars and is quite a
rock like piece, not at all like the first or the third piece. More
Skullflower inspired drones than anything ambient industrial. 'Blackblock'
ends with a piece that is a combination of the two previous ones. Slow
rumbling percussive bang on a can against a darkened wall of alien machines
trying to conquer the world. The
rhythm here is the most mechanical. Quite a strong release, and the length
of the pieces might be considered long, but this music needs that kind of
development, and Machinist makes all the right moves only a human make to
create some interesting shapes and moves. Very nice indeed. The right noise!
It has ben quiet from the Norwegian shores, Bjerga/Iversen, for reasons I am
not aware of. Maybe the ran out of labels to release their, after having
explored every CDR label in the world? Heilskabaal Records is still a young
label and they release a Bjerga/Iversen recording from January 2006, which
is a most remarkable one. Much of the previous work, and no doubt this one
too, has been recorded through improvisation, but whereas some of the
earlier stuff could be a hit and miss affair, not unlikely to wander off in
the realms of noise, this new one is throughout mostly a quieter affair, of
carefully bundled electronics, in a rather soft mood. Things remain careful,
but full of tension. Rather short with five pieces at twenty-six minutes,
but no doubt one of the very best releases by them! (FdW)
Address: http://www.heilskabaal.net
AHD + RAVEN - STRAIN THIN FEVERS (CDR by Sonora)
I/C/O/C - PARASITIC CONCUBINE (CDR by Sonora)
EYE - THE DRESDEN CODEX (CDR by Sonora)
On a Puerto Rican label three works which inhabit the New World and the
world of industrial/ sampled/electronic / electroacoustic sound. I/C/O/C
(Input/Cable/Output/Cable) (as is described on myspace) mixes
noise(feedback distortion) against a clear beat. The noise is certainly
harsh but surely the placing of a rhythm here re-introduces the concept of
teleology- and so music not noise (admitted on the myspace site). Its
trying to say something even if its as hysterically neo-surreal as Guido
Flichman's Argentina (AKA EYE) explanation of his "music" as sounding
like your mother having sexual intercourse with a dead horse from mars.- or
industrial noise - in the sense of factory sounds echoy field recordings
etc. - even more trance like on the AHD & Raven Cd. Programme music? Noise
to be noise lies outside morality (as I have said) and ethics and aesthetics
are one and the same - the condemnation of noise as being bad in all senses
of the word is from a noise point of view besides
the point - morality is
something that noise transcends, these three CDs are still on the bridge
passing over - or else in danger of being leap-frogged by a devil. (jliat)
Address: http://www.sonoradisc.com
JLIAT - NOW THAT'S WHAT I CALL NOISE VOL.11 (CDR by Larks Council Of
England)
Which is no big deal, it's like real life. Software running amok, some
effect pedals. Not ebut here in the context of noise. Tht is ncil Of England
he releases a purposedesigneR with a rip off cover of 'Abbea good, but
simple safter that he sta q. I ueight tracks of exactly three minutes anse
is whd thirty nine secoweeks have peard volume one of this series, and it's
about time for numbr Sofning amok, some thenes, as opposed to the soft ones)
and things explode, eight times. Oh Superman. Ace Of Spades. Jliat's own
'Now That's What I Call Noise', now up the ninth volume, is certainly not a
masterpiece either. Noise. Noise. So i've been making these short tracks for
soon a year and have recorded already up to volume 20. And oh I did ever
tell you in all those eleven volumes that the covers are always pastiches of
well-known rock records? Perhaps I should mention that too?
Address: http://www.jliat.com
PARMA DAY - NUSSBAUMS HEAND (2CDR/1DVDR by Tosom)
JORIS J - OCHRANA BIRTH (3"CDR by Tosom)
The two CDR and one DVDR set by Tosom proofs some difficulty for me. It's
based on stories by one VernomLLP, music by Parma Day and video by Mädchen
June. To start with the latter: the video 'Nussbaums Hand' contains three
films, or perhaps one film in three parts - it's not entirely clear.
Presented are images from cities, desolate areas contained therein, which
are cut with what seems to me imaginary of older films, to suggest some
intriguing story about misery or failure. Its again not very clear how the
story/stories work, but they leave something to suggest which is nice.
