VITAL WEEKLY
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number 642
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week 36
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Vital Weekly, the webcast: we offer a free-to-download weekly webcast as the
audio-supplement to Vital Weekly. Presented as a radio programme with
excerpts from some of the CDs reviewed here (no vinyl or MP3s). It is
available on the site for a limited period of 5 weeks. Download the file to
your MP3 player and enjoy!
Complete track listing here: http://www.vitalweekly.net/podcast.html
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* noted are in this week's pod-cast
HAUSCHKA - FERNDORF (CD by Fat Cat) *
LUKAS LIGETI - AFRIKAN MACHINERY (CD by Tzadik) *
LUCIO CAPECE & SERGIO MERCE - CASA (CD by Organized Music From Thessaloniki)
*
SAGITTARIUS - SONGS FROM THE IVORY TOWER (CD by Cold Spring)
ALEX TIUNIAEV - I KNEW HER (CD by Cold Spring)
SMILING THROUGH MY TEETH (CD compilation by Sonic Arts Network)
TEAISM: MUSIC INSPIRED BY THE ART AND CULTURE OF TEA (CD compilation by
Static Caravan)
SUDAMERICA ELECTRONICA (CD compilation by Sudamerica Electronica)
OSMAN ARABI - BURNING SIGILS (CD by Fractured Spaces)
GENERIC - TORTURE (CD by Fractured Spaces)
CEM GÜNEY - PRAXIS (CD by Cronica Electronica) *
JERSEY - ITINERARY (CD by Pony Records)
THURSTON MOORE/GRAHAM MOORE (LP by Nihilist Records)
OAKEATER - MOLECH (LP by Nihilist Records)
IRR. APP. (EXT)/PANICSVILLE (LP by Nihilist Records)
STEFAN ROIGK - UP.RISING (LP by Tochnit Aleph) *
ILLUSION OF SAFETY - THE NEED TO NOW (CDR by Experimedia) *
FILE UNDER TONER - THIS IS THE END, BEAUTIFUL FRIEND (CDR/MP3 by Hazard
Records) *
CHRISTOPHER MCFALL - THIS HEAT HOLDS SNOW (CDR by Mystery Sea) *
ZANSTON.ES - DONOSTIAKO ZULOAK (CDR by Ronf Records) *
AIWASS PROPHET - CURE FOR CANCER (CDR by Silken Tofu)
SIGILLUM DEI - I'LL KEEP YOU IN AN OAKEN BOX, WITH VELVET FOR YOUR BED (CDR
by Silken Tofu)
TRAUMASUTRA - TRAUMASUTRA (CDR by Silken Tofu)
GOOD NOISE BAD NOISE - JOIST HOUNDS (CDR by Earth Monkey Productions)
CLUTTER VS SUSAN MATTHEWS - SLOW CORROSION EP (CDR by Earth Monkey
Productions)
PS STAMPS BACK & MONO.TONIK - EXP>>AND (CDR by Tilt Recordings) *
RITES OF DISSONANCE - RUINS, NOT MONUMENTS (CDR by Tilt Recordings) *
PORATZ - 28.50 (MP3 by Electroton/Produkt Series) *
HAUSCHKA - FERNDORF (CD by Fat Cat)
For reasons I no longer remember I was on the Fat Cat site just a few days
ago, and I was thinking that they release so many new artists which I never
heard of. I am not sure if I noted the Hauschka, which is one of the names
used by Volker Bertelmann. Besides this is a member of Music A.M. (with
Stefan Schneider and Luke Sutherland) and one half of Tonetraeger. So as
these things happen sometimes I received a promo Hauschka's latest CD, on
Fat Cat's imprint 130701, whatever that may be about - but my best guess an
imprint for (semi-) classical music. As Hauschka, Bertelmann plays the
prepared piano, and the pieces here were recorded in an improvised way,
along with various cello and violin players as well as trombone. Today this
was the first thing I played after a long night and the headache washed away
with the music of Hauschka. The piano doesn't sound always like a prepared
one, sometimes it's just a piano and the strings sound lovely. When it
sounds like a prepared piano it
almost sounds like electronically treated, in a soft, not outspoken manner.
I feel I'm not at all the man for the task of reviewing this (semi-)
classical music. I simply know nothing about it. Its soft, its at times
minimal. Maybe its like Satie, maybe Debussy, a bit romantic, a bit Wim
Mertens like. Gosh what do I know? I have no idea where to place this. Do I
like it? Certainly I do. Very much even. But can I say this is truly
original, or a great copy of something else? No, I can't. Perhaps that's not
necessary. I just like it. (FdW)
Address: http://www.fat-cat.co.uk
LUKAS LIGETI - AFRIKAN MACHINERY (CD by Tzadik)
A true story: a friend of mine picked up a Tzadik by M. Feldman, thinking it
was Morton, but it was Marc. How blessed can you be a name that refers to
another great composer? And how odd it is that the same label does it again?
