============
VITAL WEEKLY
============
number 510
---------------------
week 4
---------------------
Vital Weekly, the webcast: as an experiment
for the time being, we offering a weekly webcast, freely to download.
This can be regarded as the audio-supplement to Vital Weekly.
Presented as a radioprogramm with excerpts of just some of the
CDs (no vinyl or MP3) reviewed. It will remain on the site for
a limited period (most likely 2-4 weeks). Download the file
to your MP3 player and enjoy!
http://www.vitalweekly.net
you can subscribe to the weekly broadcast using the following
rss feed:
http://www.harmlog.nl/vitalfeed.asp
New broadcasts will be sent directly when uploaded. For more information
on
podcasts go here: http://ipodder.sourceforge.net/
* noted are in this week's podcast
AARON MOORE - THE ACCIDENTAL (CD by Elsie
& Jack) *
ANTHONY PATERAS & ROBIN FOX - FLUX COMPENDIUM (CD by Editions
Mego)
GIUSEPPE IELASI & HOWARD STELZER - NIGHT LIFE (CD by Korm
Plastics/Brombron) *
JOE COLLEY & JASON LESCALLEET - ANNIHILATE THIS WEEK (CD by
Korm Plastics/Brombron) *
KOJI ASANO - VIOLIN AND VIOLA SUITES NO.1-NO.7 (CD by Solstice)
*
FRANK NIEHUSMANN - DAY TRACKS 1 (CD by Nur Nicht Nur) *
PILLOW - PLAYS BRÖTZMANN (CD by Bottrop-boy) *
EXILLON - THE KEENING DITHERS (CD by Ad Noiseam) *
STEINBÜCHEL - OPAQUE (+RE) (CD by Room 40)
BELONG - OCTOBER LANGUAGE (CD by Carpark)
TROUM - AJIN (mini LP by Equation)
BUNNYBTRAINS 88 - SQUIRREL ATTACK (10" by Equation)
GUARANTEED KATCH - IN A SUMPTUOUS BROWN GRAVY (LP by Equation)
D_RRADIO - BORN/COME TO LIGHT (7" by Distraction Records)
*
KIRCHENKAMPF - TRANSMISSIONS (CDR by Diophantine Discs) *
ACUSTRONIC ENSEMBLE - FREE FOR(M) RIMBAUD (CD-R by AFK Records)
KARL BÖSMANN - ZIRKUMFLEX (CDR by Verato Project) *
WÄLDCHENGARTEN - RESERVATET (CDR by Verato Project) *
JLIAT - ARE WE LIVING IN A COMPUTER SIMULATION... (2xCDR by Sysyphus)
HOOD & RODGERS - CASTLES (3"CDR by Twothousandand) *
AARON MOORE - THE ACCIDENTAL (CD by Elsie
& Jack)
Following Daniel Padden of Volcano The Bear, there is now also
a solo CD by drummer/vocalist Aaron Moore. His solo work is of
an entirely different nature than Padden's folk music. His instruments
are bowed and beaten vibraphone, cymbal, chord organ, thumb piano
and keyboard. The title refers to the fact that Moore tried to
collaborate with Oren Ambarchi, recorded these pieces as a start,
but then the collaboration never happened. Later on he reworked
these pieces himself and got help from a couple of friends (Andrew
Liles, Luke Fowler and Alex Neilson) continuouson a few tracks.
When the name Oren Ambarchi dropped things became much clearer.
The pieces Moore plays are best described as experimental ambient.
Richly textured music, in which a continous flow of sounds, but
it doesn't like the kitchy synthesizer ambient that so many other
produce. It's more like the sort of ambient music produced by
Ambarchi. Warm textures, subtle changes, but also with a keen
ear on some sine wave like sounds that never really tease the
ears, and some brittle electro-acoustic sounds, such as the short-wave
like sounds in 'How Outside Are We Today?'.
