number 304
week 51


THE RIP-OFF ARTIST - PUMP (CD by Mille Plateaux)
TA/W (CDR compilation by KrKrKrK)
PETER WRIGHT - (CDR by Apolexy)
BIG BLACK - ETHNIC FUSION (CD by Mutablemusic)
KOPOTT - FAKUL (3"CDR by Avult)
GOEM - ABRI (CD by 12k)
KARATE TIMMENDORF - SELF TITLED 7" single (by Meeuw Muzak)
JAILHOUSE - CHRISTMAS DAY 7" single (by Meeuw Muzak)
TAAPET SOUNDS (CD by Fact Records)
DEGRADAZIONE DIGITALE (available for download)
COMAE - COMAE (CD by Rhiz)
SVSTRIATE - INFURS (CDR by Alienation)
CGC (CDR by Alienation)




When listening to noise music, I sometimes think about how musical
expressions during the last half a century has taken a giant step
towards sonic extremities. Imagine how young people in the 1960's
tried to convince their parents, that The Beatles actually did play
music and not just sounded like somebody, pulling a cat's tail. And
then imagine how these same parents would react if they were
confronted with some of present day's extreme noise. What in our
modern society attract us towards such extreme sonic expression...An
interesting but also a little frightening thought...! "Scenes from
the next millennium" from Navicon Torture Technologies is one of
these albums that lead me into these trains of thoughts, simply
because of its extreme expressional nature. Being a member of the
NYPE-group, Leech, the man behind Navicon Torture Technologies, is
one of the forefront artists from the New York Power
Electronics-scene. After quite a few CD-R's and tapes, "Scenes from
the next millennium" is the first full-length from NTT. The tracks of
the album are based on aggressive power electronics, with loads of
distorted feedback and mind-blowing walls of noise. Despite the
violent approach to electronic sound, Navicon Torture Technologies
also focus a lot on atmosphere in his work. An atmosphere first of
all built around samples of choir and a not tuned piano, just to name
a few. Also the appearances of dark ambient-drones make a great
emotional atmosphere on an otherwise dramatically harsh piece of work
that explodes in cathartic aggressions brought on by suppressed
demons and hellish sounds. Navicon Torture Technologies will without
any doubt appeal to listeners appreciating sonic expressions that
seriously approximate the outer limits of what today, could be termed
"music". Highly recommended! (NMP)
Address: http://www.malignantrecords.com/navicon

THE RIP-OFF ARTIST - PUMP (CD by Mille Plateaux)
The Rip-Off Artist is one of the names chosen by Matt Haines, who has
six previous albums. Haines worked for several years aboard an off
shore oil drilling platform and the loneliness and hard work (coupled
with sexual frustration) are reflected in this album, mostly in the
titles of the music i'd say. Pump offers no less then 69 tracks, or
rather index points. There are thirteen real tracks, divided in 69
start codes. Which makes it nice and easy to access as a DJ.
Musicwise The Rip-Off Artist uses techno and clicks & cuts to produce
his music. Strange rhythms, which off and on don't seem to running
fine (reflecting the malfunction of the pump, or the body), make this
into a much less ordinary techno release then one should expect. Nice
rhythm stuff and it wouldn't surprise me if there would be a remix CD
of this. There is enough loose bits in here to work from. (FdW)
Address: www.mille-plateaux.com

A long time ago I was in Texas. It was in May so the earth was
already heating up, but it was not ultra hot yet. One day we drove
out to the priarie and we overlooked vast lands of green gras.
Nothing in there. Was it spectecular? Well, not really. It was more a
moment of contemplation, like looking at a Newmann painting. These
are the feelings I get when playing no less then over two hours of
music by Stars Of The Lid. From all the bands that came about at the
same time that we called post rock/ambient guitars, Stars Of The Lid
is one of the better known and in terms of quality one of the best.
Spread out of two CD's here, you can hear those endless landscapes of
guitar sound, with additional cello's or violins. This music sucks
you entirely in (of course, needles to say, if you are open to the
experience of course), like an ocean of sound (that would be a great
title for a book), with small waves, huge washes, far away shores,
the fishes that swim by and occassional whale for some of the more
heavy weight sound that sometimes pop up. Stars Of The Lid are one of
the few bands that paint with sound which can be put under any movie
of Costeau, or the remote life of ants in the desert. I can hear some
people muddle that two discs is a too large portion, but with their
output being so small it's not really a problem I guess. Great as
Stars Of The Lid will be on tour in Europe in January, so that should
be something to look forward to. (FdW)
Address: Kranky - P.O.Box 578743 - Chicago, IL 60657 - USA