Will there a review with no reference to that 'other' Ligeti? Lukas Ligeti
is a percussion player who plays the Marimba Lumina, a new instrument
invented by Don Bucla along with samples of mainly African percussion
instruments and in one track additional electronics. The work is very much
an improvised thing, which works rather well. Ligeti uses an extensive array
of influences and many different sounds. The influences are foremost of
course 'African' in nature, but at the same time it sounds very electronic,
yet without losing its improvisational edge. The merging of traditional
music with electronics, previously shown by various people from the Ukrain,
is something that is certainly a new road to explore. While I am not an
expert of traditional music -
worldwide! - I can certainly sense its potential and what Ligeti does here
is great. Polyrhythms, acoustic instruments, electronic processing -
everything seems to be right in place to make a very vibrant piece of
music - and Ligeti offers seven fine pieces of music with lots of small,
detailed variations in what he has to offer. Here's someone at work who
knows what he is doing and knows how to produce a fine piece of music and
hold the attention throughout. Great stuff. (FdW)
Address: http://www.tzadik.com/
LUCIO CAPECE & SERGIO MERCE - CASA (CD by Organized Music From Thessaloniki)
I am not sure if I ever heard of Sergio Merce, who teams up with Lucio
Capece. Capece plays scruti box and filter on the first track and bass
clarinet on the second. Merce plays 'four tracks portastudio without tape on
the first and tenor saxophone on the second. I must admit I thought it was
quite fascinating to think of an empty recording device as an instrument.
What does it then? Perhaps the built in mixing board is used? According to
the supplied information, there is also talk of using small metal objects
against the tape heads. The two work together since 1993 when they were both
living in Argentina. Earlier this year, Capece, currently in Berlin I think,
went back to his own country, stayed at his parents house and recorded this
work, at the time of which Merce's house was renovated - old and new
houses - hence the title 'Casa'. 'Virar, Virar' is the opening piece here,
and lasts almost thirty minutes. Its a most beautiful piece of drone music.
The sruti box provides a
continuos background in which utterly small sounds play small but important
roles. There are subtle changes in the music that one wouldn't hardly notice
if you wouldn't listen very carefully. Yet I thought this piece could be
listened to in various ways: as a relaxing background piece, unconsciousness
of the minor changes, or highly concentrated. The second piece, 'Vieja Casa
Nueva' is quite different: here the two play instruments in slow motion.
They play slow curves with silence in between them. An even more softer
piece than the first one but perhaps also more intense. Two great pieces of
music and a highly refined release. (FdW)
Address: http://www.thesorg.blogspot.com
SAGITTARIUS - SONGS FROM THE IVORY TOWER (CD by Cold Spring)
Sagittarius is another interesting story of brains from the extreme metal
scene searching for new musical territories. German composer Cornelius
Waldner was the man behind symphonic black metal project Hailstorm in the
mid-nineties that in its symphonic approach to furious expressions had
similarities with Emperor and Limbonic Art. As Hailstorm has been put on
stand-by Cornelius Waldner concentrates on his solo-project under the name
Sagittarius. The result can be heard on this first proper CD-release of
Sagittarius titled "Songs from the Ivory tower" released on British label
Cold Spring Records. The style of Sagittarius can be described as crossover
between grandiose expressions of neo-classical and the authenticity of
neo-folk. Being a multi-instrumentalist Cornelius Waldner on "Songs from the
ivory tower" plays several instruments. Dominating instrument is piano
meanwhile string instruments as well as acoustic guitars beautifully
accompanies the music in a subtle manner. The
melancholic pace of the music is strengthened by the vocals of Cornelius
Waldner with lyrics sung in German and English. Through out the 15 musical
pieces Sagittarius has guest appearances of label mates Troy Southgate (from
H.E.R.R.) and Damiano Mercuri (from Rose Rovine E Amanti), two well-chosen
contributors since the expressions of Sagittarius has many similarities with
the two aforementioned project, though the Sagittarius sticks to the
introspective and chamber music-like expressions in contrary to the often
more pompous style of H.E.R.R. Another excellent release from the Cold
Spring label once again proving that artists from the extreme metal has more
to offer than expressions of pure wrath. (NM)
Address: http://www.coldspring.co.uk/
ALEX TIUNIAEV - I KNEW HER (CD by Cold Spring)
As I was searching for some information about the composer behind present
album, Alex Tiuniav, I crashed into his list of favorite music on the U.S.
