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VITAL WEEKLY
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number 523
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week 17
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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!
complete tracklist here: http://www.vitalweekly.net/podcast.html
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
MACHINEFABRIEK - MARIJN (CD by Lampse)
PATERAS/BAXTER/BROWN - GAUTICLE (CD by Synaesthesia) *
HUMAN FLESH - SONGS FOR THE VICTIMS (FROM A DECAYING COUNTRY)
(CD by EE Tapes) *
YUICHIRO FUJIMOTO - THE MOUNTAIN RECORD (CD by Ahornfelder) *
AGNÈS PALIER & OLIVER TOULEMONDE - ROCCA (CD by Creative
Sources)
WADE MATHEWS & INGAR ZACH - MORKE-LYS (CD by Creative Sources)
NA - NAISNICE (CD by Pax Recordings)
FRANK NIEHUSMANN - DAY TRACKS 2 (CD by Nur Nicht Nur)
PAUL BRADLEY - MEMORIAS EXTRANJERAS (CD by Alluvial Recordings)
MOLJEBKA PVLSE - DVNKL (CD by Fifth Week) *
SANTO SUBITO - XAVIER (CD by Accretions) *
DJENGER - VORTEX (CDR, self-released) *
THE SUN IS AN ORANGE COOKIE - MY HEART OF SUGAR (CDR by Chloe
Recordings) *
DISSECTING TABLE - NO LONGER HUMAN (CDR by Suggestion Records)
*
XEDH - YOUR FLESH (3"CDR by Verato Project)
GIESELA ROT - SACRAL FIELDMUZICK (3"CDR by Field Muzick)
MARCUS OBST - TRAFIC TONALITE (3"CDR by Field Muzick) *
FLUTWACHT/SYNOMORPH - FRAGRANCE OF BLOOD (CDR by Tosom)
ROY-ARNE KNUTSEN - SILENCE (CDR by Tosom) *
MITTELSFÄR - M1 - M6 (3"CDR by Mussigganger)
VED - DEMIS ROUSSOS INTERNAL (3"CDR by Mussigganger)
PRAKT - GINNIPIGGU (3"CDR by Mussigganger) *
PÄR THÖRN - NOW HOW RANDOM IS RANDOM (3"CDR by
Mussigganger)
MACHINEFABRIEK - MARIJN (CD by Lampse)
The CDR as testing ground worked pretty well for Machinefabriek,
our almost local hero Rutger Zuydervelt. He released about fifteen
or so 3"CDR privately, which gained interest from all around.
Lampse won the battle to release his first 'real' CD and we can
finally hear which direction he chooses. His private releases
went in all sorts of directions, from downright noise to almost
electronic pop-songs and anything in between. And perhaps of course
the next Machinefabriek will be entirely different, you never
know for sure with Rutger. But for his debut he made a good choice.
Playing around with both musique concrete electro-acoustics, as-well
as computer processed sounds, in combination with a real piano,
he crafted together six new tracks which play all more or less
a melancholically card. All six pieces are in the darker corner
of the musical spectrum. Sometimes I thought this was very good
micro-sounding material, but Machinefabriek certainly adds much
more to the roster. The touching of objects in the opening piece
'Kreukeltape' or the piano playing in the closing 'Lawine', in
which the electronically processed sounds slowly take over, which
then start to move towards a big crescendo. Both the noise and
the popsong are far away, if not completly wiped off the planet.