The results of the music was liked so much by filmmaker Francesco
Paladino that he created a film alongside the whole CD. Blurry
images of people and winter-landscapes, large close ups with lots
of color filtering: it's perhaps not the most imaginative filming
but it fits the music quite well in terms of an ambient film.
You put it on, and occasionally you watch bits. Less demanding
than the music itself, but it works well. (FdW)
Address: http://www.elsieandjack.com
ANTHONY PATERAS & ROBIN FOX - FLUX COMPENDIUM
(CD by Editions Mego)
On the new (?) Editions Mego label (but which catalogue number
continues the old Mego numbering) a new CD by two from down-under.
Both of them are active members of the improvisation scene, but
it's never quiet with these guys. Anthony Pateras played the piano
on one of the best discs of improvised music of 2004, his trio
with Sean Baxter and David Brown (see Vital Weekly 427). Here
he gets the credit for voice, synthi A, mixing desk, electronics
and objects and Fox for computer, programming and controllers.
So let's assume that whatever sound Pateras generates goes into
the digital world of Fox - and so far nothing new. It's stuff
that a lot of people can see on a monday night downtown in the
improv bar, but let me assure you that this is entirely (well,
almost entirely) different. Whereas the monday nights are filled
with precise, delicate swoops and sweeps, things are here, certainly
in the first five short tracks, in uptempo mood, with the voice
playing some role of importance here. It's where musique concrete
and punk shake hands. The next three tracks are lengthier, taking
the speed out of the record, or perhaps provide a moment of rest.
I prefer to think the first which is a pity, since I would have
loved to see a record of punk length (33 minutes, 14 tracks) of
this kind of stuff. 'Perilymph' is almost drone with it's processed
sine waves, but comes from a different, more serious world. It's
a good piece, but a bit out of place. The other two lengthy tracks
are a like that, although in a more noise related realm. Again
nice tracks, but it's like a different album - like a two in one
album. Overall the music is highly vibrant and a boring moment
doesn't come in sight. (FdW)
Address: http://www.editionsmego.com
GIUSEPPE IELASI & HOWARD STELZER - NIGHT
LIFE (CD by Korm Plastics/Brombron)
JOE COLLEY & JASON LESCALLEET - ANNIHILATE THIS WEEK (CD by
Korm Plastics/Brombron)
I am not sure wether the title of this disc refers to the time
of recording, but if so the last track's title says it all: Losing
our taste for the night life. I know for a fact that a Brombron
project can mess up your daily rhythm pretty bad and that ending
it feels almost as good as starting it. This disc by Ielasi and
Stelzer has obviously had exactly the right amount of night time
anyway. I have known and admired Howard Stelzer's work as tape
jockey for quite some time now (aside of his activity as boss
of the wonderful Intransitive Recordings), but Giuseppe Ielasi
was a new name for me. He is a contemporary guitarist, using this
instrument in all possible ways, but with a strong bias towards
electronic manipulations. The result of this collaboration is
absolutely fascinating: on one hand there are the harsh and explosive
eruptions of Stelzer's tapes and on the other hand there are the
more gentle and melodic guitar manipulations of Ielasi. This combination
is truly excellent and invigorating. It has certainly been a while
since I heard something this refreshing and exciting. I am not
sure why this is; the use of sounds, the compositions, the tension,
somehow everything just fits together so well that I am lost for
words really. Simply beautiful and an absolute must!!!
Do you think I was very positive about the former Brombron
release? Well, hold your horses because here's another one that
deserves our full attention. Colley and Lescalleet have produced
an excellent work as well! Starting with a very realistic entering
of the studio we are swept away into a wonderfully dense world
of drones and more drones. The way these guys deal with space
in sound and sound in space is something to admire and aspire
to. Normally this kind of music would not be my first fancy, but
what these two are doing is one huge step beyond everything ambient
or drony I have heard until now. And that only describes the first
track of four! The second track uses field recordings messed up
in a very stunning way, basically some cuts and filtering and
sampling, but done in such an excellent way, that it's
is not really possible to describe it well. The same goes for
the other two tracks: words fail... this also is an absolute must!!!