department of Amazon. Looking at this favorite music list, the first thing
that crosses my mind is the span of musical interests. Unquestionably the
wide range of musical preferences strengthens the compositional skills. As
you listen to Alex Tiuniaev's debut album titled "I knew her" it doesn't
come as a surprise that there is quite a few albums of ethereal expressions
on his list of favorites, with albums from the ambient world (Brian Eno
etc.), classical music (Arvo Pärt etc.) and post-rock (Sigur Ros etc.). The
Russian-born composer apparently uses his great repertoire of preferences as
he composes, since the music on "I knew her" lies in the territories between
classical music and lush ambient. The album contains one lengthy track
running approx. 40 minute, a quite minimalist work with elements of choir
and classical orchestration
weaving into haunting soundscapes that in its repetitive nature develops a
nice trance-inducing state of listening. In its grandiosity "I knew her"
recalls the legendary masterwork of soothing atmospheres, "Angelic music"
(1985) from the Greek composer Ambient/New Age-composer Iasos. And similar
to Iasos' work, Alex Tiuaniev's "I knew her" is a hypnotic piece of music
that creates the ultimate background for sonic immersion. (NM)
Address: http://www.coldspring.co.uk/
SMILING THROUGH MY TEETH (CD compilation by Sonic Arts Network)
TEAISM: MUSIC INSPIRED BY THE ART AND CULTURE OF TEA (CD compilation by
Static Caravan)
SUDAMERICA ELECTRONICA (CD compilation by Sudamerica Electronica)
Although the music by People Like Us hardly finds its way into these pages,
Vicki Bennett's work is a strong force in the world of plunderphonics. There
was a time I heard a lot of it, and one thing that struck me a lot was the
sense of humor she put into her audio collages. But as with a good joke,
it's only funny for a few times, and not always, so to play her music and
always laugh out loud I thought wasn't always possible. Humor in music that
is always funny is of course a personal thing, but for me the Sparks always
do it. They are so funny, that every time I play their music, I always have
to laugh. They are not part of the latest issue by Sonic Arts Network,
compiled by Vicki Bennett and dealing with the subject of humor in music.
Starting up with the great Spike Jones, we are presented a thirty-two track
compilation of funny music. Lots of usual suspects, both from the
perspective of Bennett and her plunderphonics like John oswald, Ergo
Phizmus, Xper.xr (strangely no
Negativland), going to Nurse With Wound to less usual suspects as Ground
Zero, Runzelstirn & Gurgelstock an Nihilist Spam Band. Plus lots of names I
never heard of. A strange but funny mix of covers, spoken word, collages,
burping, plunderphonics and such like. The mash-up seems to be having only a
small portion here, which is a pity, since they are usually funny but can
also stand as a piece of music by itself. Not every joke is great humor
here, but that's like real life. Sometimes telling the joke is better than
the punch-line, and sometimes one doesn't recognize the joke at all. But
throughout this is a very nice, joyous release, which managed to put a smile
on my face. But then I like humor. In life and thus in music.
Unlike humor which I like, I am not particularly fond of tea. Always a
coffee drinker (during the day, water by night), so perhaps I'm not the
right person to review a compilation about the art and culture of tea. But
I'll try. I drank a coffee, like I always do, after dinner (afternoon), like
I always do, and listened to this compilation. Its by Static Caravan, and
that happens to be a supplier of good alternative pop music with a healthy
dose of experiment in it. I recognize names as Pimmon, Tuung, Qua, Dollboy,
Xela, Serafina Steer, inch-time and there are new names as The Break-ups,
Max de Wardener, AM/PM, Root70, Lord Jim, Oblong and Cibelle with Josh
Weller. Electronics, ambient, acoustic guitars, sweet tunes, jazzy tunes,
the processed sound of the tea kettle. A thoroughly relaxing tour of sweet
music. Even without tea this is a delightful compilation, coherent in its
diversity.