This planet that is. An excellent new start, or perhaps his big
bang: I am sure much more delights will follow. (FdW)
Address: http://www.lampse.com
PATERAS/BAXTER/BROWN - GAUTICLE (CD by Synaesthesia)
In Vital Weekly 427 I was lyrical about the CD 'Ataxia' by Anthony
Pateras (prepared piano), Sean Baxter (percussion) and David Brown
(prepared guitar) and regretted that they didn't stop in my area
when they were promoting their CD. On the tour they did they recorded
various shows, but apparently two were stand out shows: the one
in Vienna and the one in London. Excerpts of both appear on their
new CD 'Gauticle'. This is highly acoustic music, without any
electronics in sight. 'Ataxia' was a strongly vivid CD, bouncing
up and down all along, and I must say that is less the case on
'Gauticle'. They still play around with the notions of electro-acoustic
music, improvisation and even free jazz, but it's less of surprise
than 'Ataxia'. They have set their own boundaries in improvising
with the material they have and they still do it well. Actually
very well. The onkyo part of improvisation is something that they
entirely ignore and they have sound going all the time. 'Ataxia'
was a blow away release, Gauticle is very good follow up. If ever
there would be a next time around to see them play live, I would
still grab my coat and go to witness them. (FdW)
Address: http://www.synrecords.com
HUMAN FLESH - SONGS FOR THE VICTIMS (FROM
A DECAYING COUNTRY) (CD by EE Tapes)
A long, long time ago, in 1985 I took the train to Belgium, to
Nivelles, not far away from Waterloo and met a very sympathetic
couple: Alain Neffe and Nadine Bal. Together they were Bene Gesserit,
they'd run Insane Music, and Alain was also in Pseudo Code, I
Scream, Cortex and Human Flesh. They were my heroes and I saw
their collection of tapes, records and in the basement their studio,
which impressed me a lot. Years after I followed whatever they
released, but in the nineties things seemed to have stopped and
it was hard to find information on their music on the internet.
These days Alain Neffe is back, re-mastered some of his cassettes
and made them available on CDR. In each of his musical projects,
Neffe did put something specific: Pseudo Code was sort of industrial,
I Scream floating synthesizer ambience and Human Flesh was a group
that wasn't a group. Recordings were made on an eight track recorder,
where Alain Neffe played other musicians that came to his studio
or he would dub in recordings send by people. It was more about
the concept of music making, than that it has a strict musical
concept of it's own. It borrows elements from his projects. When
the recordings are made, Neffe leaves the tracks and starts mixing
them much later, when he forgot what it sounded like and in a
more or less improvised way. On this CD there are fifteen tracks,
recorded in the period 1985-1995 and one long bonus track built
with elements from the last twenty three years. Participating
artists are people who are perhaps lesser known these days, such
as Daniel Malempre (aka MAL), Cor Gout (Tresspassers W), Hessel
Veldman (Y Create), Deborah Jaffe (Master/Slave Relationship),
Xavier S (Pseudo Code, and the track he appears on, sounds very
much like Pseudo Code), Lydia Tomkiw (Algreba Suicide) and the
for me unknown Magali Cupak, Darline Victor and Judy Timpa. Human
Flesh plays music that is best described as a cross-over between
pop-music and experimental music, with a strong sense of the darker,
atmospherical edges. Highly moody, with a strong emphasis on text,
synthesizers and guitars. Like the title indicates, this is not
exactly songs about love and happiness, but rather of desolation,
loneliness and introspection. Perhaps the music sounds by now
a bit dated, but it's nevertheless well made and certainly needs
a lot of attention. Then, perhaps, the entire catalogue of Neffe's
works should be made to proper CDR releases. Anyone cares to step
in? (FdW)
Address: http://www.eetapes.be
YUICHIRO FUJIMOTO - THE MOUNTAIN RECORD
(CD by Ahornfelder)
Although this is my first encounter with Yuichiro Fujimoto, this
is his third release, following albums on Audio Dregs and Smalltown
Supersound. The cover doesn't list any instruments, but it's clearly
guitar, piano, electronics and field recordings. All played in
a slow and peaceful manner. Fujimoto leaves big gaps of silence
between the various sparse notes he plays. In each of the nine
tracks he seems to be concentrating on just one instrument (more
or less), and adds a little bit of field recordings to it. In
'To Make A Fire In That Old Stove', with it's nine minutes the
longest track in otherwise a bunch much shorter pieces, he opens
with highly processed glitchy synth like sounds, but the guitar
comes in, and everything is peaceful again. The field recordings
are sometimes quite full of hiss, but that adds a very nice, warm
quality to the music. Highly melancholic, with a lot of playing
in the lower regions, much space and throughout a gentle atmosphere.
