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VITAL WEEKLY
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number 526
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week 20
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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
NIKO SKORPIO - ESCAPE FROM HEAVEN (CD by
Some Place Else) *
PAN.AMERICAN - FOR WAITING, FOR CHASING (CD by Mosz)
CORRUGATED TUNNEL - WE ARE ELECTRONIX (CD by seedyR & Invisible
Agent) *
THE PARANOID FOUNDATION - DOUBLE NEGATIVE (CD by Paranoid Foundation)
*
ORIGAMI REPLIKA - KOMMERZ: MERZBOW IN THE HANDS OF ORIGAMI REPLIKA
(CD by Segerhuva) *
ANDREW DEUTSCH - THE SUN (CD by and/Oar) *
KIYOSHI MIZUTANI - SCENERY OF THE BORDER - ENVIRONMENT AND FOLKLORE
OF THE TANZAWA MOUNTAINS (CD by and/Oar)
DEEP END - KISS THE LIGHT GOODBYE (CD by Fratto9 Under The Sky
Records)
UR - BAPTISM & BIRTHDAY (CDR, private)
TAYLOR DEUPREE - NORTHERN (CD by 12K) *
THOLLEM MCDONAS - CHASING THE SUN / RACING THE SUN (CD, private)
BALUN - SOMETHING COMES OUR WAY (CD by Brilliante)
GREGORY TAYLOR - VOICEBAND JILT (CD by Cycling 74)
MY EDUCATION - MOODY DRIPPER (CD by Thirty Ghosts Records)
TOMAS PHILLIPS & DEAN KING - A TRAVERS LE BORD (CD by Non
Visual Objects)
JOHN BUTCHER/XAVIER CHARLES/AXEL DÖRNER - THE CONTEST OF
PLEASURE (CD by Potlatch)
SANCHO - MYSTERY YEAR (CD by Seed Records) *
ERIC CORDIER - BREIZHISELAD (CD by Erewhon) *
M. HOLTERBACH - AARE AM MARZILIBAD (miniCD by Erewhon)
KOEFF - PERFORMANCE ARCHAEOLOGY (CD by Firework Edition Records)
HENRIK ANDERSSON (CD by Firework Edition Records) *
JOHANNES HELDEN & LASSE MARHAUG & JOACHIM NORDWALL - WHEN
THE ICE IS LEAVING SCANDINAVIA IS BURNING (CD by Firework Edition
Records) *
PSYCHIC SPACE INVASION - ALL GOD'S CHILDREN GOT SPACE (CDR by
Elvis Coffee Records) *
THE ETERNAL PRESENT (CDR compilation by Elvis Coffee Records)
ANTONY MILTON - GUITAR HAS STRINGS (CDR by Black Petal)
MUURA - SCARLET URMINE SANDSTONE LADY (CDR by Black Petal) *
MATTIN - SONGBOOK 3 (CDR by Black Petal) *
IDEA FIRE COMPANY - RAGS TO RICHES (DVD-R by Swill Radio/Pineapple
Tapes)
GRAHAM LAMBKIN - DRAINING THE VATS (Cassette by Pineapple Tapes)
AKIRA RABELAIS/STEPHAN MATHIEU - QUIEN ERA ACQUELLA QUE TE AMO
(DVD-R by ConV)
AAL - OGGI HO INDOSSATO LA TUA MANCANZA (MP3 by Ctrlaltcanc) *
NIKO SKORPIO - ESCAPE FROM HEAVEN (CD by
Some Place Else)
Curious as always, I wanted to hear the new Niko Skorpio record,
but I thought it would have been better in the hands of Niels
Mark Pedersen, our fellow Vital Weekly reviewer for the more dark
and rhythmic music. But always check out yourself, and you may
have guessed right: I like it. I expected some doom and gloom
along the lines of Cold Meat Industry and yes, there are a couple
of tracks that could have been easily made by, say, In Slaughter
Natives, throughout this album there is a strong and healthy sense
of experimentalism. Niko Skorpio, the man in disguise behind the
Some Place Else label, has a vast catalogue of works that go back
to the late nineties, but in his musical approach he harks back
further, at least on this album. He states that his album can
be described as 'industrial music' standing in the traditions
of Throbbing Gristle, Coil or Psychic TV. But Niko Skorpio plays
his version of industrial music with digital means. Just like
his big examples, Skorpio doesn't play 'just' noise, there are
also moments in which things are quiet and introspective, such
as in the intense opening piece 'Dawn: The Gathering Of Vultures'.