(MR)
Address: http://www.kormplastics.nl
KOJI ASANO - VIOLIN AND VIOLA SUITES NO.1-NO.7
(CD by Solstice)
It should be a well-known fact that Koji Asano can write 'real'
music - music as noted on musical paper, with f-keys, five lines
and full of notes, even when his forty-one CDs so far doesn't
display that fact very well. So far, when it came to that direction,
the piano was the main instrument, but here it is the violin and
the viola which play seven suites. The first one was composed
in Austria when Asano met the Austrian Ensemble 'Die Reihe' for
which he composed the first suite, but he liked composing such
much that much that he composed six more which were played, in
it's completed form by Kumi Nakajima and Masashi Sasaki. It's
hard to believe that these seven pieces are by the same composers
who brought us all this other material, that is so minimal and
at times pretty harsh. These pieces are beautiful, romantic, warm,
introspective and joyful (the latter two not at the same time).
It's hard for a person like myself to write anything about this,
since it clearly falls outside my capacity to write about classical
music - even when I occasionally enjoy hearing it. Wether it would
fall inside a specific scene or movement of composers it's hard
for me to tell, but my guess is that they are traditional sounding
along side late nineteenth century romantic classical music (the
only expert close at hand died a few years ago). It's certainly
beautiful music, even when it's so very far away from whatever
- and this time, it's really whatever - Vital Weekly reviews.
But for a late night listen, reading a good book, it's a most
welcome release, and it once again proofs the multi-talent Asano
is. (FdW)
Address: http://www.kojiasano.com
FRANK NIEHUSMANN - DAY TRACKS 1 (CD by Nur
Nicht Nur)
When we first wrote about Frank Niehusmann (Vital Weekly 378),
he released a CD of him using 'open reel analogue tape machines',
which he used almost like a DJ. Things has been quiet in the meantime,
but Niehusmann went entirely digital: he wrote a software program
that enables to control live all sorts of sounds from his computer.
Maybe he could have saved time, and buy something like Ableton
Live or Audio Mulch, me thinks? His description of his self-built
software sounds very much like something similar. Niehusmann's
sound input is a wide variety of sounds, indoor as-well as outdoor,
synthetic and drum computers, and also machine sounds. They are
thrown into the blender that is the core of Niehusmann's music
and cooked up into twenty small portions, and each of these portions
are made in one go: no overdubs or multi-tracking. In each of
the tracks things move up and down the granular scale, changing
pitches, machines running amok, synthesizers moving about etc.
It's a bit too much for me. In the end it's hard to see the difference
between the various pieces and the trick is known after say ten
tracks. It's worthwhile to select your own ten favorites and put
them on your player, as it's hard to imagine anyone sitting through
this in one go altogether. But there are certainly quite nice
pieces to be detected around here. Look and you'll find. (FdW)
Address: http://www.niehusmann.org or http://www.nurnichtnur.com
PILLOW - PLAYS BRÖTZMANN (CD by Bottrop-boy)
This is the second time that Pillow makes it in these pages, but
if I'm informed well, there are more releases. Pillow is an all
acoustic group from Chicago with Micheal Colligan on dry ice and
tubes, Fred Lonberg-Holm on cello, Liz Payne on bass, viola, percussion
and Ben Vida on electric guitar and trumpet etc. Here they play
one composition by free-jazz legend Peter Brötzmann, 'Images'.
It's a piece I don't know, but it's certainly one that can be
played eleven different ways, ranging from one minute to somewhere
over eight minutes. And it's certainly eleven totally different
ways. Sometimes it's harsh (even considered the all acoustic line
up) and loud, with scratches over the surface of the cello, dry-ice
and high-end tones on the tubes, but it can also be nicely soft,
introspective, or to go into a different area of freely improvised,
loosely connected sounds of all four players. Whatever the intention
is per piece, Pillow plays everything in an improvised way, but
per version they choose upon the atmosphere of the piece. They
then execute whatever they wish to do in that specific atmosphere,
and do that in a great, majestical way. Even without any knowledge
of the original Brötzmann piece, this is most enjoyable CD
of improvised music. (FdW)
Address: http://www.bottrop-boy.com
EXILLON - THE KEENING DITHERS (CD by Ad
Noiseam)
Another exciting release from Berlin-based label "Ad Noiseam".