It's the kind of music that is indeed released on the labels mentioned,
or that of Tomlab. If it needed be compared, I'd say this is an
even more stripped down version of the otherwise sparsely orchestrated
Flim. Beautiful, peaceful. Like being alone on a mountain. (FdW)
Address: http://www.ahornfelder.de
AGNÈS PALIER & OLIVER TOULEMONDE
- ROCCA (CD by Creative Sources)
WADE MATHEWS & INGAR ZACH - MORKE-LYS (CD by Creative Sources)
Singer Agnès Palier moved from classical music, chanson
to jazz. In the last few years she concentrates on singing in
a free improvised context, which is the case on this new CDCD
'Rocca'. For this occasion she is accompanied by Oliver Toulemonde
on electroacoustic set. Toulemonde may be known as one of the
founding members of the Collectif Ishtar.
Palier screams, yells, murmurs, growls, etc with her voice in
a way one aspects from vocal artists like her. Toulemonde creates
a great diversity of sounds, textures, etc. with his electro-acoustic
set. The noises he produces are the perfect company for Palier's
voice: the same in atmosphere, color, intensity, etc. I can't
detect exactly what Toulemonde is doing on his so called 'electroacoustic
set', but he seems to use all kind of objects. They are played
and used by him in a very physical, lively and elegant way. Another
reason that makes Toulemonde and Palier an interesting duo. Their
improvisations play at at a highly abstract level. But on the
other hand their sound poetry stays 'on the floor': its dramatic
and dynamic, and very human. Their explorations evolve within
a wide range of sounds and musical possibilities. I never had
a dull moment with this one.
'Morke-lys' is another impressive duo-effort, albeit of a totally
different kind. Wade Matthews and Ingar Zach plus some other musicians
made already another CD for Creative Sources, called 'Dining Music'.
Ingar Zach is percussionist from Norway. American Wade Matthews
(winds, electro-acoustic instruments) lives in Madrid. He released
a CD on a sub-label of Sofa Records, that was co-founded by Zach.
Mathews has a special interest in bringing improvisation and electro-acoustic
music together. On their collaboration 'Morke-lys' Matthews (electronic
synthesis) and Zach (percussion) succeed in creating a music of
great penetrative and imaginative power. If you want to be at
the frontier of improvised and electro-acoustic music, this is
the place to be! (DM)
Address: http://www.creativesources.com/
NA - NAISNICE (CD by Pax Recordings)
Kazu Nomura (guitar, voice), Shin Yamada (percussion, electronics,
voice) and Noriaka Watanabe (keyboards, percussion), all from
Japan, met in Seattle where they started collaborating. They have
lots of cd-rs out, 'Naisnice' pretends to be their first official
release. It contains 10 songs, each one demonstrates a cacophony
of electronic noises and acoustical instruments. Listening to
them it becomes obvious that they don't care too much about structure.
Also they do not try to become masters in playing technique. In
a free and enthusiastic atmosphere their weird songs are born.
They are not very critical to themselves, but this maybe their
strength in this phase. In the end I would say this is pop-music,
but of a very loosely improvised kind. Their focus seems to be
to experiment and see what this brings about. I guess they themselves
also often do not know what the experiments will reveal. This
probably explains the innocent and childlike character of their
music. In the anarchic chaos they create, often nice moments occur.
These three do have ideas, and are a solid working-unit.
Address: http://www.paxrecordings.com/
FRANK NIEHUSMANN - DAY TRACKS 2 (CD by Nur Nicht Nur)
Only recently we reviewed the CD 'Day Tracks
1' by Frank Niehusmann (see Vital Weekly 510), and here is 'Day
Tracks 2', soon to be followed by 'Day Tracks 3'. Maybe there
will be 'Night Tracks', with more peaceful music? Not that Niehusmann
plays loud music. His work is about a piece of software which
he built himself, and which allows him to sample sounds and play
around with them. Again, like before, we get twenty pieces of
his 'direct to tape' playing of electro-acoustic music and much
of what I had to say about the first release, I can state here:
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
PAUL BRADLEY - MEMORIAS EXTRANJERAS (CD
by Alluvial Recordings)
On the back-cover of the new Paul Bradley CD, we see a tourist
picture: people standing in a sunny street and when we read that
this was recorded in Valencia and Gandia, both in Spain, we may
know that this picture is made while recording the field recordings
used. At the basis of all Paul Bradley music is the field recording.