Some rhythm plays a role, and things start to sound militant and
upright. Skorpio has made a richly varied album of various moods
and styles that makes however a solid and unified impression.
A great album of turning an 'old' style into something 'new' and
with an own signature. (FdW)
Address: http://www.someplaceelse.net
PAN.AMERICAN - FOR WAITING, FOR CHASING
(CD by Mosz)
With an unerring sense of space, in terms of texture, frequency
and rhythm, Pan.American concoct wonderfully simple modes of echo,
hum and melody that act as the basis for slowly unfurling tracks.
Of all their records, 'For Waiting, For Chasing' capitalizes perhaps
most effectively on this methodology create elegant sonic washes,
with fragmented pops of effervescent noise emerging intermittently
- suggesting to the listener exactly where their focus in the
piece should be.
And where does this locus of attention lie? Well, for the most
part this record suggests a floating focus - a reinforcement of
the joy of choice when considering where to place your ears and
for how long. 'Are You Ready' for instance maintains coexisting
layers of traditional (perhaps almost clichéd) ambience,
clicking/popping rhythms, pulsing gentle electronics and intermingling
layer of distorted atmospheres - the end result is a chance to
move freely and concentrate on different aspects of the record's
production depending on environment and mood of the listener.
This procedure and offering is repeated at length through other
pieces such as 'From Here', with tracks like 'Amulls' acting as
counterpoint of sorts, assuming a more monotone stasis.
Address http://www.mosz.org/
CORRUGATED TUNNEL - WE ARE ELECTRONIX (CD
by seedyR & Invisible Agent)
Music from Edwin James, aka Corrugated Tunnel, has been reviewed
before (Vital Weekly 449 and 453), but in the meantime he worked
on his full length debut album, 'We Are Electronix'. James, from
Ireland, plays, according to techno legend Abe Duque, the 'new
old school' in techno music. He does that since the early 90s.
Acid and techno are the main ingredients of his music, but on
his debut there is also space for some more ambient house oriented
passages. His previous releases were perhaps a bit too middle
of the road for me, but I must say that 'We Are Electronix' is
quite a nice release. It has all the right elements of a good
techno piece, there are spacious synthesizers, retro elements
of electro like vocoders. Perhaps it's the pleasant sunny day
that makes life a bit easier and an album like this really fits
the day. Sunny music. (FdW)
Address: http://www.corrugatedtunnel.com
THE PARANOID FOUNDATION - DOUBLE NEGATIVE
(CD by Paranoid Foundation)
My first encounter with The Paranoid Foundation, a music/multimedia
group from the UK, consisting Crispin Lee and Andrew Walker doing
the music and Tetsu Okada doing the visual side of the band. Their
aim is 'to explore the darker elements of the human psyche'. Their
musical influences are wide apart, ranging from krautrock to punk,
and industrial to dub, but on their latest CD 'Double Negative'
you will have a hard time finding these influences. In the nine
pieces that are to be found here you will find dramatic music
with a strong love of the more forceful forms of ambient music.
Ambient industrial as we used to call this some fifteen years
ago, or isolationist music about ten years ago. Closed system
music, playing the darker edges of music and indeed, perhaps,
adding a sense of paranoia to the music. All of the tracks are
quite nicely made, with layered electronica, and perhaps a bit
of guitars, or perhaps tons of sound effects. For what it is,
it's quite alright, but not so much in terms of adding new insights
to the world of ambient industrial music. (FdW)
Address: http://www.paranoidfoundation.com/
ORIGAMI REPLIKA - KOMMERZ: MERZBOW IN THE
HANDS OF ORIGAMI REPLIKA (CD by Segerhuva)
It's almost impossible to understand, but this work was recorded
in 1997, but it took nine years to find a label. Origami Replika,
a trio of Lasse Marhaug, Tore H Boe and Mads Staff Jensen, recorded
in 1997 two works of them remixing other people's works. The first
one, 'Kapotte Muziek In The Hands Of Origami Replika' was released
shortly after it was finished, but for some reason 'Merzbow In
The Hands Of Origami Replika' took so much more time. The cover
lists all of the Merzbow works used, ranging from cassettes to
vinyl and CDs and includes 'destroying nine Merzbow cassette cases'.