TA/W (CDR compilation by KrKrKrK)
Music from a land downunder, on two different CDR only labels.
KrKrKrK is the longest running underground label from Christchurch,
New Zealand. This compilation was recorded at their headquarters
(always a good word for either a closet or an abonned factory - who
knows) on the occassion of a CD release. Various labelmates showed up
and played a tune or two. Much of the enclosed music is in typical
down under-ground style, like Ed Wilson improvising on his guitar or
Drawing Room with a loop of rain sounds with added
percussion/cymbals. Polio, a solo project by Peter Wright, works with
'digital electronic trickery, by which I think is ment a laptop of
some kind. Feedback peep glitch peep. All in all nice lo-fi
improvised music.
David Kahn, who runs the KrKrKrK label, hooks since 1994 up with
Peter Wright, who is responsible for the Apolexy label. Together they
started the Leonard Nimoy band, an industrial band, but their latest
release is something of a different kind. The offer two lenghty but
different tracks. The first one is a textured pieces of metalic
sounds and drones. They slowly move forward and backward in a very
subtle way. Drones play an important role in the second piece too,
but here it deals with more overtones and is harsher of nature (still
not close to good old industrial noise however). Both tracks have
great care of detail. Very nice stuff.
The last disc is a solo one by Peter Wright, whose primary interest
here is in using guitar sounds. Mainly in using them as a vibrating
and resonating tool, to create a whole bunch of overtones. In every
track, and there are eight of them, he creates his very own style,
which are distinctely different with each track. Mostly of course
rather sub-dued but in the fourth track (called '5 minutes 25
seconds') Wright showes us a more nasty side of things. From these
three CDRs this one gets closest to the Corpus Hermeticum catalogue,
and it would only be right to see a CD of Wright in that catalogue,
then getting a small run of 50 on his own label. (FdW)
Address: <krkrkrkrk@hotmail.com>
Address: http://go.to/apolexy

Let me first say that this recording produced by Chadbourne himself
and Felix Klopotek deservered a better recording. But when I think
of other Chadbourne releases I must conclude that it probably meets
Chadbourne's standards.
Chadbourne played with many groups and musicians over the years
(Zorn, Rose, Shockabilly, Zu, etc.). He needs no further
introduction. He is also very much interested in spreading his music
around. His discography is very extensive, especially when we include
all his contributions to compilations and his private releases on
cassette and cdr. I you have him in concert, you probably know that
he was has numerous cassettes in his guitarbag for sale.
He established himself over the years as a guitar and banjo player in
the context of free and improvised music. His love as a american
musician for the roots in country music, blues, jazz and popmusic are
always near. Also it can be said that his music is often psychedelic,
whatever that may mean exactly. Most of his albums contain
interpretations or 'covers' of standards.
This is also the case with this one. A cd with Albert Ayler
compositions, with the exception of 'La Marseillaise' that undergoes
a very Jimi Hendrix like treatment here. I'm not completely sure, but
this may be the first album by Chadbourne that is more or less
completely dedicated to one musician/composer, namely Albert Ayler.
I'm not familiar with his music. He played a psychedelic kind off
free jazz.
Heros have their own heros as well. For Chadbourne Ayler is one of
them. "Ayler's music was always these strange little themes, most
importantly followed by complete freaking out. The more I listened to
ansd studied this little recipe for fun, the more I liked it."
Chadbourne discovered his music in the early seventies and was
fascinated by it since. He has always played some of his tunes. But
it was only untill 2000 that Chadbourne became the oppurtunity to do
a Ayler Project. He was asked for it by a music festival in Cologne.
With Joe Williamson (double bass) and Uli Jennessen (drums) he formed
a trio for this occasion.
Originally Chadbourne hoped for a bigger ensemble with many horns,
but the budget forced him to work out his plans with a trio.
Chadbourne plays electric and acustic guitars and banjo.
The music from the cd was recorded during rehearsals and the
festival. It is astonishing how tight they play (listen to 'Witches &
Devils'!). Later Chadbourne added some overdubs and two solo pieces
('La Marseillaise' and 'Ghosts').
The inevitable 'Ghosts' is known from earlier records as well (for
example on the 'LSDC&W ' double album). This tune is also recorded by
many other artist like thast other guitarfreak Henry Kaiser who
recorded it with his Crazy Backwards Alphabet.
The cd comes with extensive liner notes by Chadbourne himself. Also
there is a quote in the booklet that explains that is no coincidence
that the ghosts of Hendrix and Ayler are combined here. "(Ayler's)
influence will eventually parallel that of Jimi Hendrix in the coming
together of all music, which is ahead of us" predicts Ralph Gleason
in 1975. Just give this cd a listening in or order to judge whether
this cd is evidence of this (DM).
Address: www.churchofgrob.com