The final compilation here has a geographical approach. Music from South
America, which is hardly something new if you read these pages well, even
this week's issue. Sudamerica Electronica is a new label from Buenos Aires,
dealing with 'extreme noise and extreme nature', and they start off with a
compilation that deals with artists that are part of EXPerimentaclub +
LIMb0 - without telling us what this club is about exactly, other than an
'interchange project'. Musicians from Argentina, Puerto Rico, Brasil, Peru,
Uruguay, Chile, Mexico and Colombia are present here and all deal with
electronic music in either a rhythmic form, a noise form or a combination of
both. This means that real techno is not present, nor improvisation along
the lines of Capece/Merce reviewed elsewhere, but noisy blocks of sounds
that form drones, noise, or industrialized noise. No doubt these people
don't set out to look for a complete introduction to all things experimental
from the vast continent, but
besides
names as Cornucopia, Jorge Castro, Christian Galarreta, Pablo Reche, many
new names such as 1605 Munro, Andres Y ralf, FAQ, Jorge Haro, Brain Mackern,
Felix Lazo, Santiago Pereson, Juan Reyes, Manuel Rocha Iturbide, Rodrigo
Sigal and Wilson Sukorksi. (FdW)
Address: http://www.sonicartsnetwork.org
OSMAN ARABI - BURNING SIGILS (CD by Fractured Spaces)
GENERIC - TORTURE (CD by Fractured Spaces)
Fractured Spaces is a new British label concentrating on a wide spectra of
experimental music from tribal ambient to harsh sounds of noise and power
electronics. Present albums are the second and third shot from the label.
Both albums belong to the downbeat style of electronic music. Osmani Arabi
is a Lebanese artist that some might know as the man behind the harsh
electronic project <http://20.SV>20.SV having just released the "Apocalyptic
desert" album on US-label Autumn Wind Productions. Present album released
under his real name Osman Arabi is mildly spoken a quite different beast.
The harsh sounds are non-existing on the single-piece titled "Burning
sigils" running 38 minutes. The style is tribal ethno ambient of an
extremely minimal nature. The work is based on middle-eastern acoustic
percussion, electronic sounds and heavily processed electric guitar. Dark
drones runs underneath the surface creating a mysterious atmosphere. With
its repetitive nature the album has a quite
hypnotic effect, giving the listener plenty of time to take a mind trip into
the sound world of the Middle East. Next album comes from the British artist
Adam Sykes probably best known as the founder of legendary experimental
label Iris Light Records, a label that has released important albums such as
"Substructural penetration 1991-1995" from Japanese Noise-legend Aube as
well his own works as Sykes among others. As Generic, Adam Sykes, operates
in very dark levels of ambience. The album isn't so much about melody, more
likely the six pieces on the album circulates in tribal darkness not far
away from Cold Meat Industry legends In Slaughter Natives. (NM)
Address: http://www.fracturedspaces.co.uk
CEM GÜNEY - PRAXIS (CD by Cronica Electronica)
The name Cem Güney sounds like a name I heard before, but I have no idea
when and where. He hails from Turkey, where he taught himself how to play
the trumpet and he studied in California. There he got interested in sound
art and started to play electronic music. That's the basic stuff I do
understand of the press text. The rest is too hard for me to comprehend.
Lots about language, voices, talk, spiritual learning and more such things,
but I must admit I have great difficulty in finding out what this has to do
with the music he created using laptop, field recordings and radio. It
sounds all pretty decent in terms of microsound, glitch and processed field
recordings, but I fail to see the relation with language as such. What Güney
does here is alright, but there is nothing here that we haven't heard
before. The glitches, hiss, loops, twitter and tweak, it is very common
ground. I must say that Güney does a fine job in terms of production and
execution but doesn't get the price for
the
most original thing of the year. (FdW)
Address: http://www.cronicaelectronica.org
JERSEY - ITINERARY (CD by Pony Records)
Tagged unVital music recently by me is all the music which people sent me
that I think shouldn't be sent here. Not because it's bad music, but it
falls too far outside our already wide musical territory. And sometimes
because we feel we are not inclined to say anything of interest about them,
for the simple lack of knowledge about them. Jersey, a five piece band from
Berlin, is such a thing. It combines rock with dance music. And yes, I
readily admit liking that, even when it doesn't top my love for New Order,
of whom I have all CDs and far too many live recordings. Jersey aren't as
electronic as New Order in their highlight years, but more rocky as with
their latest two CDs ('Get Ready' and 'Waiting For The Siren's Call'). I
certainly like Jersey, but the lack the quality of great popmusic: the
instant sing or hum along is not here, but they play ten very nice pieces of
rock music. I probably forget all about it pretty soon, but when its on, I
pretty much enjoy it. Though most
definitely unVital. (FdW)
Address: http://www.ponyrec.com
THURSTON MOORE/GRAHAM MOORE (LP by Nihilist Records)
OAKEATER - MOLECH (LP by Nihilist Records)
IRR. APP. (EXT)/PANICSVILLE (LP by Nihilist Records)
There is information on only two of the three releases here, and I think I
do know who Thurston Moore is, but Graham Moore? 'The fine performer, song
writer, and writer of folk musicals'? Another problem arises when to detect
which side is by whom. Looking at the run out grooves and seeing how the
record slips out of the cover, divided by status of the artists, I think
Thurston is on side A, and Graham on side B. I might be wrong, judging by
the feedback I heard on Graham's myspace. I am not a detective, bloody hell.
