VROMB – EPISODES (Cd by Ant-Zen Recordings)
90% WASSER (Compilation Cd by 90% Wasser)
COH – LOVE UNCUT (CDS by Eskaton)
BOOKS ON TAPE – TEST PRESSING (CDR by Beatpunk)
ANTENNA FARM & MAIN – AF_M (CD by Staalplaat)
LOCUST – WRONG (Twin CD by Touch)
GOEM – DISCO (CD by Fourth Dimension)
CAN CAN HEADS – CRICKET OKASADA (7″ by Verdura)
KROKO – FURIA (CD by Verdura)
EKKEHARD EHLERS – PLAYS CORNELIUS CARDEW (7″ by Bottrop Boy)
NOBUKAZU TAKEMURA – HIKING/VIKING (7″ by Bottrop Boy)
MICHEL BANABILA – SPHERICS (CD by Boudisque)
STEVE RODEN – SCHINDLER HOUSE (CD by Mak Center)
ES – A LOVE CYCLE (CD by Fonal Records
KILLA – HEARTCORE (CD by Fonal Records)
VROMB – EPISODES (Cd by Ant-Zen Recordings)
Ever since Vromb had his first album “Jeux de terre” released back in
1993, the unique sci-fi landscapes of the canadian artist, whose
original name is Hugo Girard, just seems to become clearer and
clearer as every new album sees the light. “Episodes”, being the
fourth full-length album, continues the voyage through sonic places
of oscillating frequencies, static noise and pulsating electronic
signals. Vromb separates from most other profiles on Ant-Zen
Recordings in the less technoid approach and a more ambient-oriented
style. Most similar artist on the label must be Morgenstern, though
Vromb seems more futuristic spacey and less Industrial in his musical
approach. Since Vromb does use rhythms in his work, “Episodes” is not
ambient in the traditional way. Still the rhythmic structures seem so
absorbed into the hypno-sphere that the overall expression is
drifting rather than up-beat. A distinctive feature of Vromb is the
French spoken voice that sometimes penetrates the music, suiting so
well into the high tech-tribal sound texture. Listening to Vromb is
quite a spectacular experience. Starting out with “Episodes”, you
might continue towards
previous Vromb-albums sooner or later! (NMP)
Address: www.ant-zen.com
90% WASSER (Compilation Cd by 90% Wasser)
90% Wasser is a new label based in Berlin, and founded by people from
different countries as well as different artistic backgrounds. And so
the musical focus of 90% Wasser is electronic music in its widest
sense just like the publishing medias span from audio-releases to
videos, writings and pictorial arts. This very nice sampler from the
label emphasizes the receptiveness of the label. The album is opened
by the beautiful clicks’n’cuts-track “Hasel 43” of the Mimetic/Column
One-collaboration. Generally the glitchy sound-expression dominates
the first part of the compilation. Then the album takes a step
towards more abstract computerized sound textures, that most of all
reminds me of the “OR some computer music”-compilations from the
London-based OR-label. Spoken word in German seems to be the common
denominator for some of these tracks in the middle section of the
album. Best tracks on the compilation come in the more
ambient-oriented final part of the compilation. First of all the
surprisingly short work of Spanish sound artist Francisco Lopez, who
delivers an intense sub-dued drone-piece based on concrete sounds.
Another fine gem is the dark ambient piece by Frieder Butzmann
featuring spoken words by Industrial music’s grand ol’ man Genesis P.
