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VITAL WEEKLY
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number 323
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week 20
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DIS INFERNO (CDR by KrKrKrK)
TETSU INOUE & STEPHEN VITIELLO WITH ANDREW DEUTSCH - HUMMING
BIRD FEEDER
VER.O.2 (CD by Lucky Kitchen)
WILLIAM KLEINSASSER - AVAILABLE INSTRUMENTS (CD by C74)
MURMER - .MURMER (CD-R by Bake Records)
BRUME & TBC - HOUSE UNWILLITLY (LP by Wachsender Prozess)
MASSIMO - MORT AUX VACHES (CD by Staalplaat)
GREG HEADLEY - SIMILIS (CDR by 28 Angles)
THE EVOLUTION GARDEN - THE REHEARSAL SERIES 200302 (CDR)
PABLO RECHE/AUDIODELICA - MUSICA DE TORMENTAS (CDR)
ZANSTONES - STASIS UNDERMIND (Cassette/CDR)
JONAS LINDGREN - THE TENDER BOUGHS OF INNOCENCE BURN FIRST (EP
MP3 + PDF)
MAGALI BABIN - CHEMIN DE FER (CD by No Type)
CHARLES ATLAS - FELT COVER (CD by Static Caravan)
ALPHONSE DE MONTFROYD/NIHIL EST EXCELLENCE - DEFECT ANALYSTS (3"CDR
by
Nexsound)
ORIGAMI ARKTIKA - FANTOMLUST (CD by Ignis Projekt)
EVSC 1:01 (CD compilation by Expanding Records)
LIONEL MARCHETTI - SIRRUS (CD by Auscultare)
O/R - VARIED (CD by 12K)
JANEK SCHAEFER - PULLED UNDER (CD by AudiOh)
HIGH TONES FOR THE WINTER FASHION (CD by Textile)
JAN JELINEK - ICE COMPOSITIONS (12" by En/Of)
ALEJANDRA AND AERON - SCOTCH MONSTERS (LP by En/Of)
TV POW - AMERICA SAYS FAREWELL (LP by En/Of)
INFANTRY (CD by Sub Rosa0
WIPEOUT - ATHEMS FOR THE UNDERACHIEVERS (CD by Angelika Koehlermann)
WILT - WHITE CHRYSALIS IN BLUE (CDR by Mystery Sea)
DIS INFERNO (CDR by KrKrKrK)
Dis Inferno features labelboss David Khan, Justine Sharp and Peter
Wright.
Together they play a wide variety of instruments and offer you
four soundtracks
to Gustave Dore's drawings to Dante's Inferno. Lenghty pieces
- hell is endless
of course - of the more droney character. However the differences
between these
four are big. The opening piece 'The Gates Of Hell' is a shimmering
ambience
piece of sounds carefully colliding and which is a total opposite
of the piece
'Burning Graves', which seem to take it's title literal: a wall
of sound with
tons of reverbed metal. Water like sounds open 'Cocytus' and the
ambient is
again a dark cloud and comes in it's horror close to some Legion.
The last
piece has a female voice, and is almost a dark age of new age.
Very nice stuff
here, that harks back to the aforementioned Legion and some of
the old Maeror
Tri. (FdW)
Address: 227 Worchester Street - Christchurch - New Zealand
TETSU INOUE & STEPHEN VITIELLO WITH
ANDREW DEUTSCH - HUMMING BIRD FEEDER
VER.O.2 (CD by Lucky Kitchen)
As far as I understand, the basic piece of this CD is at the end
of the CD.
It's a stereo mix of an installation by Stephen Vitiello at Diapason
Gallery in
NYC, which is presented in various remixes here by Andrew Deutsch
and Tetsu
Inoue, plus (if I got it right) a new piece by the latter. All
of these people
use extensively computers to work on music. Incorporating environmental
sounds
in an otherwise very digital sounding domain is what they do best.