The a-side, perhaps the Thurston one, is one piece of harsh noise, going
through various stages, the rumble at first and then up the land of
feedback. Not exactly music to wake up to, but at least you are awake. The
other side is more subtle, more a collage of various noise based sounds, but
with more dynamics applied to the various stages of mixing these sounds. The
more interesting angle of noise for me. Maybe the artists are switched
around - but it wouldn't change my
review of it.
Oakeater (very good to see some normally typed flyers for the label with
this, other I couldn't have told it from the record cover), is a 'trio that
is equal parts ritual ambient, black metal, industrial noise and demi-spell
casting', and the members are active in other bands too: Seth plays in
Coughs and Panicsville, Jeremy also in Panicksville and Alex is an ex member
of Bret Gand Is Dead. They have released a bunch of cassettes so far and
this is the first major release. I think the description given by the label
covers quite well what is captured on this piece of vinyl. Mumbling esoteric
voices, guitars lurk beneath the surface and at the end of side B, there is
a minimal pulse groove. In the late 80s we would have called this 'ambient
industrial' and certainly there can be traces to Contrastate or Illusion
Safety - all in that period - and there is a certain undercurrent in this
music which is not strictly my cup of tea, that is the ritualistic elements
that they throw in, but
Oakeater knows how to keep them under control - just don't look at the cover
and you'll be alright.
The best of three comes in the form of a split LP by Irr. App. (Ext) and
Panicsville. Matt Waldron's Irr. App. (Ext) has gained some reputation over
the years, not just because of his solo work, but also his membership of
Nurse With Wound. In his solo work he plays some rather dark atmospheric
pieces of music, which in this new case isn't that drone based, but still
rather subdued. Built from elements of improvisation on instruments we no
longer recognize, heavily processed into a nice flowing piece of electronics
slowly shifting about. Not a work that is a real surprise, but nevertheless
a fine solid Irr.App. (Ext) piece.
The Panicsville side shows them in a more improvised mood than a noisy one,
which we might be used to with them. Like their main-man Andy Ortmann they
too moved away from the strict noise happening in order to grow further and
expand the possibilities of doing what is possible with sound. They remind
me here of old Nurse With Wound, with scrapings, vague percussion interludes
and swirling electronics based on wind instruments. The best thing I heard
by them. (FdW)
Address: http://www.nihilistrecords.net
STEFAN ROIGK - UP.RISING (LP by Tochnit Aleph)
This is a review about something that is no longer available in this form.
Stefan Roigk 's single sided LP was also available in a limited edition of
20 copies with a bonus CDR. Roigk is a visual artist, who released in 2006 a
catalogue of his work of sculptures along with a CD, which is also part of
the edition of 20 copies. In his sculptures textiles play an important role,
but also sound elements. On 'Up.Rising' you will find a pure sound
installation, if I understood it well. Other things that were not easy to
understand was the sound origins of this record. I believe it is based upon
sounds from the building in which the exhibition took place. There is a
lengthy description on the insert, dealing with space and air. But that is
not easy to understand, nor does the music give that many clues. The music
is collated together from various sound sources, a bit like Schimpfluch or
Dave Philips would do. Short, loud sounds interrupt the general atmosphere.
Even with missing a bit of
the
context in which this was produced, I found it all quite fascinating.
Certainly something to hear and watch (the exhibition catalogue that is) and
let your own imagination run wild. (FdW)
Address: http://www.tochnit-aleph.com
ILLUSION OF SAFETY - THE NEED TO NOW (CDR by Experimedia)
My love for Illusion Of Safety can't be a secret, though I am not a follower
with no critique. There is a great deal of CDs, vinyl, CDRs and tapes around
with their music, and some I rank as 'absolute' master pieces ('Historical',
'Probe', the first two 'Mort Aux Vaches' for instance), and some I found
more curious than good, like 'Inside Agitator', but the vast majority of the
release are labeled as 'good' or better. These days Illusion Of Safety is no
longer a band, but the one man band of Daniel Burke, although former (?)