BIG BLACK - ETHNIC FUSION (CD by Mutablemusic)
Mutablemusic already rereleased several 1750 Arch Recordings. Here is
another one. 'Ethnic Fusion' was originally released in 1982. The
title covers the content. It is a very unusual fusion of classical
guitar played by Anthony Wheaton and percussion (bongos and tumbas)
by Big Black: an African-classical sound-fusion. The interplay
between both musicians is excellent and very enjoyable.
African-Caribbean beats combine very nice with the phrases played by
Wheaton. It really works.
"Big Black is one of the first musicians to replicaste bebop rhythms
on hand drums. he is considered a master of his art". He grew up in
Georgia and played in salsa and calypso bands in the 50's. In the
60's he moved to New York and the entered the jazz (bebop) scene and
became an actor. He played with Pharaoh Sanders, Freddie Hubbard, Sun
Ra, a.o.
I have no information about Anthony Wheaton.
At first hearing I had to think of Moondog. He composed traditional
western classical music that was often accompanied by percussion. But
further comparison makes absolutely no sense.
'Ethnic Fusion' really offers some timeless (classical?) music. It
absolutely does not sound outdated. So I hope Mutablemusic dives up
more pearls from the 1750 Arch catalogue.
Buckner and Hamilton offer on their new cd an one hour improvisaton.
"Although this music is continuous, some later start points are
furnished", so that you can step in later, concentrate on some parts
that you like more or play the random function.
Buckner and Hamilton work together since the early 90s. Two cds
released on O.O.Disc are examples for their earlier cooperations:
'Act Of Finding' a free_improvisation quartet and 'Off Hour Wait
State' a composition by Tom Hamilton.
Thomas Buckner has a long career as a baritone singer of new music.
But also as a producer and promotor of new music, running 1750 Arch
Records and now Mutablemusic
The main focus of Buckner's career has always been performing. On
this new cd a performance is captured that took place on december 1,
2000 in New York. Vocals are by Buckner. Eelctronics and vocal
processing by Hamilton. It is a very fresh and interesting journey.
Vocals and electronics make up a one whole. "For this piece Tom
Hamilton and I deciced to carry indepence as far as we can. Each part
is developed indepently, and the goal is not to modify our
independent ideas in the act of putting them together. The 'wild
card' in this practice is the live electronic processing of the
voice, for which Tom has developed a system that guarantees
unpredictability while integrating the voice into the electronic
soundscape. The result is an organic whole with independent but
integrally connected parts."
Buckner adds that at the beginning of his career he intended to make
improvised music sound like composed music. Nowadays, as with this
cd, he wants the improvised music sound as unpredictable as possible.
In my ears this is absolutely not the case with this performance. It
is a kind a work that could be composed of improvised. In my ears it
would make no difference. Also I have my doubts on the possibility of
music sounding absolutely unpredictable. I think that predictability
is always a constitutive element of whatever musical experience. But
this is a thought that I just improvise here, so take it for what it
is worth (DM).
Address: www.mutablemusic.com/