The CD opens
with Tetsu remix and solo piece and these are very much in the
digital domain
and also they have a nervous, hectic rhythm over them. In Tetsu's
work with
Stephen, it's all getting a bit more laidback in a rather short
piece. The
Andrew Deutsch remix is also a more ambient affair, but only in
Stephen's
piece, I think, there is balance between concrete sound, environment
sound and
computer processing. Intelligent glitch music, if the term existed.
(FdW)
Address: www.luckykitchen.com
WILLIAM KLEINSASSER - AVAILABLE INSTRUMENTS
(CD by C74)
William Kleinsasser is a composer who scores for orchestras etc
and also works
inside computer music. The two pieces on this CD make use of both
at the same
time. The title piece is for solo piano, which start out as piano
music but
over the next 14 minutes slowly transforms into a computer treated
piece. The
piano as such is recognizable throughout however. A nice piece,
that, despite
the computer treatments, has a very classical feel to it.
The second piece is 'Double Concerto' and here an ensemble plays
a piece of
music, alongside with prerecorded and processed sounds. This is
an even more
classical piece, as I had a hard time finding out where the processings
would
be in this recording, because whatever it is that Kleinsasser
did to them, I
couldn't hear them very well. It sounded like a very traditional
classical
ensemble piece that in itself was nice to hear. I am still unclear
wether it's
a good thing that we didn't get to hear the processings or the
computer part or
that it is something to regret. But a nice CD anyway. (FdW)
Address: www.cycling74.com/c74
MURMER - .MURMER (CD-R by Bake Records)
With a minimum of sound sources, such as fans, modems, heaters
and air flows,
Murmer creates long, flowing ambient tracks. The atmosphere is
pretty desolate,
but not in an uncomfortable way: the sounds are warm and sort
of close, with
only a few exceptions. There is no hurry getting through the tracks,
they take
their time and that's okay. It reinforces the dreamy nature of
the work.
However, this is not background music. All tracks are built up
with subtlety
and use the minimal material to its fullest extent. A very nice
album indeed.
(MR)
Adress: www.staalplaat.com
BRUME & TBC - HOUSE UNWILLITLY (LP by
Wachsender Prozess)
With sound recordings, provided by label boss Thomas Beck, Brume
toyed around
in his studio, the result of which is this LP with five tracks.
It might be
unnecessary to say that this is typical Brume music: an abundance
of
environmental sounds, combined with all those weird sounds that
only Brume
seems to be able to create. On this LP there seems to be more
emphasis on
self-made sounds (with instruments) than other recent releases.
The first track starts off quite abstract, with cuts of field
recordings and
other unidentifiable sounds, but then features a synth and a drum
machine and
ends with dark voice sounds. The second track is almost like a
bad dream, with
dark drones, glass shattering and several voices coming in and
out. And the
piece gets even denser towards the end. The third track begins
with a synth
sequence, that is a little disappointing, but then turns into
an almost
completely acoustic piece. The next track is mostly based on wind
instruments
it seems, with some percussion added. The last track is done mostly
with a
piano and voice and therefore my least favourite one. (MR)
Adress: thomas@fsk-hh.org
MASSIMO - MORT AUX VACHES (CD by Staalplaat)
The Mort Aux Vaches CD series are recordings that are specially
commissioned
for Dutch radio. These recordings are being released by Staalplaat.
The history
of the Mort Aux Vaches series starts in 1995 with the split Mort
Aux Vaches
release of Deutsch Nepal and In Slaughter Natives. Absolute high-lights
of the
series are the ones from Ryoji Ikeda (in a beautiful designed
plastic cover),
Zoviet France, and the second one of Illusion Of Safety that was
housed in red
silk-screened sandpaper. The packaging of this series has become
a long line of
exceptional covers. This Mort Aux Vaches by Massimo is no exception
to that
rule; the title is cut out with a laser and you can still see
the burned sides
of the paper.