After that Bradley manipulates the material until is a stretched
out piece of drone music and the original source recordings have
disappeared. That's why in the early days we thought it was a
bunch of synthesizers. However for 'Memories Extranjeras' he has
these recordings made in Spain, and he by and large does the thing
he always does best but there is a slight difference. The original
field recordings are here and there to be heard: at one point
the rhythms of a marching band arrive out of a mass of sound and
sounded like an odd counterpoint in this music. On other spots
we hear the crowd cheering or talking in a reverbing hallway.
This 'revealing' of sources is a quite nice new feature in this
music. It doesn't add a whole new perspective, nor does it break
the good flow in this work, but at the same time, you feel that
Bradley is slowly shifting interest towards new paths. I wouldn't
be surprised if he switches over one day and reduces the electronic
processing in favor of the pure field recording. But that's all
for later. For now, Bradley added another fine work of drone music
to his already nice discography. (FdW)
Address: http://www.alluvialrecordings.com
MOLJEBKA PVLSE - DVNKL (CD by Fifth Week)
Not all of the previous releases by Mathias Josefsons project
Moljebka Pvlse have been reviewed in Vital Weekly, but some made
their way. His works were previously released on Cold Meat Industry,
Segerhuva, Mystery Sea and Fin de Siecle and now on the unknown
label Fifth Week. For 'Dvnkl', his seventh release, Josefson works
with Karin Jacobson, singer of Les Issambres, but I must admit
that I read this in the press blurb, since the voice is as much
twisted around, and placed upside down inside out, as the field
recordings that form the usual basis of this music, that it is
hard to recognize as a voice. Sometimes the looped voice is to
be recognized, speaking, humming or just producing sound, but
it's never made easy. Moljebka Pvlse plays music that is best
categorized as dark ambient, but the element field recording becomes
more and more a clear thing, just as with the elsewhere mentioned
new Paul Bradley. The original sources are not easy to recognize,
but there is a very good element of darkness involved - the ongoing
feature in the music of Moljebka Pvlse I guess. 'Dvnkl' somewhat
sidesteps the previous work, being the collaboration with vocal
related material, but on the other hand it entirely fits the Moljebka
Pvlse sound perfectly. This is indeed another fine work. (FdW)
Address: http://www.fifthweek.se
SANTO SUBITO - XAVIER (CD by Accretions)
Drone music can have many forms, but many of the drone related
records reviewed in Vital Weekly are in most ways highly electronically
shaped. The acoustic drone however harks back to the early days
of minimal music, to the music of La Monte Young and the Dream
Syndicate. Santo Subito, aka Milton Cross (violin) and Steven
Dye (bass clarinet) go back to these old days of early minimal
music with a record that was recorded on 'a saturday' in April
2005. Besides their usual instruments, they also play homemade
horns, piano, electronics (dam it!) and percussion. Whatever electronics
there are, they are hidden away in the mix. Cross might be known
for his work for Tarentel and Dye is the builder of instruments.
The seven pieces on this CD display an excellent variety of sounds.
The closing 'Farewell Bouy' is slow, contemplative piece with
rumbling percussive sounds in the back, a few chords on the piano
and the leading role for the bass clarinet, which is a far cry
from 'Radiosonde', a strong minimal driving force along the lines
of Micheal Nyman or The Lost Jockey. The wall of sound minimalism
is however not the majority here, as most pieces have that more
introspective playing of the final piece. All seven make clear
that the possibilities of playing acoustic drone music are quite
endless and that given the variety on offer here, it's still a
pretty coherent disc. Very fine music, refreshing to hear after
the many electronica drones usually around this place. (FdW)
Address: http://www.accretions.com
DJENGER - VORTEX (CDR, self-released)
Although Djenjer started out making music in December 2005, he
feels it's already time to release his first CDR. Djenjer is one
Yassine Maaroufi, a young Morroccan artist living in France. That
might be the first surprise, the second is that he produces noise
music. The album has six tracks and they are more or less related
to the cosmos, with titles such as 'Cosmic Tempest', 'Planet Cries'
or 'Black Star Dying'. It's hard to tell what Djenjer uses instrument
wise, besides feeding the sound through a bunch of distortion
pedals. He creates a dark and dense sound, based mainly on the
lower end of the sound spectrum. Rhythm plays an important role,
but it's more like the old Esplendor Geometrico than a mean dance
floor killer. The pieces are alright, but all six are in general
too long. Once the idea is clear it goes on a bit too long, which
is a pity since it doesn't add to the power of the music. Power
which is clearly present, but it looses its sharp edges in the
length of the pieces. There is certainly a lot of potential in
Djenjer's music, but also some learning to do. A good start nevertheless.