Orridge. A very promising debut-sampler from 90% Wasser. (NMP)
COH – LOVE UNCUT (CDS by Eskaton)
Love is a many splintered thing, it seems. Ivan Pavlov, the vision
(but not the voice…) behind COH, has worked with Peter
Christopherson and John Balance of Coil in the past on his Vox
Tinnitus outing. This affair is altogether different, COH’s digital
precision infected and invaded by the multifarious vocal talents not
only of the Coil duo but of Louise Weasel, Frankie Gothard and
Cyclobe’s Steve Thrower. A demon-barbershop quintet to conjure with
indeed… But there’s more influence at work here than just some
guest vocalists. “Time to crossover” Christopher whispers at the
start of the disc on the Soft Cell cover (Meet Murder) “My Angel” and
crossover Ivan does, the usual gleaming electronic facade of his
other solo releases rended apart by the playfully sinister
machinations of his cohorts, leaving a dark and gaping hole in the
fabric of the metal. Only ‘Fffetish’, a Vicious Pink cover, features
Pavlov’s usual musical style – the Ikeda-like clickno rhythms back in
earnest – but even then Frankie Gothard’s vocals add a completely
different slant. The feel overall is like a massively updated
Scatology, because despite Pavlov’s mastery of his electronics which
are always impressive, the overiding sensation is the guilty gesture
and magical sleaze of that earlier album of his accomplices. The
alchemical process of transmuting something base into something
glittering and covetous is inherent in the silver on this disc. A
word of warning though: if you enter expecting the usual COH, you may
be disappointed and how often you’d listen to this aside is another
matter entirely… (BL)
Address: www.mego.at
BOOKS ON TAPE – TEST PRESSING (CDR by Beatpunk)
Todd Drootin’s Books On Tape project has been setting certain corners
of the virtual world alight with outstanding releases recently on No
Type (www.notype.com) and his own Subverseco weblabel
(www.subverseco.com). Here he unleashes the monster in physical
form, expanding upon the existing Test Pressure release on Subverseco
for this full length affair. The Books aesthetic is a sample based,
beat driven one – tried and tested before certainly, but here it
shines. The music is intelligent and inventive, the sounds finely
tuned to the point where nothing disintegrates the overarching
feeling that Todd is master of his machines, and of his melodies.
This isn’t techno or some other pointless label, but indefinable
electronic rhythmic music, downtempo but suffused with warmth,
meaning and a depth otherwise lacking in much of the genre. A
frequent disc in my general area these last few weeks. Great sleeve
too, showing to good effect that CDR releases needn’t be any less
professional in presentation than their differently shiny cousins.
Test Pressing demands attention and, what’s more, deserves it. (BL)
Address: www.beatpunk.com
ANTENNA FARM & MAIN – AF_M (CD by Staalplaat)
This is the first CD in the ever growing BromBron project series where
artists are invited to collaborate at Extrapool’s studio in Nijmegen and
the result is released on a CD by Staalplaat. This CD is all recorded from
improvisation between the two english acts in july 2000. Well at first it
sounds very atmospheric, really calm rising soundscapes which are all
destroyed by track 2 …very good switch. That seems to be a recurrent
theme throughout the CD, sort of build up and break down into something
else, and it works very well here. I can’t escape thinking about fairy
tales when I hear this CD, it very story suggesting in my opinion and I
mean that very positively. It’s put together from very interesting sound
characters who all play an essential role. Ofcourse these are no beginners
and that’s very obvious as you listen to the recordings, they sure know
what they are doing… or so it appears, but I might be wrong and it’s done
like a Ringo Starr record which he doesn’t remember in some blurry
alcoholic haze. Well, whatever, nevermind, it’s probably not the case. (HB)
(www.staalplaat.com)
LOCUST – WRONG (Twin CD by Touch)
A new, at-first-glance apparently double (check out the new ‘Twin’
format!!!) CD
released by Mark Van Hoen, Locustman. Closer scrutiny reveals that both CD^”s in
this package are meant to be played at the same time, started as close together
as possible on different machines and even in different parts of the
house, with
the listener setting the relative volumes according to herm^”s preference, thus
creating a personal dynamic. Fortunately, I am one of those spoilt white
bastards who can do this (Mr Van Hoen has obviously targeted a well-to-do
audience), and am pleased to report a more-than-satisfying experience. However,
those of less technical means should not wail: CD 1 (with the songs) works
perfectly on its own, as, indeed, does CD 2 (with the drones). Featured
(angelic) vocalist Holli Ashton weaves her spellbinding voice through the
analogue synthesiser-only music created by Locustman, singing pensive
songs with
the grace and light of one of the best English female vocalists ever, the very
creamy Kate Bush. Many may rush (justifiably) to compare this with previous
releases on Touch involving the Locust, like the two Scala CD^”s, and when all
are held up to the light, it is to the Locustman^”s credit that the Seefeely
guitars are not missed a bit, although the inherent sense of danger
on the Scala
CD^”s is noticeably less here this will have to do with the lyrical content, I
suspect. These songs do not growl softly with suppressed violence, hidden
knives, Lost Highway looks, or forked tongues along the twisting-road side.