The CD contains one track of 37'48" minutes called "Free
shower at Esther" but
it is divided into 11 parts with each there own id-code. Every
part is
repetitive trance inducing digital noise music, structured electronic
"techno-noise". The recordings are put very loud to
CD, but they never sound
distorted. He is using excellent sounds to create a dynamic whole
that is
leaving the listener somewhat astonished at times. The good thing
is that you
can hear he is enjoying making music. (RM)
Addresses: www.staalplaat.com and http://mysite.ciaoweb.it/massimo.org/
GREG HEADLEY - SIMILIS (CDR by 28 Angles)
Greg Headley's third release (after one on Bake Records and one
on 28 Angles)
sees him moving away from the guitar and getting more into electronic
composition. This adds an austere element to his music. He works
extensively
with drone like sounds, which are either based on deep test tones
or high
pitched frequencies. This brings his work more in the direction
of Sachiko M,
which has similar austere sounds, even when Headley is more open
with it, and
adds alienated sounds into the mix. Everything slowly evolves
around a few
sounds, mostly a few more then the Sachiko M really, and is cleverly
put
together. Besides M, think of Bernard Gunther or Roel Meelkop.
Deep, organic
music, rumbling out of the cones. (FdW)
Address: www.gregheadley.com
THE EVOLUTION GARDEN - THE REHEARSAL SERIES
200302 (CDR)
>From the southern parts of The Netherlands hail The Evolution
Garden, whom we
reviewed before. They decided to release a bunch of CDRs which
display their
working process. It's work from the stages of rehearsals and working
on new
compositions. Usually The Evolution Garden explore the depths
of ambience, but
here the opt for a more experimental sound. The six untitled pieces
are
ambient, but played on a variety of instruments, such as guitars,
bass, flutes
and percussion. All drowned in a bath of reverb and echo. Primitive
prototype
ambience with a sketchy nature. Nice stuff from the working process.
(FdW)
Address: <sounddesigner@zonnet.nl>
PABLO RECHE/AUDIODELICA - MUSICA DE TORMENTAS
(CDR)
Pablo Reche and Audiodelica from Argentina collaborate on this
release of over
30 minutes of dark organic electronics. The main sound sources
are synths and
other electronic devices but the music has a warm feel-you can
sense the blood
pulsing through its vessels. Subdued rhythm loops spin underneath
a layer of
heavy drones, like a creature of some form slowly being reanimated
after
several light years of cosmic travel, or sitting on an asteroid
as it gets
sucked into a black hole. No, its not ambient space music, since
the tone is
much darker. But the music never succumbs to a sense of total
bleekness, it is
always active and bubbling, and things move rather quickly, going
through 8
pieces on this mini album. Which is a good thing since it holds
your attention
for the entire time allowing you to fully explore the sonic textures
presented.
Think of a condensed MB using today's technology but without the
pessimistic
packaging as a starting point. Recommended. (JS)
Address: pabreche@hotmail.com
ZANSTONES - STASIS UNDERMIND (Cassette/CDR)
Zanstones is one of many projects of Zan Hoffman, an audio legend
in his own
right. Working undeterred since 1983, the man has over 750 releases
under his
belt. With that many releases and many different projects Zan
has given himself
ample room to explore all sorts of audio territories and at his
own pace,
ignoring current musical fashions. "Stasis Undermined"
is the 104 Zanstones
album and a pleasant one. Zan reads selections from letters from
the Dutch
author Rinus Van Alebeek. The instrumentation is string instruments
of an
undefinable nature, mainly bowed and plucked, with an asian folk
music feel,
augmented by percussion and some tape manipulations. The material
is arranged
without a logical flow-things start suddenly, end suddenly, as
if the piece was
recorded then spliced together at random. But never do you get
a sense of
haphazardness-this is an audio collage assembled with great skill.
What comes
across is more of a sense of time standing still or being ignored.