KOPOTT - FAKUL (3"CDR by Avult)
Kopott presents three pieces on this small charming cdr. Not much
information on the cover other than the artist and titles, and those
are in Hungarian. The cover itself is brown wrapping paper with the
edges burned, folded apart to reveal the name of the cdr. The music
has a similar-brown sound quality, noises stripped of any color.
Occasionally a short musical
phrase peeks through the glowing sonic embers. Scratchy loops with a
static texture with what sounds like slowed down LPs of keyboards and
drums, mimicking a dark boiler room in a building from 100 years ago.
At times the disk reminds me of Fausts studio experiments with
concrete sounds. Short yet it leaves you feeling satisfied.
Lofi machine like loops make up most of this release by Vertex from
Hungry. Fuzzy and crackling sounds build and spin with occasional
interruptions by a wayward sound. The last track deviates from the
grey noise sound palette. Multiple loops of what resembles
a pipe organ swirl and compete with one another reaching its apex.
Definitely my favorite track of the lot, I hope further work by
Vertex expands on this sound.
Think of Keith Rowe and Frith/Cutler live and you have a good idea
what the music of S.K.Y. is about. Kovacs Zsolt and Sores Zsolt play
table top guitars, viola & violin, radio, and various objects in this
live performance recorded at the Festival International DÌArt Vivant,
in Lyon France in spring of this year. The disk starts off slowly
with a long intro of faint radio sounds and increases in volume and
dynamics as other instruments are employed. While both musicians work
to achieve an overall texture of sound there is constant interplay
between them, and they show alot of restraint and deft. They are
unhurried and the music builds at its own pace. Even at under 30
minutes the release manages to be very fulfilling. Another fine
release from Avult, a label that shows great promise. (JS)
Address: <r.r.habarc@matavnet.hu>

GOEM - ABRI (CD by 12k)
Imagine a pile of kids building blocks. You take one block and place
it on top of another and repeat until you have no blocks left. The
tower of blocks seems like it may topple over, but it remains steady.
Slowly you take away the blocks one by one. Goem's music works in the
same manner. Sounds are layered vertically in relentless pulses. This
music doesn't move through time, it reinforces it. The vertical
nature of GoemÌs music is what makes it so appealing.
Listen to this at a loud volume and you'll find yourself tapping your
foot and eventually jumping up and down. Great stuff. (JS)
Address: www.12k.com

KARATE TIMMENDORF - SELF TITLED 7" single (by Meeuw Muzak)
Wow, this rocks. When I put this single on I had no idea of what to
expect. A sweet surprise indeed! I have no previous recordings from
this group or it's members, all I know it is recorded in Hamburg.
Well who cares, it doesn't matter where it comes from if it has raw
energy like this. It quite reminds me of early demo stuff by Soft
Cell, although this is not as melodic. And some DAF material comes to
mind too. Very energetic vocals on top of drums and some weird synth
stuff. My guess is that this is best heard (and seen) live. This is
pure pleasure folks, take it from me. (HB)

JAILHOUSE - CHRISTMAS DAY 7" single (by Meeuw Muzak)
My god what have we here. A very mysterious christmas record which
covers Brian Wilson's "christmas day"...? Hmm strange to say the
least. Well this is not 'exactly' in tune which is actually the
beauty of it, like a student in his first keyboard lesson going wild
beyond just trying to force out a solo. Plus the vocals are like some
guy who is alone on christmas day and rented himself a karaoke
machine to keep himself company along with his bottles of the
strongest christmas ale to be found. Could be a good scene in an Aki
Kaurismaki film. Maybe. And side two is the instrumental version
(ofcourse). This is a bit different from the bands previous output on
Meeuw Muzak, but it does the trick and got my christmas spirit up, I
mean christmas is a strange phenomenon anyway... now better get out
and buy some winter beers.(HB)