^-Make a Difference^” is one of the highlights, as is ^-Wrong^”, included
on Touch^”s
earlier ^-T_ZERO_0^” (Compilation, 2000). Deep, rich, thought-out ditties by a
well-pedigreed Arthropod.
PS. Love the way this girl^”s voice slithers out from underne
GOEM – DISCO (CD by Fourth Dimension)
Goem are a paradox: embraced and accepted as part of the latest
‘digital’, computer music scene, whereas much if not all of what they
do is so much more primal, organic and, frankly, analogue in nature.
Disco is the latest in a plethora of recent-ish releases (well,
almost: Abri has been released on 12k since this came out!): nine
untitled tracks, of what must be relatively older material dating as
it does from 1998. The trademark pulse is there of course, the
raison d’etre of these mainstays in the experimental music scene, its
heart turned into some kind of mutant concrete-block-rocking beat
slowed to life-affirming velocity. The subtle processing is there
too, the other ingredient in the recipe. And that’s pretty much it.
So couldn’t anyone do what Goem do? I suspect the answer to that
really has to be “no”. When the trio do what they do best, as they
show with consistent ease on Disco, the effect of time is lost
entirely. This isn’t a time-stretching effect; it’s the complete
abolition of time itself. I don’t get this notion with anyone else.
Tracks could conceivably be 5 or 50 minutes long: I just don’t care,
and that is what makes Disco so compelling, so different on each
listen. It’s as simple as that: another essential album from one of
the most important groups to emerge in electronic music in the last
five years. If you haven’t got it, you’ll never “get” it. (BL)
Address: <mailto:richo@adverse-effect.com>richo@adverse-effect.com
CAN CAN HEADS – CRICKET OKASADA (7″ by Verdura)
KROKO – FURIA (CD by Verdura)
Finnish group Can Can Heads remind me very much of Steve Albini’s
sometime project Shellac, for whom I used to have a fondness, with 10
short to very short tracks on this white vinyl disc. The typical
‘power trio’ core of guitar, bass and drums has occasional, welcome
embellishments of keyboard, sax, choir (?) and trumpet, and the songs
are sharp and spiked, brutally aggressive but focussed and dynamic in
their arrangements. Not sure how this fits into Vital but of its
type it’s a fine listen, especially given the group’s pride in
the DIY aesthetic of recording the whole shebang onto an obselete
four track cassette recorder. Rawk, in miniaturised form.
Kroko utilise similar tools to their countrymen but in a slightly
different way. Again, the core is the typical instrumental
guitar/bass/drums format but the music is much more complex, almost
like a mirror-distorted 1975 period King Crimson, with some vague
jazz inflections here and there. Furia’s cover shows a wooden
building being gutted by fire, a breathless, hypnotising
image, matched by the music’s intensity. The barbed splintering of
the louder pieces jars nicely with scintillating pieces like ‘Sol
Ist’ and the oneiric opener, ‘On Fahrenheit And Little Bit Celsius’.
On other tracks, the space is very evident, with tracks like ‘Roikkuu
Katosta’ demonstrating a restriction of approach in the absence of
which this disc would have been a draining listen. Kroko are a good
reminder of the kind of power that the most simple of instrument
set-ups can produce in the right hands. (BL)
Address: <mailto:verdura@worldmailer.com>verdura@worldmailer.com
EKKEHARD EHLERS – PLAYS CORNELIUS CARDEW (7″ by Bottrop Boy)
NOBUKAZU TAKEMURA – HIKING/VIKING (7″ by Bottrop Boy)
The fourth part in Ekkehard Ehlers sees him returning to a composer
again, this time the AMM founder, Scratch Orchestra member Cornelius
Cardew. From the ‘plays’ series so far, this seems most close to an
original by the composer, in this case ‘The Great Learning’.
Especially the b-side seems to be taken out of the original with a
slightly added reverb and a small dose of echo to it. In the a-side
harmonius drones fight with each other and small tinkle along.