Although tension is suggested it is not always really present, I thought,
but the music, provided by Parma Day works well. Cold, isolated electronic
music, with the same feeling of isolation. Parma Day is also responsible for
the music on the two CDRs that are part of the package, which only very
partially overlap the music for the films. Parma Day take their inspiration
from bleak industrial landscapes,
translate them through a bunch of electronics and sound effects to create an
eerie effect. Sometimes vast and loud, sometimes like crawling insects and
sometimes like corrupt computer data. Maybe the full package is a bit too
much of semi-depressed music to swallow all at once (certainly the best
musical bits could have fitted on one CDR), but throughout it's a nice
darkened affair.
Tosom also brings us one Joris J from Berlin. So far he has released
privately a CDR, a split release with N.Strahl.N. and now 'Ochrana Birth'.
His music is a mixture of various positions in the world of experimental
music. Partly he takes his inspiration from musique concrete, party
microsound and partly noise, which three way division is clearly shown in
the three tracks on this release. The first is centered around the treatment
of guitar sounds; a treatment mostly done inside the computer and works in a
linear fashion. The second piece 'Versorgungsbehörden Meldet
Kriegsgewinnler' is a micro-drone piece of shifting layers of sounds, whilst
the final piece Joris J (an alias fro Martin Schilling) moves into the
Merzbow land of noise. It's the weakest piece of the three. The other two
are quite nice and in my humble opinion should be roads to explore. (FdW)
Address: http://www.tosom.de
SEBASTIAN ROUX - URBAN FIELD MUZICK (3"CDR by Field Muzick)
BIDIBOP - URBAN FIELD MUZICK (3"CDR by Field Muzick)
The name Urban Field Muzick doesn't leave much to guess, I thought when
listening to the first of these two. Sebastian Roux is someone whom we known
for his releases on 12K and Carpark and is someone who uses field recordings
a lot, but usually highly micro processed. Here he presents them in a clean,
direct way. One piece that is originally a sound installation and all the
sounds were recorded during Roux's holidays in the last three years. It's a
bit like watching someone's holiday snaps: you get an idea, never the real
picture. Roux collages his sounds together (recordings from Bandol,
Bruxelles, London, Luxembourg, Lyon, Nice, Samoens and the mountains (oops,
non urban) around Santarcangelo, Vevey and a train), but it hardly makes any
sense to the outsider. Not really a big problem, as he creates a nice piece
with all his sounds, which is best enjoyed through headphones. Nice, but not
spectacular.
I never heard of Bidipop, which is one Vincent Nicolas, who was part of Un
Automne A Lob-Nor, a post rock band. When the band split up he started solo
as Bidipop. His field recordings are definitely urban: recorded in
Manhattan. He recorded human activity that included music. It's a bit hard
to tell wether the music is played in those places by Nicolas himself, but
for some reason I think it is. Or perhaps he added a bit of sound
afterwards. In either case, he plays three pieces of music, which are more
compositions by themselves than Roux's work. I for myself like this more
than Roux, simply because it seems to have more effort put it. Perhaps a bit
long these pieces, but certainly quite enjoyable. 'Ace Train Songs' even has
a nice hook to it! (FdW)
Address: http://www.fieldmuzick.net
GAS - GAS 0095 (MP3-album by Microscopics)
Anyone interested in drone-based ambient should check out the music channel
"Drone zone", which is part of SOMA radio station transmitting from San
Francisco. It was in "Drone zone" I was introduced to this British project
called Gas. I was so amazed by the particular track titled "Microscopics"
played in the "Drone Zone"-channel that I just had hear some more from this
"Gas"-project. The result was the reception of present mp3-album titled Gas
0095 (a.k.a. "High Skies"). Mat Jarvis (alias Gas) has already had quite a
few releases on the highly respected Em:t Records label. The "Gas
0095"-album was originally released on Em:t Records back in 1995 in a
CD-edition. The album was never advertised and quickly sold on word of mouth
alone. The album was encoded in 3D by the huge and hugely expensive Roland