member Chris Block did the photos for the cover. In recent years Burke has
settled on a more specific style of sound, which involves electronics,
laptop and hand held objects attached with contact microphones. Pre-recorded
sound material, mainly snippets from radio, TV an records, the 'field
recordings' as well as electronic sounds are mixed with electro-acoustic
objects in an extraordinary manner. This is the meeting point of many
influences: improvised music,
musique concrete, industrial music, microsound even, all in a highly intense
set of music. Music that has a soundtrack like character. Why isn't Daniel
Burke a famous Hollywood soundtrack composer, I wonder? I can imagine great
movies with this music, better than much of the muzak that now comes with
'scary' movies'. The shock tactics that Burke uses, the swift changes in his
music, are less present here than before, but add that cinematographic
character to the music. It's perhaps also the most present element from the
world of industrial music which you can find in his music these days. Never
brutally loud - that station is past history luckily enough - but angular at
times, flowing easily at others, playing with the notion of silence and
loudness, and never strictly confined to laptop techniques, which firmly
sets him aside of some many others. The strange thing is, in my opinion, why
isn't this a household name, playing all the major festivals there are in
this field? Organizers,
film makers and listeners: please pay some more respect. (FdW)
Address: http://www.experimedia.net
FILE UNDER TONER - THIS IS THE END, BEAUTIFUL FRIEND (CDR/MP3 by Hazard
Records)
The first UK pressing of The Beatles' 'Sergeant Peppers Lonely Hearts Club
Band' has in the run out groove (and I am speaking about vinyl here, in case
you think 'oh I never saw a run out groove on my mp3') weird sounds,
nonsense and gooblygo. File Under Toner is the solo project of Anki Toner,
of whom we reviewed a CD in Vital Weekly 613, where he collects sounds from
run out grooves. Not necessarily with music, but it can also be with
popping, cracking and hissing sounds. What ties these short tracks together
is the fact that they are lifted from well-known records, mainly from the
pop (!) area - not that I recognized any Abba or The Doors in there. File
Under Toner, named after Chris Cutler's 'File Under Popular' adds some
delay, reverb, filtering and pops your uncle. A nice, little conceptual idea
surely, but I would think that twenty minutes would be enough, or even, as
divided here in portions of twenty minutes, side A and side B would be
enough. But side C is well over the
top. Nice but a bit too much. But it has extended liner notes, which is very
funny. (FdW)
Address: http://www.hazardrecords.org
CHRISTOPHER MCFALL - THIS HEAT HOLDS SNOW (CDR by Mystery Sea)
Despite the fact that McFall's name starts with an 'M', doesn't mean he will
be on par with Muslimgauze, Merzbow or Machinefabriek in terms of production
of new releases. Its perhaps merely coincidence that very soon after his
Sourdine release (see Vital Weekly 640) there is a new one. If it moves to
anywhere, I'd say that McFall doesn't go for the aquatic theme approach that
Mystery Sea is so well-known for, but that he stays with both feet on the
ground. Transferring the sounds of city life rather then the city - hardly a
strange thing since Kansas City is not quite close to the sea. Although I do
like McFall's music, I have a feeling that the five parts of 'This Heat
Holds Snow' do not necessarily add much to his latest work on Sourdine. The
low end rumbling of the wind howling through empty streets, the crackling of
footsteps in snow, and the high pitched sounds of plug ins transforming that
material. Its by no means an easy job that he does here, or a hasty one, but
it's just
that it sounds a bit too familiar. Whereas say Roel Meelkop knows how create
something in similar ways that sound different, this is a bit too much of
the same. Good, but too much. (FdW)
Address: http://www.mysterysea.net
ZANSTON.ES - DONOSTIAKO ZULOAK (CDR by Ronf Records)
Somebody who has been active since the majority of you walked in diapers is
Zan Hoffman. I never knew he had a strong relationship with Spain where's
been a couple of times since 1993, but with musicians from there, he has
been collaborating since 1985. On location he made a whole bunch of field
recordings and for 'Donostiako Zuloak' he recorded 'holes in San
Sebastian/Donesti' in 2007 as a preparation for a concert. I am not sure if
this release is a recording of that concert, or based on the same material.
Likewise I have no idea what he means by 'recordings made in holes'. Caves?
Holes in the ground? Your guess is as good as mine, I guess. In the thirty
minutes that this piece lasts Hoffman plays around with many sounds from
natural sources, such as wind. Mainly wind actually. There are bits of
mumbling voices, like children in the background and perhaps other human
interference. The pieces more or less stays on one level, without moving in
a distinctly different area, which makes
it much more ambient in the sound scaping sense, then say microsound. One of
those things you can put one, not too loud, and simply enjoy as a background
piece. Ambient music so to say. (FdW)
Address: http://www.ronfrecords.com
AIWASS PROPHET - CURE FOR CANCER (CDR by Silken Tofu)
SIGILLUM DEI - I'LL KEEP YOU IN AN OAKEN BOX, WITH VELVET FOR YOUR BED (CDR
by Silken Tofu)
TRAUMASUTRA - TRAUMASUTRA (CDR by Silken Tofu)
Most of us will probably know silken tofu as a nice soft ingredient in
Eastern food courses, though take notice: Silken Tofu is also a Belgian
label focusing on experimental electronic music. Founded in 2006 the label
approximates twenty releases. Present three albums are quite different
releases though they both belong to the darkest sides of electronic music.