This latest album from the label comes from San Francisco-based
sound-artist Jay Fields a.k.a. Exillon. Being his second opus
this new album titled "The keening dithers" contains
the most emotional expression from the IDM-based artist. Opening
smoothly with two tracks of tranquillizing chill-out electronica
based on processed piano reminiscent of early avantgarde classical,
the expression turns more dramatic and threatening from third
track forward. "Termit" (track three) is the track that
introduces the IDM-based breakbeat-texture that is the characterizing
element of Exillon. Musically Exillon combines the technoid and
atmospheric Industrial-sound similar to Welsh duo Somatic Responses
with complex rhythm-textures and melodic moments based on processed
sounds of acoustic instruments such as the aforementioned piano
and gentle guitar-strums. The multi-facetted electronic work is
decorated with a bunch of voice-samples giving a nice variation
to the full-throttle energetic instrumental tracks. A very pleasant
album with plenty of quality for repetitive listening. (NMP)
Address: http://www.adnoiseam.net
STEINBÜCHEL - OPAQUE (+RE) (CD by Room
40)
Noted before: the relative obscureness of Steinbrüchel and
what a pity that is. Maybe things will change soon. Maybe 'Opaque
(+Re)' will help change that. 'Opaque' is a piece composed by
Steinbrüchel for a 5.1 sound system, set up in a large room
as the 'Taktlos' festival in Bern. Here reduced to a small room,
and stereo, but capturing the same warmth as much of Steinbrüchel's
work has. Delicate warm deep bass-like sounds, with soft glitchy
sounds on top. Ambient glitch of the first and highest order.
From this piece, Steinbrüchel selects samples to send to
friends, who have a specific way of working, rather than sending
it to the usual posse of laptop-heads. So ends up, packed inside
the piano work of Chris Abrahams, guitar feedback of Ben Frost,
the only laptophead around of Taylor Deupree, the guitar of Oren
Ambarchi and inside a field recording of Toshiya Tsunoda. None
of these people actually heard the original 'Opaque' piece before
the actual release of the CD, and they all had different samples.
They are lovely pieces of likewise delicate music, except maybe
for Chris Abrahams plink-plonk piano piece with some clicks, which
didn't do much for me. It's the second piece on the CD and as
such a bridge between the original and the remixes, and works
well at that. But the others all fit well the original work, each
adding it's own flavor to the piece, but keeping in good pace
with the original as-well. (FdW)
Address: http://www.room40.org
BELONG - OCTOBER LANGUAGE (CD by Carpark)
New Orleans is not the place to be, right now. Belong are from
New Orleans and their CD was recorded already in 2004, but it's
released now by Capark and it's captured sadness fits the desolation
of the city well. Belong are duo from New Orleans playing total
fuzzy music, along the lines of post-rockers such as Flying Saucer
Attack, Spaceman 3 or Windy & Carl, but do they use guitars?
Belong cite as inspirations people like William Basinski and Fennesz
and that raises the question: do these use laptops? I think so.
They use highly fuzzy and grainy samples of perhaps 2K bit rate,
feed them through analogue sound processors to get that shoe-gazing
melancholy of their guitar counterparts. More Basinski than Fennesz
me thinks (although 'Field Recordings' would come close), but
unlike Basinski, Belong plays much shorter tracks, eight in total
(whereas Basinski would play one in the same length of the entire
CD) which gradually, as the CD progresses seem to be falling apart.