The texts
never interfere with the music nor are they the focus, often they
blend in with
the music. The snippets of text that we do hear are descriptions
of Rinus'
travels throughout Europe and Africa and the people he encounters.
Zan's
delivery and mixing of the text fully conveys the impressionistic
nature of
their meaning-word becomes sound becomes image. This 30-minute
composition
falls somewhere between Harry Partch's "The Letter"
and Cage's "Indeterminancy"
without being derivatitive. An enjoyable sonic journey that never
ends. (JS)
Address: www.zids.net
JONAS LINDGREN - THE TENDER BOUGHS OF INNOCENCE
BURN FIRST (EP MP3 + PDF)
This is latest composition from Swedish electronic musician Jonas
Lingren. This
16-minute work is available for free download from the site listed
below along
with a pdf of the artwork so you can make your own cd copy, complete
with
cover. This is recommended as the music is very quiet for most
of its duration,
and it would be best appreciated played on a stereo rather than
headphones or
computer speakers. The sound sources used are recordings made
in ventilation
shafts, contact mic recordings made around his apartment and
a nord modular.
This could be described as a microsound composition. The volume
is very low
throughout the piece. It starts out with faint scratching sounds
and a very low
drone. Sort of like laying in the sand at the beach with sandcrabs
crawling
around your ears. The work moves slowly and the drone starts to
reveal an
almost melodic nature. Played at a normal volume this melody would
go
unnoticed. Perhaps it is something meant to be felt and not heard?
Either way
playing the piece at a loud volume or low volume results in almost
two
different compositions. Two for the price of one and free for
the downloading
makes a winner in my book. (JS)
Address: http://www.nullvoid.net/fukkgod
MAGALI BABIN - CHEMIN DE FER (CD by No Type)
Nipping at the heels of the gripping and fugue-state-inducing
eclecticism of
the first No Type compilation, The Freest of Radicals, comes this
incredible
debut CD release from Montreal sound artist Magali Babin. Born
in 1967, Babin
combines linear yet sculptural metal-based sound pieces with a
true flair for
dynamism, abstraction and otherworldliness. Although Chemin de
fer is the
first appearance of material of this nature by her, she has apparently
worked
with soundscapes featuring the recording of metals for more than
a decade now
and, possibly as a result of this time-served honing of her skills,
her utter
control of the proceedings here is totally compelling. The constructions
on
this album were originally recorded for a radio show in Canada
but shelved
prematurely and, it would seem perhaps, unfairly. I have to admit
I expected
some element of coldness and isolation from this disc;
but warmth, confusion, playfulness and apprehension all combine
in Chemin de
fer's 50 minute journey and prove me wrong. At times, as on the
opening
'triturations' and on 'E', the musical palette is of some vast,
partly
steam-driven and partly clockwork organism, respiring and shuffling
at the
limits of exhaustion; elsewhere, the album title is interpreted
near-literally,
as with the seemingly endless electrified rolling stock effect
of
'l'entonnoir'. These are impressive, intimate soundworks that
cross the
boundaries of acousmatic music, free improvisation, the pure sound
of the
gamelan, and early electronic composition methods, and yet retain
a
recognisable fingerprint that appears to be Babin's alone. Let's
hope another
decade is not allowed to elapse without more from this unique
talent. (BL)
Address: www.notype.com
CHARLES ATLAS - FELT COVER (CD by Static
Caravan)
Charles Atlas is not one person, but a trio: Charles Wyatt (formerly
of Piano
Magic), Matt Greenberg and Alexander Kort (a former student of
Tony Conrad,
playing cello); they hail from San Francisco. This is their debut
CD (also the
debut CD for Static Caravan). Charles Atlas are a strange crossover
of many
styles: from popmusic to drone and noise, but always with a clear
love of a
desperate poppy tune. Most of the ten instrumental pieces are
melancholical in
tone, with keyboards, guitars and cello playing sad tunes. They
know how to
create a somewhat desolate atmosphere and some of this stuff has
cinema like
qualities. What else is there to say? Simplicity rules. Great
CD. (FdW)
Address: www.staticcaravan.com
ALPHONSE DE MONTFROYD/NIHIL EST EXCELLENCE
- DEFECT ANALYSTS (3"CDR by
Nexsound)
Another split 3" featuring Nihil Est Excellence (see also
Vital Weekly 310),
this time featuring also works by Alphonse De Montfroyd. This
is the nom de
plume of Alexy Pilipenko from the Ukraine, who was before in a
band with the
same name, whom I never heard but who sound gothic from the descriptions.