In ‘Hiking’ plays around with the ideas of popmusic with a nice
uptempo song and a computer voice singing. Tempo goes even up for the
b-side, funnily called ‘Viking’, but the voice here is no longer
singing, but skipping forward in what sounds like a CD player. Nice
modern popmusic indeed. (FdW)
Address: <bottrop_boy@yahoo.com>
MICHEL BANABILA – SPHERICS (CD by Boudisque)
A new solo cd by Michel Banabila. Since his first solo album
‘Marilli’ from 1983 Banabila settled himself as a musician with a
clear mission. In general all his projects and all the groups he
participated in have everything to do with electronic ambient music
with or without influences of world music, with or without a groove.
‘Spherics’ is no exception to this. The cd contains seven tracks with
hypnotising rhytms and warm layers of ambient sounds and manipulated
voices. Not many explicit influences of world music this time. Three
other musicians are involved in this one: Piet Lichtveld (guitar),
Jorien Muste (Violin) and Bobby (cymbal-drone).
Most tracks are built up around a beat or repetitive structure that
gives the music a sense of direction. There is so many electronic
music around that moves from nowhere to nowhere and where it is
impossible to find any sense of ‘necessity’ in it.
Crackling and rustling sounds are always on the background as if you
are listening to a bad vinyl pressing of the record. This
(unintential?) debut to vinyl prevents the music from sounding very
clean. Clean and unpersonal his music never is. On the contrary, his
music sounds very organic. It is made with care. He has the capacity
of painting with the colors of sound without using to many of them.
Yes, I admit I have have always been a fan of his music.
>From this perspective I have to say that this cd did not contain
completely unexpected moves. It’s just another good album of mister
Banabila (DM).
Address: http://www.boudisque.com
STEVE RODEN – SCHINDLER HOUSE (CD by Mak Center)
Steve Roden is a busy man, who has many new releases. From the
various new ones I heard recentely I was especially attracted by this
one. It deals with recordings made at the Mak Center Schindler House
in Los Angeles, of course built by the architect R.M. Schindler.
Again, as with film, I have no idea what the architect Schindler was
about, but his house was from the 1920s to the 1950s a magnet for
avant-garde activities. One of the people who stayed there was John
Cage. I note this, because the CD ends with a ‘dry’ recording of the
environment of the house, Roden’s own interpretation of ‘4:33’,
Cage’s known silent piece. The other three pieces (although ‘4:33’
is hidden inside the third piece) are the sounds of an installation
held at the house and uses sounds from the house and the garden
(bamboo, fireplace, springs, flowerpots, voice, window panes,
airplane and wooden beam). These sounds are sampled, looped and
presented in long ambientesque pieces. Superficially there is not
much change going on, certainly if one is following Rodens
instruction to play this at a quiet volume, but played at a volume
were one is able to follow all that’s going, one is also able to
hear the smaller detail and the subtle changes. Music like this is an
environment by itself. The CD comes with a folder describing the
whole project, plus per piece a postcard describing each track and
how it was recorded and which ideas lie behind it. Even without being
a witness to the installation, one gets a beautiful documentation.
(FdW)
Address: www.inbetweennoise.com
ES – A LOVE CYCLE (CD by Fonal Records
KILLA – HEARTCORE (CD by Fonal Records)
I heard of Es before, by their more then good CD on Belgiums Kraak label, where he (I believe Es is a one man band) explored the boundaries of guitar and sampling. This new CD comes somewhat as a surprise, certainly if one expects more guitar doodlings. The five pieces here are made of vinyl surface noise and locking grooves from records. Kinda like Philip Jeck, I’d suppose. Even when this is not bad at all, in fact the 45 minutes are entertaining enough to leave it on, I wonder why release this on a CD, and not being on a CDR in a small edition for a few interested? I don’t understand DJ culture, I guess.
Operating on a more musical level are Killa, the band of which Es is also a member. They have nine tracks in almost 40 minutes, which are filled mostly minimal with repetative looped sounds of drums, guitars and vocals. The tempo is usually slow, the mood melancholical and the instruments range from noise (as in ‘Verbranntes Land’) to held-back and laid-back. The only thing that is not so my thing here are the vocals. I find it hard to like those nasal singers, but the lo-fi sounds of the band make up very well. (FdW)
Address: www.fonal.com