A piece like 'Who Told You This Room Exists?' sounds like recorded
by a very dirty cassette player with very dirty heads. Quite an
unusual affair of something digital sounding so 'dirty', making
it into a highly original marriage of the clean laptop music and
the fuzzy, grainy sound of the shoe-gazing brigade. Very nice,
very winter-like. (FdW)
Address: http://www.carparkrecords.com
TROUM - AJIN (mini LP by Equation)
BUNNYBTRAINS 88 - SQUIRREL ATTACK (10" by Equation)
GUARANTEED KATCH - IN A SUMPTUOUS BROWN GRAVY (LP by Equation)
US label Equation loves vinyl and preferably when they are multi-colored
and packed in a nice silk-screened cover. Certainly not releases
for mass consumption. The three releases here at hand show this
great love for style, when all they operate in totally different
areas, music-wise. Troum are in certain circles heroes of ambient
and drone. And rightly so, they have mastered their own style,
which is light-years away from their UK counterparts (Mirror,
Ora, Monos), as Troum opts for a way more heavy sound, loaded
with louder sound effects, and aren't afraid to throw in a pseudo-ethno
rhythm loop, as on the first track on side A. Not a change of
style here, since the other pieces have the more classic Troum
sound, since the second track on this side (lengthwise it can
best be described as a mini LP) has a more regular rhythm piece
by Troum. The two pieces on the b-side (on the picture disc the
eyes are shut here and on the other they are open), the pieces
are much more mellow, although that might not be the right word
for Troum. 'Certa Novo' seems like a thunderstorm recorded with
a microphone buried under the surface of the earth, but 'Yemnja'
is the biggest surprise, I guess. It's almost like a kitschy ambient
synth piece, but knowing Troum don't have synths, it's wonder
how they did it. In their slowly expanding list of releases this
is a fine release, with at least two surprising tracks - the opener
and the closing piece.
Of an entirely different nature is the 10" by Bunnybtrains
88. Which is apparently a different band that some other band
named (the) Bunnybrains. But apparently this is the original line
up from 1988. 'Squirrel Attack' on side A, comes in a vocal and
an instrumental version. A wall of distorted guitars, heavy bass
and quite energetic drums - a good solid post-punk tune. The b-side
has two live pieces of which one is a cover of Hawkind. The quality
is a bit lo-fi, but the Bunnybtrains 88 capture the same energy
of the a-side and even add a bit of obscured banging on the scene,
making everything a bit more experimental than the a-side. Nice
record, and thumbs up for the Bruce Lichter/Independent Projects
Press cover, haven't seen any of those in a long time.
And than in a totally different musical corner we find Guaranteed
Katch, a band that came from the ashes of such bands as Post Mortem,
Siege and Colon On The Cob. The hail from Boston and as best described
as a rock band, but with influences coming from such directions
as jazz, punk and maybe a bit of more freely improvised music.
Sometimes a bit loud and heavy, like a good heavy rock band should
sound, but especially in the vocals lies the weirdness of Guaranteed
Katch: bending in all directions, even a bit crazy lunatic-like,
Frank Zappa is never far away there, but perhaps I may scatter
another holy man, I was never a fan of Zappa, so Guaranteed Katch,
with whatever they are doing, they do a good job, a more than
excellent one, but somehow it's not well-spend on me. (FdW)
Address: http://www.chronoglide.com/equation.html
D_RRADIO - BORN/COME TO LIGHT (7" by
Distraction Records)
The curiously named D_rradio stands for Death Row Radio, whom
released 'U_nderscore' on Static Caravan, a widely acclaimed record
(and sadly missed at Vital Weekly). Following that they have played
and recorded more material, of which this 7" is the first
thing to emerge. 'Born' has stutter break-beats, a free floating
piano theme and a melancholic tune for strings, and a child's
voice drops in. Perfect autumn like music. 'Come To Light' is
an instrumental piece. The rhythm section here is much more ongoing