He
offers three tracks. The first is a violin loop that is hummed
away in drones.
The sound sources for the "Le Dialogue Digital' is not be
defined, but is a
dark howl, fed through or by some sound effects. Lighter tone
and shorter in
length, but with the same source unknown is the third piece. Nihil
est
Excellence is Andrey Kiritchencko (also from the Ukraine), and
he has one piece
of laptop crackles and feedback. Apperentely he takes his sources
from concrete
sounds, recorded with a microphone, but he knows well how to hide
his sources.
A sturdy piece that fits with the best from the west. (FdW)
Address: <admin@nexsound.org>
ORIGAMI ARKTIKA - FANTOMLUST (CD by Ignis
Projekt)
A live recording from september 2000, featuring of course Origami's
main man
Tore H. Boe, aswell as four members. The music consists of drums,
voices,
flutes, zithers, bells, violins and has an overall mystic atmosphere.
The
vocals chant like a folk song, but the added reverb makes them
more into a
gothic affair. Despite the addition of environmental sounds and
an occassional
outburst of noise here and there, I found this too much in etheral
areas then
is good for me. It was recorded at St. John's church in Gdansk,
so maybe that
helped setting the atmosphere. Nice for the black and bleak, albeit
not really
for me. (FdW)
Address: www.ignisprojekt.com
EVSC 1:01 (CD compilation by Expanding Records)
Missing out on a series of eleven 7", which were released
in an edition of 400
copies each, is of course a bad thing. But luckily for those who
were lucky,
this CD is not a compilation of said 7"s. They have the same
artists, but each
does a new piece. In general the artists featured on this CD (and
thus in the
series) are makers of technoid popmusic, and probably therefore
great people to
put on a 7". Soft synths, melancholic strings and a nice
rhythm that hammers
its way. Much a like the Morr Music label, with quirky melodies
and sadness.
Includes at least for me a bunch of new names, like Abfahrt Hinwil,
Stendec,
Vessel, Antoni Frankowski, Zorn, David Mooney and Volume, next
to Benge (aka
Ben D Edwards, founder of Expanding Records) and Tennis (who get
a very nice
psychedelic Jan Jelinek remix). Very nice, laidback music.
The only thing that put me off is the cover, which looked too
much like a Bip
Hop rip off. But that's a minor problem of course.
Address: www.expandingrecords.com
LIONEL MARCHETTI - SIRRUS (CD by Auscultare)
Lionel Marchetti marches on. Either in his improvisational work
with Jerome
Noetinger and others or by his solo works. Sirrus is his latest
release, but it
was recorded in 1989 at the age of 22. His more recent works deal
with
environmental sounds, which are put together in an audio collage,
but the three
pieces here are much more electronic in nature. No doubt the sound
input is
from natural sounds, because of the strong interest Lionel has
(had) in
recording outdoors sounds and the texts that go along here with
references to
the world surrounding. As said a much more electronic sound, of
oscillators and
synths being triggered by sounds, and only occassionally they
arise out of the
mix. Sometimes chillingly cold sounds, but sometimes warm, Marchetti's
work are
process pieces. Sounds swirl in and out and move elegantly to
the next.