Sound Space RSS 3D sound imaging system. Now it has been re-issued in a
superb sound quality by Mat Jarvis's own online-exclusive label
Microscopics. And the album certainly deserves a
royal treatment! There was a time where you had to find the real pearls in
the shelves of the records stores and where the Internet was first of all
the place where upcoming artists could promote their music with the hope of
getting signed at a label for a "proper" CD-release. These days seems to end
these years. Now the real music treasure might only be released online via
Internet. The excellent re-issue of "Gas 0095" is a very good example on
that development. I regard "Gas 0095" as a landmark within the ambient-based
IDM-scene up there with the heavyweights of the UK-born ambient/IDM-scene
alongside benchmarks from the Warp Records label. Especially the two lengthy
tracks "Microscopic" and "Tellurium" are stunning works of art. The
expression on these two pieces has common grounds with some of the famous
artists of the British ambient/IDM-scene, even though Gas creates its very
own sound worlds. Take the earliest days of Warp Records, circa the period
of Black Dog and legendary
Warp compilation-series "Artificial Intelligence" (I + II) and stir it up
with atmospheric wanderings that suggest virtual galactic discovery similar
to Global Comminations and more rhythm-structured chillout moments from
Future Sound Of London's "Lifeforms". The result is excellent. For people
interested in conceptual sound art, a very interesting fact about the album
is the track titled "Timestretch". "Timestretch" is a four-minute track,
which has been compressed into one second of audio. For anyone interested in
electronic space music "Gas 0095" is an absolutely amazing release created
back in the heydays of British Ambient/IDM-scene and now re-issued into a
true sonic beauty. Essential! (NM)
Address: http://www.microscopics.co.uk
BAZTERRAK & VALVERDE & XEDH - SUBGRAVITY RADIO HANGOVER (MP3 by
Mastertoaster Recordings)
IZARZUGAZA & TUSURI & XEDH - BARNE HOTSA (MP3 by Idiosyncratics Records)
BAZTERRAK & VALVERDE & XEDH & IZARZUGAZA - FREMDSPRACHEN (MP3 by Clinical
Archives)
The world of MP3 is a good way of getting to known new music, but also a way
of getting rid of your live recordings. Xedh has had a couple of MP3
releases by just himself, but in recent times his MP3 releases are all sorts
of live recordings he made with fellow Basque musicians in a rather
improvising manner. The first has Xedh together with Bazterrak (a.k.a.
Enrike Hurtado on laptop and self-made software) and Carlos Valverde on
guitar in a rather crude piece of silence meeting noise. Crackles,
un-grounded electricity, hints towards rhythm (techno even), but it never
gets off the ground, beyond the idea.
The second one with Tüsüri (laptop) and Edorta Izarzugaza on guitar sounds
much more interesting. A carefully built up piece of electronics, static
noise, slowly going in a crescendo mode which collapses when things get loud
(very short) and then it takes gear back until the end. A very nice piece.
Xedh teams up with Bazterrak, Izarzugaza and Valverde on the third release
(all three on different MP3 outlets) and some switch has been made in
instruments: now its mixer, effects, electronics, laptop, self-made
software, analogue devices, feedback, synthesizers and loops. That may seem
like a lot of toys to generate noise, but this quartet keeps things under
control for quite some time, but you feel noise lurking around the corner
and it's kept like that until the very end. Not a bad piece either. (FdW)
Address: http://mastertoastermusic.blogspot.com
Address: http://www.idiosyncratics.net/
Address: http://clinicalarchives.blogspot.com
1. From: david daniell <dwd@antiopic.com>
Friday February 8th, 8:30 pm
at Espai d'Art Contemporani de Castelló (EACC), Carrer de Prim, Castellón de
la Plana 12003, Spain
http://www.eacc.es/e/
With Steffan Basho-Junghans.
Saturday February 9th, 10:00 pm
Nits d'Aielo i Art Festival
http://www.nitsdaieloiart.net/
at Octubre Centre de Cultura Contemporània, C/ Sant Ferran 12, València
46001, Spain
Thursday February 14th, 11:00 pm
at Galeria ZDB, Rua da Barroca 59, Barrio Alto, Lisbon 1200, Portugal
http://www.zedosbois.org/zdbmuzique/
with Steffen Basho-Junghans and David Maranha.