(FdW)
Address: http://djenjer.atspace.com/
THE SUN IS AN ORANGE COOKIE - MY HEART OF
SUGAR (CDR by Chloe Recordings)
Now that's an odd band name: The Sun Is An Orange Cookie is one
Linda Gale Aubry, of whom I never heard before. Her CDR comes
in hand-stichted bags, each being entirely different and limited
to 36 copies only. The seven pieces were recorded over the course
of several weeks, using a synthesizer, sampler and an ipod. On
the latter she stored a bunch of field recordings, which she samples
away and colors the picture further with synthetic sounds. The
music is not like some of the other Chloe releases, which all
had their share in improvised and electro-acoustic music, but
The Sun Is An Orange Cookie is highly synthetic music, even when
perhaps some of it is made through methods of improvisation. It's
very upfront stuff that is made with a sort of sense for naivety.
Arpeggio synths, minimal samplings. It all sounds quite alright
but never too brilliant or too new, with some of pieces being
an updated version of the Germanic cosmic music tradition. A bit
unstructured here and there, but in the end it's thumbs up for
this. (FdW)
Address: http://www.chloechloe.cc
DISSECTING TABLE - NO LONGER HUMAN (CDR
by Suggestion Records)
XEDH - YOUR FLESH (3"CDR by Verato Project)
Back in the day when CDs were a novelty to get, there wasn't much
experimental music available, so you would end up buying things
that were perhaps not entirely your taste, but you needed to feed
the machine something. So one of the first CDs I ever bought was
an album by Dissecting Table, which a friend of mine released.
I wasn't blown away by the aggressive, noise 'n rhythm sound and
when Dissecting Table released more, I didn't bother with keeping
up. It's been a while since we reviewed anything by Ichiro Tsuji,
as the man of Dissecting Table is called, but here is a new one
- relatively new, since it was recorded in 2003. I am a bit clueless
why this CDR is released on Suggestion Records, and not Verato
Project, Suggestion's side label for CDRs. Much happened in music
in the last years, but all of that went by Dissecting Table. His
music is still a blend of feedback, feedback, distortion, distortion
and vocals. Like it sounded when I got the first CD, umpteenth
years ago. I still I am not won over as the biggest fan. I can
see his point, but that's it.
On Verato Project we find Xedh, with a follow-up to 'Serpents'
(see Vital Weekly 445), again a 3"CDR. Other than that it
is a project by Miguel A. Garda, I know nothing. In the time span
between 'Serpents' and 'In Your Flesh', nothing much changed in
his music. Banging the plates metal in a machine-like way complete
with piercing electronics. Life isn't a perfect place or some
such, which is the message it tries to communicate. I already
knew that. Still old school industrial, and a tad bit better than
the previous, but not my thing at all. (FdW)
Address: http://www.suggestion-records.de
Address: http://www.verato-project.de
GIESELA ROT - SACRAL FIELDMUZICK (3"CDR
by Field Muzick)
MARCUS OBST - TRAFIC TONALITE (3"CDR by Field Muzick)
Perhaps I am not at liberty tell, but Giesela
(a German girl name) is not a girl, it's Lasse Marc Riek, whom
we know from his Grünrekorder label. Her (ok, for reviews
sake) release deals with time, waving together family portraits
and lullabies in an almost sacred way. On the cover it says field
recordings by Opa Knef in Koblenz and Opa Rostock in Rostock -
two granddaddys helping out. It's not easy what they did, as Giesela
stretches the material far out. If they are voices, they are now
knitted together into a field of waving tones. A bit synthesizer
in the first two pieces, but in 'Acer Campestre/Feldahorn' it
seems to be accordion or wind instruments. Quite nice and indeed
a bit sacral, but not too much to be kitschy.
Marcus Obst runs the Field Muzick label. In October 2005 he recorded
this piece (plus the two you can find online) but on the way the
'plugins of my sequencer software started to melt. This slowed
down the recording process in such way, that I embarked on my
journey home empty-handed'. So is this the slowed down recording?