and straight forward, but the piece has loads of sounds in there,
from swirling synths, cut-up guitars, clicks and has a very uplifting
feel to it. If the a-side is a bit for the autumn season, the
flip is rather the sunny side of things. Definitely two great
songs, which are really songs and not merely a good set of sounds
that fit together well. Very nice stuff along the lines of Static
Caravan, Expanding Records and Highpoint Lowlife. (FdW)
Address: http://www.distractionrecords.com
KIRCHENKAMPF - TRANSMISSIONS (CDR by Diophantine
Discs)
John D. Gore's Kirchenkampf project has been running for many
years now, but he's still somewhere in the corner of obscurity,
which is altogether a great pity. Running his own Cohort Records,
he also releases stuff on other labels, such as the for me unknown
Diophantine Discs. It would be too easy to put down Kirchenkampf
as a dark ambient project, as Gore puts in some conceptual edges
to his work. All the work on 'Transmissions' seems to be derived
from highly processed radio frequencies (as such we do remember
his The Oratory Of Divine Love release for EE Tapes, see Vital
Weekly 439). But whereas The Oratory Of Divine Love contained
the rather unprocessed sounds of radio, things here are taking
into the realms of Kirchenkampfs dark ambient world. Taking the
sounds apart, feeding them through endless filters (of sound effects
and synths alike) to create an unworldly sound of deep atmospheric
music, of what seems to be frequencies picked up below the surface
of the earth. What is picked up from the air, goes down into a
cave, where the waves collide, like atoms in an accelerator, except
that the sounds don't speed up but keep on bumping into each-other
in a rather majestical way. A most powerful dark music release,
with a slight touch of industrial noise by a project that definitely
needs a bigger audience. (FdW)
Address: http://discs.diophantine.net
ACUSTRONIC ENSEMBLE - FREE FOR(M) RIMBAUD
(CD-R by AFK Records)
The Acustronic Ensemble is a spontaneous collaboration of a group
of (electronic) musicians who met at the "blog on rimbaud"
festival in Rivara, Italy. The disc presents an out-take of the
live recording of their performance there. The single 30 minute
track is a tour into a world that is defined by it's own rules:
musical elements are as easily used as abstract noises, creating
a link between worlds normally far apart. And it's exactly
this quality that defines the recording and gives it it's power.
Okay, I admit, sometimes there are just a little too much effects
being used, but more often than not, these five (!) guys know
how to get everything rolling the right way. And let's face
it, for a spontaneous improvisation that is a very, very good
result. I will recommend this disc very strongly to all readers
again! (MR)
Address: <http://www.afkrecords.com>www.afkrecords.com
KARL BÖSMANN - ZIRKUMFLEX (CDR by Verato Project)
WÄLDCHENGARTEN - RESERVATET (CDR by Verato Project)
The Verato Project, a side-line of Suggestion Records comes up
with two new releases, and both show Verato's love of an extraordinary
package. Karl Bösmann's release comes in a black cloth envelop
with a heavy painted stones and separate cards. We came across
the music of Karl Bösmann before, when we reviewed his 'Das
Kind In Der Küche' on Tosom (see Vital Weekly 461). His new
release moves away from the slightly percussive release of before
into a more darkly and densely layered form of music. Again three
long pieces, of which 'For 200 Violins' is the one with sounds
to be recognized. Layers and layers of violin sounds (probably
200?) make up a nice, dense violin piece. 'Cockroach Breakfast
Dance', the piece after that is a much more noisier piece of music,
but didn't do much for me. 'Spiel Nicht Mit Dem Zirkumflex' is
the final piece and a has a Steve Reich 'Come Out' like opening,
but evolves slowly into a stuttering pieces of varying organ like
sounds and voices dropping in and out in a likewise stuttering
way. Highly minimal, and reminded me to the mid-80s pieces of
Nicolas Collins. The second piece could have been easily dropped
but the other two are quite alright.