Friday February 15th
venue TBA, Porto, Portugal
Saturday February 16th
at Zoom Cineclube, Av. D. Nuno Álvares Pereira, Barcelos 4750-324, Portugal
http://www.zoom.pt/
Sunday February 17th
at La Casa de los Jacintos, Calle de La Arganzuela, 11, Madrid 28005, Spain
http://www.lacasadelosjacintos.net/
Wednesday February 20th, 8:30 pm
at L'Antic Teatre, C/ Verdaguer I Callís 12, Barcelona 08003, Spain
http://lanticteatre.com/
With Dalmau Boada (of Les Aus & Zeidun) + Albert Trabal (Zeidun, Inaudibles)
duo.
Presented by l'ull cec - http://lullcec.org/
Thursday February 21st
at La Médiathèque Associative, 6 rue de la Bourse, Toulouse 31000, France
http://www.musicophages.org/programme/
Friday February 22nd, 9:00 pm
at L'Epicentre, 6 quai Lawton Collins, Cherbourg-Octeville 50100, France
http://www.myspace.com/atagatomuzik
With Serafina Steer. Presented by Atagatomuzi-k - http://www.vsxak.com/-ak-
Saturday February 23rd, 8:00 pm
at Kunstencentrum Belgie, Burgemeester Bollenstraat 54, Hasselt 3500,
Belgium
http://www.kunstencentrumbelgie.com/
With Pluramon and Silje Nes.
Sunday February 24th, 8:00 pm
at La Compilothèque, Quai des Péniches 50, Brussels 1000, Belgium
With Noël Akchoté.
Presented by Matamore - http://www.matamore.net/ -
and The Fifth Floor Bird - http://www.myspace.com/thefifthfloorbird
Monday February 25th, 8:30 pm
at Point Éphémère, 200 quai de Valmy, Paris 75010, France
http://www.pointephemere.org/
With Sylvain Chauveau.
Tuesday February 26th, 9:00 pm
at Ecurie de l'Ilôt13, 14 rue de Montbrillant, Genève 1201, Switzerland
http://www.darksite.ch/ilot13/ecurie.html
With Igor Cubrilovic. Presented by cave12 - http://www.cave12.org/
Wednesday February 27th, 8:30 pm
at Sonic Lyon, 4 quai des Etroits, Lyon 69005, France
http://www.myspace.com/soniclyon
With Agathe Max.
Thursday February 28th, 6:30 pm
at DATA, 44 rue des Bons Enfants, Marseille 13006, France
http://www.lembobineuse.biz/agenda/event.php?agenda=20080125_013305
Solo performance plus duo with drummer Seiji Murayama.
Friday February 29th, 9:00 pm
at L'Embobineuse, 11 boulevard Boues, Marseille 13003, France
http://www.lembobineuse.biz/agenda/event.php?agenda=20080125_015236
With Rien and Seiji Murayama.
2. From: "Jodi Cave" <jodi@jodi-cave.com>
UK sound artist Jodi Cave, European dates. info and sounds at:
http://www.jodi-cave.com
Feb 07 | Zurich | http://www.walcheturm.ch/
Feb 09 | Bordeaux | http://www.aposiopese.org/
Feb 11 | Paris | http://www.myspace.com/debruitdesilenceevents>La Cave St
Sauveur
Feb 14 | Berlin |
<http://maps.google.com/maps?q=Greifswalder+Str.+223,+Berlin,+Berlin+10405>Electronic
Church
Feb 16 | Differdange - Luxembourg | http://www.myspace.com/autrepart
3. From: Brian Osborne <bosborne_2003@yahoo.com>
Saturday February 9th @ The Place Bar and Lounge
GEORGE STEELTOE ENSEMBLE
<http://www.heatretentionrecords.com/HRR%20gsteeltoe.asp>http://www.heatretentionrecords.com/HRR%20gsteeltoe.asp
Lathan Hardy - Sax, Marcus Cummins - Soprano Sax
Marc Zajack - Tape & Electronics, Tom Clark - Synths & Electronics
Jeffrey Shurdut - Guitar, Michael Barker - Bass
Brian Osborne - Drums
Also playing:
KING CRAB
TANDEM ELECTRICS
MIAMI BEACH
PANTHER MODERN
more info:
<http://www.heatretentionrecords.com/>www.heatretentionrecords.com
$5 / 9pm
The Place Bar and Lounge
269 Norman Ave at Kingsland Ave
Brooklyn 11222
G Nassau / L Bedford / B48
--
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