Perhaps it is. The one piece that lasts twenty minutes uses street
sounds, being fed into plugins, is of a slow and relaxing quality.
Music to be played at a rather soft volume to create the right
atmosphere for it. Slow and peaceful without much real development,
but it's all together quite a nice release. (FdW)
Address: http://www.fieldmuzick.net
FLUTWACHT/SYNOMORPH - FRAGRANCE OF BLOOD
(CDR by Tosom)
ROY-ARNE KNUTSEN - SILENCE (CDR by Tosom)
These two new releases on Tosom are two entirely different releases.
Flutwacht is an active force (in many ways) of Germany's always
very strong noise scene, and they (he? she?) has had many releases
on many labels. Here they have a split with Synomorph is less
known and have only one CDR release so far. The first time I played
this release I didn't particular look at the cover, nor read the
information, assuming this was a collaboration of some kind. Then
it turned out to be a split, but the tracks are not strictly separated
(first a bunch by one, and then a bunch by the other), but hustled.
Plus there are four collaborative pieces. Not that any of this
matters, since it all sounds pretty much a like, with enough variations
on the theme. Both bands play with tons and tons of noise (distortion,
feedback), layered electronics, occasional machine rhythm (or
is that rhythm machine?) and piercing vocals. You can't pin one
band down and say what it differs from the other. But as said
there is enough variation in these pieces, which otherwise sound
like they played their fair share of Whitehouse, Genocide Organ
and Ramleh in the past.
On the other side of the musical spectrum is Roy-Arne Knutsen
from Norway. 'Silence' is his second release and consists of four
ambient pieces, with a total length of twenty minutes. Quiet music,
relaxing music, played on a bunch of synthesizers (wether or not
coming out of the computer, we don't know) with some additional
field recordings. Probably the sound of rain, always easy to catch.
If Flutwacht/Synomorph have their heroes, so does Knutsen: his
ambient music is quite close to the inventor of the genre, Brian
Eno. One thing though that struck me: the tracks are a bit short
for this kind of music and they end a bit abruptly. Knutsen could
easily make his pieces a bit longer without losing the listener's
interest and create nicer curves to end his pieces. Nice one for
an early spring morning. (FdW)
Address: http://www.tosom.de
MITTELSFÄR - M1 - M6 (3"CDR by
Mussigganger)
VED - DEMIS ROUSSOS INTERNAL (3"CDR by Mussigganger)
PRAKT - GINNIPIGGU (3"CDR by Mussigganger)
PÄR THÖRN - NOW HOW RANDOM IS RANDOM (3"CDR by
Mussigganger)
The english version of the website for this label is not yet online,
and my swedish isn't what it never was, so I just go by what I
(barely) read on the cover. Mittelsfär is Matthias Nihlen
on prepared electric guitar and Henrik Kihlberg on a small portable
gramophone. They offer six short tracks of really lo-fi improvised
music of themselves scraping the guitar, some field recordings.
It's all a bit too lo-fi and easy for me.
No instruments are listed for Ved. Not even a name. Just Ved as
the artist and 'Demis Roussos Internal' as the title. This one
is a bit harder to describe really: I think it's made of samples
and sounds, certainly at the beginning, a bit lo-fi pop like.
But then it moves into a lengthy drone like piece with piano playing.
It's a kind of curious release that is not bad at all.
Behind Prakt is Henrik Kihlberg, who runs the Mussigganger label.
His 'Ginipiggu' (that probably translates as guinea pig) release
is a 'reworking of various field recordings'. The funny thing
is that he doesn't transform the usual blend of water and rain
sounds, like so many other do, but he stuck his microphone in
a birdcage and works his way around with the birdcalls. Somewhere
along the line he feeds his birds into a wall of droning electronics
and scraps along the metal of the cage. Not exactly a peaceful
affair, but it sounds quite intense and dense.
Pär Thörn offers a conceptual work. The title means
'concept of randomness and
dice throwing'. Lots of layered voices, feeding through an echo
unit, or perhaps natural in the process of phase shifting. I was
going to write a bit like blackhumour, but is there anyone out-there
who has a clue what I am talking about? Let's say, a bit like
Steve Reich's 'Come Out', but with a lesser intensity. As far
as concepts go, it's alright. (FdW)
Address: http://www.mussigganger.tk
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