On the same label are Wäldchengarten from Denmark. For years
now they have been going strong. 'Reservatet' is an older project,
from 2003, when they were asked to put some music to a book of
the same name by Christian Haun. Some excerpts are reprinted on
the cover, but it's hard to tell what the book is about. The music
is one piece of thirty minutes of what seems to me a duo of guitar
playing. Strumming and bowing the strings, the two brothers that
form Wäldchengarten play a heavy version of post-rock. Long
sustained sounds form a the backbone of the piece, but the distortion
pedals are never far away here, making this into quite a massive
drone party. Maybe a bit too heavy for the real drone purists
out there, but perhaps it fits the book well? It's less refined
than their previous release 'Electrical Bonding' (see Vital Weekly
465), but as said this is a work from before that. Maybe something
for the real diehards. (FdW)
Address: http://www.verato-project.de
JLIAT - ARE WE LIVING IN A COMPUTER SIMULATION...
(2xCDR by Sysyphus)
What is a film when we don't see it? Is it then automatically
a radioplay? Do we enjoy it so similar length? Do we understand
what it is about? The story? And what do we make of the background
noises and the music? The who done it in the detective story?
These might (!) be the questions raised by Jliat. Housed in a
laminated menu of an Indian take-way we find a double CDR, which
turns out to be some film. Just the words, just the background
noises and just the music: everything but the pictures. But I
have a problem with it: I know the movie. It's 'Last Bus To Woodstock',
the seventh film about Inspector Morse solving a murder. Which,
as a true fan, I must have seen at least five or six times. So
it's hard for me to think: who done it? As I already know the
answer. But it's very enjoyable to stick on and listen to, simply
because I love John Thaw as Inspector Morse. If you have no clue
who he is, then the experiment and the questions raised by Jliat
work much better. The only thing that keeps puzzling me: why a
menu of an Indian take-away? Morse never eats much throughout
the series and it's Jack Frost who loves the takeaways..., but
that's an entirely line of stories. (FdW)
Address: http://www.sysyphus.org
HOOD & RODGERS - CASTLES (3"CDR
by Twothousandand)
The odd marriage of turntables and acoustic guitar. In improvised
music areas, nothing is odd. Paul Hood (turntables) and Micheal
Rodgers (acoustic guitars) hail from London and on May 21st last
year they recorded the eight short tracks that are on this 3"CDR
release. The crackle of vinyl, the repeating of a locked groove
form the backbone of the pieces and on top Micheal strums, hits
and plucks his guitar. It's probably the nature of these instruments
that the division is like this: one is the main instrument and
one is the backbone. The eight tracks show a wide variety of sounds
and ideas, and length wise this is a perfect release, but in the
end the improvisations themselves were perhaps not original enough
to stand out from the usual lot in this area. Good, solid as they
were, also not the most innovative ones. (FdW)
Address: http://www.twothousandand.com/
Vital Weekly is published by Frans de Waard
and submitted for free to anybody
with an e-mail address. If you don't wish to receive this, then
let us
know. Any feedback is welcome <vital@vitalweekly.net>. Forward
to your allies.
Snail mail: Vital Weekly/Frans de Waard - Acaciastraat 11 - 6521
NE Nijmegen - The Netherlands
All written by Frans de Waard (FdW), The Square Root Of Sub (MP
<sub@xs4all.nl>), Dolf Mulder (DM) <dolf.mulder@hetnet.nl>,
Meelkop Roel (MR), Gerald
Schwartz (GS), Niels Mark Pedersen (NMP), Henry Schneider (SH),
Jeff
Surak (JS), TJ Norris (TJN), Gregg Kowlaksky (GK), Craig N (CN),
Boban Ristevski (BR), Maurice Woestenburg (MW), Toni Dimitrov
(TD <info@fakezine.tk>), Chris Jeely (CJ) and others on
a less regular basis.
This is copyright free publication, except where indicated, in
which
case permission has to be obtained from the respective author
before
reprinting any, or all of the desired text. The author has to
be
credited, and Vital Weekly has to be acknowledged at all times
if any
texts are used from it.
Announcements can be shortened by the editor. Please do NOT send
any
attachments/jpeg's, we will trash them without viewing.
There is no point in directing us to MP3 sites, as we will not
go there. Any MP3 release to be reviewed should be burned as an
audio CDR and send to the address above.
the complete archive of Vital Weekly (1-494) can be found at: http://staalplaat.com/vital/