Although this work is that of a young man, with some sense of
naivity, this is
a fine work of gliding notes and tones. (FdW)
Address: <auscultare@aol.com>
O/R - VARIED (CD by 12K)
This is the second installment of their collaboration: america's
Richard
Chartier and *0, aka Nosei Sakata. They are both, each in their
own way,
radical composers. Chartier's work is usually very low in volume
and long in
duration, Nosei is usually loud and rhythmic. Together they offer
eight tracks,
which is the best of both their worlds. From low end drones, to
high pitched
beeps and the looped samples of concrete sounds (like the musicbox
in
'Varied_06:48'), it's not easy to access music. The dynamics are
great, from
the soft to loud, and the ideas per track minimal, but with enough
action to
keep you alert. A release that works best, I think, when played
so loud that
the softest volume is heard. The smallest details are revealed
in there, and
the tiny movements become apperent. The more rhythmic pieces,
like the first
and the fifth, hark back to the best of Pan Sonic or Goem, with
a continous
rhythm being played and the processing that takes place on top.
One could
easily conclude that this is indeed a varied CD of various approaches
of
microsound. (FdW)
Address: www.12k.com
JANEK SCHAEFER - PULLED UNDER (CD by AudiOh)
Janek Schaefer may not be an unknown name. As a turntablist he
is responsible
for the record player with three arms, but he is also active in
sound
composition, either solo or with Robert Hampson of Main fame in
Comea. This new
CD is the follow up to his debut studio CD 'Above Buildings'
(see Vital Weekly
244) and consists of work recorded live, vinyl manipulations and
field
recordings. The overall atmosphere of all eight sound pieces is
dark, mainly
due to the heavy use of sound effects (reverb, delay and filtering).
Things
mostly rumble here, with the occassional crackle. Occassionally
sounds pop up,
in the form of alienated orchestra or a drenched loop of source
unknown. An
unlikely reference of Janek's work is that Asmus Tietchens. The
denseness of
the material, the sound treatments and the overall dark atmosphere
make this
up. And to be compared with Asmus is not a bad thing at all. This
is an
excellent work. (FdW)
Address: www.audiOh.com
HIGH TONES FOR THE WINTER FASHION (CD by
Textile)
A CD that is loaded with cross workings between various improvisers
from France
and Japan, Otomo Yoshihide and Otani Yasuhiro represent the land
of the rising
noise and Xavier Charles and Alma Fury (being Claude Besnard and
Vonick
Moccoli) France. The main piece here is formed by a live improvisation
by Alma
Fury and the two Japanese gentleman, which takes up half the CD
and probably
also inspired the title of the CD. A colliding cascade of sine
waves tumbling
over each other. All the other, six, tracks are centered around
this and are
much shorter, but they all seem to deal with, one way or the other
with static,
organic hiss like sounds, and high pitched tones. I must say that
I like the
shorter tracks, because of their conciseness and working towards
a quick idea.
But in general, as a work of improvisation with electronics, this
is a well
enjoyable CD. (FdW)
Address: textilerecords@mixmail.com
JAN JELINEK - ICE COMPOSITIONS (12"
by En/Of)
ALEJANDRA AND AERON - SCOTCH MONSTERS (LP by En/Of)
TV POW - AMERICA SAYS FAREWELL (LP by En/Of)
Three new releases in the En/Of series, packed in a gatefold sleeve,
with on
one side the vinyl and on the other a piece of real art (as opposed
to some
drips of paint by the musician who thinks he's a visual artist
to). For real
art prices mind you. En/Of manages to get some might nice names
for his series
(I am talking music again, since the visual artists don't mean
much for me),
like for instance Jan Jelinek, whose 'Loop Finding Jazz Records'
on ~Scape came
down nicely last year. Jan's sound is minimalist techno, with
dubby elements.
Sometimes a bit like Pole, but maybe a bit more melodic in approach
or less
unidirectional. Together with this record you get one of the five
different
prints by Sarah Morris, which are production stills from her film.