First album is an eight track-release packaged in a slim DVD case with a
black gun decorating the cover sleeve. The album titled "Cure for cancer" is
running 21 minutes and created by a project known as Aiwass Prophet. Behind
the project you find Didier Didelez and Saby Tyck that musically operates in
spheres of noise and old school power electronics. Don't expect the
over-the-top crushing kind of power electronics, more likely the noise parts
are based on screeching noises as well as deep subtle buzz drones
accompanied by a male voice. In expressions there are associations back to
power electronics pioneers Whitehouse as well
as to Industrial-pioneers in Throbbing Gristle. Not being an extremely harsh
album, "Cure for cancer" belongs to the world of sheer darkness. Next
release is a 3" CDR with the very interesting title
"<http://www.discogs.com/release/1407214>I'll Keep You In An Oaken Box, With
Velvet For Your Bed". The project is called Sigillum Dei and originates from
England. In contrary to the semi-harsh expressions of Aiwass Prophet,
Sigillum Dei operates in opposite sound spheres of very calm and subtle
expressions. The composer uses found samples and environmental recordings to
create some intensely textured ambient drone-scapes. Despite its calm nature
the listener doesn't drift into sleep - the music is far too creepy falling
asleep to. The atmosphere is very intense and hypnotic thanks to the minimal
and repetitive nature of the album. Last album comes from Belgian composer
Peter de Koning operating under the name TraumaSutra. His self-titled
release on Silke Tofu comes in a slim DVD case and
contains two pieces. First piece is the main work on the album composed by
TraumaSutra himself, mean while the following track is a remix executed by
Crank Sturgeon, based on the sounds of first track. The main piece composed
by TraumaSutra is a length work running 36 minutes. It must be categorized
as ambient, thanks to the complete lack of rhythm textures, though it is not
the kind of ambient work that let you slip away. The expression is noisy and
quite creepy with a number of strange field recordings and voice samples
helping to create a hostile atmosphere. (NM)
Address: http://www.silkentofu.org/
GOOD NOISE BAD NOISE - JOIST HOUNDS (CDR by Earth Monkey Productions)
CLUTTER VS SUSAN MATTHEWS - SLOW CORROSION EP (CDR by Earth Monkey
Productions)
Earth Monkey Productions is net-label from Cumbria established in 2006 with
focus on electronic experimentations, sound art and spoken word. Latest
efforts from the label are the Collector's Series, which are 3" CDRs
released in limited editions. The opening two releases in the series are
quite interesting releases both being based in the abstract sound worlds of
ambience. First release is by a project called "Good Noise Bad Noise". The
CDR runs for 18 minutes and is divided into 5 chapters. The style is Ambient
but with a noisy edge. The expressions are abstract and dreamlike in
atmospheres with found sounds moving backward and forward meanwhile samples
of acoustic instruments such as screeching violins creates some high
frequency noises. Final track titled "Dial lone owl" is my favorite moments
with distant sounds of field recordings buried in a soup of abstract noises.
The result is like a strange dream. Though the second release also belongs
to the dreamlike state of abstract
ambience there is also rhythmic signs on this release. The album titled
"Slow corrosion EP" is based on compositions by Susan Matthews remixed by
the artist Clutter. Opening track on this album titled "Slow corrosion Ep"
belongs to the darkest territories of trip hop with dragging beats slowly
moving in creepy electronic atmospheres assisted by the voice of Susan
Matthews that in its style reminds a bit of Kim Gordon from the early years
of Sonic Youth. From second track forward the expression moves into pure
ambient territories. Creepy soundscapes built on found sounds, processed and
concrete mixed up with the excellent voices of Susan Matthews. Two
interesting opening releases in the Collector's Series. (NM)
Address: http://www.earthmp.com/
PS STAMPS BACK & MONO.TONIK - EXP>>AND (CDR by Tilt Recordings)
RITES OF DISSONANCE - RUINS, NOT MONUMENTS (CDR by Tilt Recordings)
Both of these releases include the ever restless mind of Iason, one of the
keyplayers of Greek true underground music, mastermind behind the Tilt
label, and player of electronic music with many people around him. But he is
not the sort of guy to make things an one-off occasion, as he brings many of
these projects on the road. The first release is a collaboration by PS
Stamps Back (Iason's solo moniker) and Mono.tonik, being one Alex who
'played a computer'. Iason played insectos tropicales synth, audiomulch,
strings and pedals. Although the cover lists various tracks it seems to me
they are the result of one or more jam sessions cut in such a way that they
form one piece. There is a strong interest here to explore rhythm and sound.