TAAPET SOUNDS (CD by Fact Records)
A while ago I received some CD's from Fact Records from Israel, but
there wasn't anything worthwhile to report back then, so a little
heldback I was when I got this new one. But this is actually a
different kind of thing. Whereas the others were more an amateurish
version of techno, this new one dives deep in the world of glitch,
microwaves and ambient. Most of this stuff was recorded live, with
just some alterations in the last track. Taapet Sounds dwell on
synths I think more then on laptops. There is a certain warmth
covering the disc, with all these analogue crackles, micro rhythms
and bleeps. This is very much a work that should best be enjoyed
played in one go. Topped off with a nice digipack this will surely
finds its way into the rest of the world. (FdW)
Address: www.factrecords.co.il

DEGRADAZIONE DIGITALE (available for download)
An interesting project which is just available for downloading for
the period of exactely one year. After that the music will be removed
and apperentely there will be no CD release afterwards. David Sani of
Microsuoni has collected fourteen of the more interesting people in
the field of digital music to give their comment on degrading digital
music. Each track on the website has an extensive comment by the
artist. Musicwise it goes from heavily digital distortion from Atip
(that's Pita for you) or Massimo to extreme silence of Roel Meelkop
to the more rhythmic excursions of Goem, Holzkopf and Lucidril. In
between are the more regular (euhhh?) laptop cracks of people like
Andreas Berthling, Pimmon, Jake Mandell, Heimir Bjorgulfsson and
Taylor Deupree and the very nice piece by Stephan Mathieu. This
collection shows not just the liveliness of music produced by digital
means, but also the many areas it covers in a more then excellent
way. I am sure it will take some download time, but it's worth the
telephone bill. And it's a pity that there won't be a CD... (FdW)
Address: http://www.microsuoni.com/degradazione.html

This is the third and final release that Andres Krause does under the
monnike A.F.R.I. Studios. Krause used to run the BMB Lab label and
recentely started a new label, Softl Music (see Vital Weekly 289). I
haven't heard the previous releases as A.F.R.I. Studios, but even
when this is only exactely 30 minutes long (three tracks, third
release, see the significance) this has some beautiful drone music.
Each track develops from one tone, maybe an e-bow, maybe samples, to
a beautiful, even majestic feel with many layers that are far beneath
the surface. Ambient music of a more radical nature. An austere sound
tapestry. Meditative music in which time falls away. Very nice,
albeit way to short (here is where time puts you back on earth, I
guess). Why not three CD's of three hours? The significance of the
number three would still be apparent... Should find out his other
releases too. Released by Alejandro and Aeron's Lucky Kitchen label
in the Sparkling Composers Series in a handsome envelop. (FdW)
Address: www.luckykitchen.com

COMAE - COMAE (CD by Rhiz)
One of the highlights of the Earational festival held in
's-Hertogenbosch in October was the concert by Comae. Two persons on
stage with a bunch of equipment (no laptop as far I could see), who
produced an hour long of electro-acoustic music, fed through all
sound effect boxes and played a mild volume. Fine tapestries of drone
sounds, crackles and occassional recognizable environment sound. That
seem week their first CD was released. Comae is Robert Hampson
(mostly known as Main, who gradually abonned guitar sounds in favor
of more electro-acoustic and concrete sounds) and Janek Schaeffer
(user of the tri-phonic turntable and architect). Upon playing this
CD the good memory of the concert comes back to me. Densely layered
environment sounds, treated by electronic means create an interesting
and evocative music. More ambient then usual with electro-acoustic
music, but also more serious then most ambient music, Comae delivers
a very fine disc. The only problem I see is the extensive use of
reverb. At times that sort of destroys it for me. I don't know why
but it seems like they overdo things a bit here and there. Personally
I like things maybe more clearer. Otherwise a fine disc. (FdW)
Address: www.rhiz.org