More interesting is the art that comes with the Alejandra and
Aeron record. A
small plastic bag with a leaf and bird droppings by Henrik Hakansson.
This fits
the environmental character of the Alejandra and Aeron music.
Apperentely this
album deals with the polution in Scotland. Fine slices of bird
sounds,
walkabouts and other pick ups from the fields are pasted together
in the mighty
computer. No narratives this time, but that's not necessary. This
makes up a
nice record, again.
With TV Pow you get one of the ten different computer prints with
holes by
Angela Bulloch. TV Pow are, besides a laptop trio, also three
people actively
involved in Chicago's underground improvising scene and it seems
that this side
of them prevails here. Using a whole array of sound devices, from
the electric
koto to the coins and laptops, they offer a record that has a
wide dynamic
range: sometimes things move only at a barelly audible level for
minutes, but
things may move quickly to a noise level. Luckily it never gets
obnixious loud
and never stays long in that part of the dynamic range. At times,
certainly on
side one, I was reminded of a digital Nurse With Wound, like Steve
had acquired
a laptop. Maybe some of the older fans, who just know their CD's
so far, will
be put off by this more improvisational record, I sure like it.
(FdW)
Address: www.bottrop-boy.com
INFANTRY (CD by Sub Rosa0
If one looks at the Infantry CD, studies the booklet and read
the texts, one
might think this is a super heavy gothic affair. Child abuse in
war time is the
central theme. I was ready for some militairy drumming, Wagner
samples and
shouting vocals. Nothing so. Guy Harries and Meira Asher, for
they are
Infantry, use a wide array on electronics, digital manipulation
and recited
texts on this subject, using accounts from children who have absued
during
wartime and child soldiers. Some the texts are recorded from the
voice of
children and sometimes they recite it themselves. The result comes
much closer
to a radioplay then to a slab of industrial music. Some of the
electronic parts
are clearly inspired by clicks n cuts (less the 4/4 beats), but
with a drifting
synthetic sound. But still not really a pleasent release to hear,
because the
subject is too heavy, executed with much more depth then any
industrialist
could do. Apperentely there is also a performance of this, which
must be a
must-see. Not entertaining, but essential. A political human statement.
(FdW)
Address: www.subrosa.net
WIPEOUT - ATHEMS FOR THE UNDERACHIEVERS
(CD by Angelika Koehlermann)
Wipeout are an Austrian quartet, including members of Fuckhead
and Monochrome
Bleu. They are all about electronic popmusic. Electro-rhythms,
cheesy synth
sounds and likewise cheesy vocals. Most of the times with half
catchy melodies
that not stick in the mind in the right away, but after a repeated
listen sound
familiar. Although the music is loaded with the hisory of 80 synthi
pop, it's
especially the vocals that reminded me of the Pet Shop Boys (that
is most of
the tracks, not in 'Thrift' and 'Soul On Kerosine' for instance).
There is a no
direct sing a long classic in this collection of eleven, but I
don't think I
will surprised if Wipeout hit the charts one day. (FdW)
Address: www.mdos.at
WILT - WHITE CHRYSALIS IN BLUE (CDR by Mystery
Sea)
According to the label, Wilt (aka James P. Keeler) is a name who
is on
everybody's lips these days, at least everybody in the field of
experimental/dark ambient noise. Probably I am lurking in the
wrong fields
then, because I never heard of Wilt, nor of other projects by
Keeler (well, I
know another Keeler, but that was somebody different). Dark it
is indeed. It
sounds most of the times as a slowed down tunes from guitars,
synths or maybe
just the eerie hum of a loudspeaker. In general very nice stuff,
but in the end
a bit long for the limited amount of ideas, Wilt has out in it.
Around track
eight, I began to wonder if I put the CD on repeat and had started
again. When
it would be just 40 minutes, I think this would have been a very
nice release;
now it's a bit over long. (FdW)
Address: http://home.planetinternet.be/~chalkdc