The rhythm component borrows its ideas from the shaped minimalism of Pan
Sonic, where the sound part are monolithic blocks of sine waves being
altered and finely sliced. Music to be played in darkened basements as part
of obscure dance parties. Not that
everyone would in fact move to these beats, but the crowd will be moving.
Post minimalist techno music and as such quite a nice one.
The same sound sources Iason used for his release as Rites Of Dissonance,
which he recorded with Aris on self made electronics and effects. I am not
sure when it is decided to make a new band name and when it's simply '&',
perhaps when they go on tour? Musicwise this is not too far away from the
previous release, but things here are more spun out. The releases with Alex
has more shorter pieces, arrive a bit more quickly at what they want,
whereas the five pieces with Aris take more time, develop more slowly but
work more in a trance like manner. As such it seems to me that these pieces
are more worked out, composed as a result of improvising together, and then
deciding how make the final version. The element of techno is even further
reduced, stripped bare to its most naked version. More like music released
by Ant-Zen, me thinks, but surely a fine work too. (FdW)
Address: http://tiltrecordings.org
PORATZ - 28.50 (MP3 by Electroton/Produkt Series)
Behind Poratz we find one Patrizio Orsini, who used to be a guitar player,
but then discovered that playing electronic music is much nicer. Its only in
this year that he started to play electronic music as Poratz. Rhythm is what
everything is all about in the six pieces that he now releases in the
'Produkt Series', the digital imprint of the Electroton label. Built from
clicks, hiss, pop, crack and snap, this is all quite familiar ground for
those who learned about the click 'n cut movement about say a decade ago.
Frank Bretschneider seems one very obvious influence here, but I must say
that Poratz plays his pieces quite nice. The element of dance is always
present in these pieces, his production is flawless and 'Goodnight
Cleveland' has a nice, twinkling evil melodic touch it. That is the best
track of here. Maybe it could use a bit more of his own, but its a nice
start. (FdW)
Address: http://www.electroton.net
1. From: HzCollective <HzCollective@gmail.com>
For the Richmond portion of the event we're hosting a Label Expo for the
duration of the event. If you own a distro or a label please consider
tabling at the festival. There is no fee! You will have a free place to
crash! The event goes from 5:00pm - 11:00pm Sunday October 12, 2008. Please
write to <causticcastle@gmail.com> if you are interested.
The MegaHz Festival 2008 is coming together quite nicely and we promise to
present to you a large array of great minds! We'll announce the full lineup
very soon. The MegaHz Festival is a showcase of ideas from experimental and
avant-garde musicians of both the Richmond and Charlottesville, Virginia
communities as well as the international community.
The festival is a two day event split between Charlottesville (10/11) &
Richmond (10/12), both with incredibly unique personalites of their own.
With this event we're hoping to bring the two communities closer together.
For up to date information about the MegaHz Festival please refer to the
HzCollective website: http://hzcollective.com
2. From: incite@gmx.de
incite/ live @ zxzw
De NWE Vorst
Sunday, Sept 21. 19:30
Tilburg NL
http://www.zxzw.nl
http://www.myspace.com/incitefm
incite/ live @ 25fps
Saturday, Sept 27, 22:00
Zagreb, Croatia
http://www.25fps.hr
http://www.myspace.com/incitefm
3. From: dp <dp@tochnit-aleph.com>
LIVE IN ENGLAND WITH G*PARK
7th september 2008 - dp & g*park collaboration
brighton - coulour out of space festival, the sallis benney theatre.
www.colouroutofspace.org
8th september 2008 - dp field recordings, g*park solo, lionel marchetti &
yôko higashi
london - divus gallery, unit 30, 3rd floor, north entrance, 37 cremer
street, E2 8HD. www.entracte.co.uk
9th september 2008 - dp field recordings, gastric female reflex,
deepkiss720, dogeeseseegod
southampton - the frog & frigate, canute road
12th september 2008 - dp & raymond s. harmon collaboration "on insects",
mlehst, lee gamble, mark durgan
london - divus gallery, unit 30, 3rd floor, north entrance, 37 cremer
street, shoreditch, E2 8HD
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