Origami Replika uses turntables, minidiscs, microphones and sound
effects to create a sonic density that is not unlike the good
master himself, but also more quieter moments of noise assault,
which of course is a rarer feature in the vast amount of Merzbow
works. However, the majority of the pieces are way out sonic attacks,
that easily survived time (remember that in 1997 such things as
computers where not commonly used). This reflects the older Merzbow,
analogue phase, as well as an original attack on their material,
by surely like minded noise artists. A great work, not to be missed
by both fans of Merzbow and Marhaug. (FdW)
Address: http://www.segerhuva.se
ANDREW DEUTSCH - THE SUN (CD by and/Oar)
KIYOSHI MIZUTANI - SCENERY OF THE BORDER - ENVIRONMENT AND FOLKLORE
OF THE TANZAWA MOUNTAINS (CD by and/Oar)
In the releases of the and/Oar label field recordings are always
important, but the label doesn't exclusively work with that. They
have two new releases out, one of them being a pure field recording
work and one with electronically processed field recordings. The
latter is the responsibility of Andrew Deutsch, a composer who
has been using max/msp extensively over the last decade. This
new work contains of the sound of passing ocean waves through
various digital processing devices. 'The most articulate of these
processors was a tone generator able to isolate and respond to
specific frequencies present in the ocean waves', it reads on
the cover. It also that the concept behind 'The Sun' was to make
'static music or a kind of music that just shimmered in place'.
It surely does that, just that. The sound is vaguely like an organ
that washes ashore, just like an ocean wave would do. It is working
without many dramatic developments (it has small and subtle changes,
rather than developments, so I guess it's not that static), but
rather a sound environment that works rather nicely when played
softly and perhaps put on repeat for a day or two. There are five
variations on this CD however, which might make a repeated playing
somewhat more difficult: the flow will be interrupted.
The double CD by Kiyoshi Mizutani should be listened with headphone
or in winter time with all windows closed. Recordings were made
in the Tanzawa Mountains, where-ever that might be, or why they
are special, I don't know. Probably it is some kind of holy place,
since we hear some tracks of people chanting. The majority of
the pieces however deal with bird sounds, water falls, rain but
also a power-plant and a substation. All recorded with no sound
processing whatever, meaning all the recordings are presented
in the purest form. Some of the pieces mingle very nicely with
your environment, certainly when on hot spring day windows are
open. Is that my bird or your bird, Mizutani? A beautiful sound
picture these two CDs, excellent recordings. A pity that the information
side is a bit sparse, but that would be my only complaint. The
pictures are great! (FdW)
Address: http://www.and-oar.org
DEEP END - KISS THE LIGHT GOODBYE (CD by
Fratto9 Under The Sky Records)
UR - BAPTISM & BIRTHDAY (CDR, private)
This is the department called 'not my cup of tea music'. Deep
End is an Italian band with four members playing drums, guitar,
keyboards, bass, samples, glockenspiel etc plus some guest players
responsible for female vocals and saxophones. I am the first to
admit not being an expert, I'd say this strongly falls in the
categories of post rock, with a special mention of the music that
used to come out of the house of Constellation Records, but Deep
End is not the next Godspeed You Black Emperor, as they lack the
dramatic built up, have shorter tracks and use vocals. They like
to experiment a bit, have elements from psychedelic music and
a bit of industrial music, but throughout it's all neat and sweet
music. Nicely produced, nothing spectacular under the old post
rock sun. Just a OK record. Nothing more, but certainly nothing
less either.