After Clicks & Cuts and Clickhouse, Mille Plateaux now offers
Clickhop in their Electric Ladyland series. Now what is that all
about? Just like Clicks & Cuts and Clickhouse, Clickhop is a
self-invented term to toy around with. Borrowing ideas from techno,
hip hop and more abstract forms of electronic music, the people on
this CD play trip-hop/hip hop like music but in a rhythmical setting
that could also be microwave like, with its crackles and hisses. I
think it's all a bit overdone, unless I missed the cynical point in
here. It's not a bad collection with people that could already be
found on previous clickhouse and clicks & cuts compilations, such as
Auch, Alva Noto, Frank Bretschneider and Squaremeter, who all seem to
have adjusted their sound a little bit to the clickhop standards,
whatever they are. So we get a collection of 28 tracks with cracks in
sometimes a dub bath, samples of vocals and raps, and deep basses.
There are various pieces with vocals and raps in there, and actually
they are most funny, like the rap in the track by High Priest Of The
Antipop Consortium and the Bjork like vocals by Mai3. But most of the
tracks just don't stand out very much and pass by with noting too
much. It's not necessarily bad music here, but it seems at least to
me, that some people did a hasty job of finding a spare track in
their archives, which could be suitable for this release. At it's
best enjoyable music that doesn't get stuck in the head. (FdW)
Address: www.mille-plateaux.com

Kim Cascone, a man with a long standing history in music (Silent
Records, PGR, Heavenly Music Corporation, solo stuff) and slowly
developed as one of the spokesman/theorists of new electronic music
via articles and the microsound mailing list. On his own label he
just released this square mini CD, with a length of 20 minutes in
just one piece of music. He explores the boundaries of MAX/MSP
software which is a kinda of software samplers allowing you have
various loops running at the same and of which can alter a lot of
things (length, shape etc.). Cascone used this software on his
European tour last fall. 'Dust Theories 2 - Alchemical Residue' is a
very dense piece of various layers that seem to be all closely
related, with small and even smaller events happening. It's not hard
to see the developments from Cascone from PGR to Heavenly Music
Corporation to this solo work. It all deals with ambient like music,
but the sources have changed. From guitars to synth to software...
considering this, maybe a logical series of steps. I don't think that
by releasing this small new work, the end of his development has been
reached, and that something bigger still has to come. However as an
apetizer it tastes well. (FdW)
Address: www.anechoicmedia.com

SVSTRIATE - INFURS (CDR by Alienation)
CGC (CDR by Alienation)
Alienation is a Japanese CDR only label, run by the very same guy who
releases music as Third Organ. His releases are all in small jewel
cases with a full colour xerox. The quickest definition for his
release policy is 'noise', but that doesn't entirely justify it. For
instance Japussy 2001, an artist I never heard of, offers one piece
of music on his release that lasts for 30 minutes. Despite some
harsher bits, Japussy 2001 is unmistakenly inspired by the laptop
movement, as his sounds are clear and the noise shows more depth in
the bass end (a feature that usual is not present on feedback
releases). Japussy uses speeded up sounds, fucked rhythms, spoken
word samples and collages this into one large mix. Nice parts are in
there, but also boring ones. A not yet entirely satisfying release.
Also unknown to me was Svstriate, the name used by Andrew Campbell,
from Oakland, California. He kinda like does the same as Japussy, but
instead of doing one long track, he cuts them up in twelve tracks,
which all same to feature one idea which is executed to the limit.
He's also into rhtythm & noise through the use of computers. A
monochrome execution of sounds is the result. Maybe at times too
minimal, but I can imagine that for some DJs this is excellent stuff
to work with, especially the non rhythm pieces, which have nice
computerized drones.
Jon Panther, is the man behind Audiotopsy, and also somebody I never
heard of. From the releases on Alienation, this one gets closest to
techno, even when it's only in a state of deterioration. Taking
sounds from techno records, but feeding them through all those nice
things your computer has, makes this into a naive piss take on the
genre. Even when this has it's moments, it's too much in a premature
state to serve with a release (well, maybe I mean, another release
then a CDR), but who may be able to develop into something that is
more of his own.
At the total opposite of this we find CGC, which is a project
connected to Bar from Chicago. He/she operates in a total sound
extreme, with 46 tracks spanning just over twenty minutes. Up to
track 19 total noise, and then the rest fragmented pieces of noise,
with glidings over the spectrum. I guess more the lover of the genre
and that didn't include me this time. (FdW)
Address: www.ops.dti.ne.jp/~thirdorg/