Along Deep End's CD, in the same parcel was a CDR by UR, a trio
of Federico Esposito, Mauro Sciaccaluga and Deep End's guitarist
Andrea Ferraris, and perhaps the reason for getting both releases
at the same time, as UR and Deep End have nothing in common. The
first two members started UR early 2005 but both played in bands
such as Den LXV, Never Was, Downright and Kafka. Since november
last year they also play live gigs and have opened for Eugene
Chadbourne and Wolf Eyes. Especially the latter might give an
idea what UR sounds like, even when I am told that 80% of the
music is played live and not sampled. 'Baptism & Birthday'
is the first release, although a second one, 'Triadic Memories'
is also released by Afe Records. As said, pay attention to the
fact that they opened for Wolf Eyes, another band that plays around
with the notions of industrial music and improvisation. I am not
sure what these guys do, instrument wise, but it's a pretty heavy
affair of guitar, guitar effects, sampled voices and such like
into this pretty mean tapestry of sound. A bit of a cosmic headtrip
this version of industrial music, that harks back to the golden
years of the genre, about twenty years ago. But they execute their
job with care and passion. (FdW)
Address: http://www.fratto9.com
Address: <aktion65@virgilio.it>
TAYLOR DEUPREE - NORTHERN (CD by 12K)
From the outside it may seem that Taylor Deupree
is a busy bee, music-wise, but 'Northern' is his first solo release
in two years. Deupree is always busy with his own 12K label (and
off shoots Line and Happy), playing live concerts and working
with others, so perhaps time is a bit sparse to do his own music.
Recently Deupree moved from urban Brooklyn to upstate New York,
and the change of atmosphere is a fact. Well, or not? Deupree's
music is, at least for a longer period of time, made of tranquil
and silent elements. Textural music, made with sounds from the
environment but also electric piano, melodica and guitar, but
then highly processed. It is what he has been doing since quite
some time now, wether he was in Brooklyn or Pound Ridge, where
he is now. But it seems that he takes even more time to tell his
story. Only six tracks are present here, mostly lasting around
nine to ten minutes. Deupree wants the listener to sit back and
take it all in, but in a very slow pace. Things develop, that's
for sure, but everything seems to be taking it's time, gradually
everything becomes bigger and bigger, with subtle sounds added,
longer sustains. It's warm music that may perhaps not fit springtime
coming (the cover depicts a winter world), but it's certainly
one of the best Deupree works so far. The calmest and most slow
one. (FdW)
Address: http://www.12k.com
THOLLEM MCDONAS - CHASING THE SUN / RACING
THE SUN (CD, private)
In 2004-2005 McDonas came out of his shadow and debuted with three
impressing CDs of solo and duo recordings (on Pax Recordings and
Edgetone Records). Now he returns with another proof of his eccentric
talent. The first of a new series to be released in the next few
months. On this new CD we find two different solo-recordings by
Mcdonas, not after one other, but over one other, following a
very uncommon procedure with a puzzling result. In his own words:
"This album consists of live recordings of the first halves
of two solo piano concerts laid side by side, woven in and out
of each other. One concert from Area Sismica in Forli, Italy (dec.
2005) and the other at the Musicians Union Hall in San Francisco
(march 2006). All music is in the order it was performed. i cut
some space here and there but mostly am manipulating only volume
levels to get this woven effect. i did not cut and paste, all
editing was done on two tracks only, one track for the concert
in italy, the other for the SF concert".
Of course both performances stood on their own feet, and were
not waiting or needing to be supplemented this way with it's so
called missing part. Also I don't know whether McDonas had in
mind combining these recordings at the moment he played them.
I guess he didn't. The idea occurred later I suppose. But what
is the idea? Especially in the beginning of this CD I had the
feeling of listening simultaneously to two different concerts,
both following their own intentionality. This experience never
fades but on the other hand both recordings start to 'talk' to
each other very soon and many meeting points occur. With a very
limited set of manipulating techniques McDonas succeeds in superimposing
an intended structure. And the whole becomes more then the sum
of its parts. It is not that McDonas is interested in reaching
some effect, just for it own sake. The CD reflects some internal
schizophrenic battle through which he maximizes and intensifies
his own and one voice. A dazzling experience.
In listening intensively it is possible to identify both threads
from which this tapestry is woven. But the real joy is to discover
the patterns, the possibilities of relating both voices.
Sometimes both voices make a contrast, at other moments they come
close. Great exuberant crescendos are followed by more intimate
passages. Themes and other ideas we know from earlier recordings
make a new appearance. At moments I,m reminded of the universe
of Nancarrow. Also, like in track ten, he makes use of extended
techniques.
Well, I find it hard to say what border McDonas is crossing here.
But I can live without an answer. In fact, these and other questions
that are evoked by these recordings are part of the fun. An astounding
and intriguing - and not only - musical experience. (DM)
Address: http://www.thollem.com/
BALUN - SOMETHING COMES OUR WAY (CD by Brilliante)
This is a three piece out of San Juan, Puerto Rico, a new booming
city of electronic music. They released two EPs themselves and
'Something Comes Our Way' is their debut full length. The label
describes them as an 'electro-acoustic pop outfit', but I must
admit it's a term I don't understand. Electro alright, but acoustic?
In what way? Balun plays twelve sweet electro popsongs, without
the urgency or aggressiveness of the real electro clash thing.
It can best be described by linking the sound to labels such as
Highpoint Lowlife or Expanding Records, but it doesn't have similar
melancholy about it. It's rather cheerful music, with electronic
bells tinkling, accordion like sounds and nicely uptempo rhythms.
Quirky popmusic that unfortunately lacks vocals to make it over
to the world of popmusic. But it's surely a very fine disc. Sunny
music for sunny days. (FdW)
Address: http://www.brilliante.tv
GREGORY TAYLOR - VOICEBAND JILT (CD by Cycling
74)
Another label that has been quiet for some time is the Cycling
74 label, releasing works that deal with music software developed
by them, usually through Max/msp. The software at work here by
Gregory Taylor is Radial. In the liner notes Taylor admits that
this work is of pure plagiarism. I'd rather say he's creatively
remixing a fine body of work: the twenty-four 3" CDs released
by Fällt under the banner of 'Invalid Object' (see Vital
Weekly 291). The sounds there, twenty-four times fifteen one minute
pieces, are the basis of 'Voiceband Jilt', which Taylor played
live at Utrecht's Impakt festival in 2002. The original didn't
stick right in mind after all these years (not as much as it did
with Taylor I guess, who compares it with Eno's 'Obscure Records'
series), so it's a bit hard for me to comment on the level of
'stealing' vs 'remixing', but the nine tracks sound like an aural:
from the relatively quiet beginnings it sets out on a travel through
tons and tons of sound processing's - or so it seems - all neatly
fitting in the world of microsound and glitch before it lands
in similar quiet, yet slightly more disturbed grounds about forty
some minutes later. It's a fine journey throughout, but perhaps
it's also the road taken by others too, traveling similar fields.
As such it's not the surprise journey, but rather a trip one has
taken before and one that one liked before. (FdW)
Address: http://www.cycling74.com
MY EDUCATION - MOODY DRIPPER (CD by Thirty
Ghosts Records)
No doubt my fellow writer Dolf Mulder will not like me for reviewing
this CD, as it includes 'Spirits Of Peace' on a variation on a
theme by Popol Vuh, but perhaps he's not to keen on the remixes
that are also included here. This new release falls in between
a CD and EP; the latter because it has only three new pieces by
My Education and the former because there are also four remixes
included (of songs appearing on the previous CD 'Italian' (see
Vital Weekly 470)), making this a full length release. As perhaps
known, My Education is from Austin, Texas and members of Stars
Of The Lid, Ultrasound and Cinders. Their instruments include
drums, percussion, guitar, glockenspiel, lapsteel, viola, keyboards,
bass and some vocals. In their three new tracks, My Education
remains faithful to their original sound, the guitar big band
with elements from post rock and krautrock. Orchestral big, with
changing moods and also much attention to the 'extra' instruments,
such as violin, vibraphone and slide guitar. Of this lot the 'Spirit
Of Peace' piece is the best one of the lot. Moody and atmospheric,
it captures the spirit of Popol Vuh quite nicely. The remixes
are made by Dalek, Red Sparrows, Teith and Kinski. I am not sure
what the purpose of these remixes is, as they all sound like My
Education (orchestral, powerful, influences of Mogwai and Godspeed),
and don't seem to take matters in a new territory. Perhaps the
label tries to convince fans of the remixers' other works what
great band My Education is? No techno or drum & bass or no
microsound, to mention some possibilities. On the Kinski remix
of 'Puppy Love' comes close to bringing the sound in another territory,
with it's minimalist classical opening and chaotic drumming, but
is in the end too much Godspeed alike itself. I was already convinced
that My Education were a great band, and the remixes didn't need
to tell me that. (FdW)
Address: http://www.thirtyghostsrecords.com
TOMAS PHILLIPS & DEAN KING - A TRAVERS
LE BORD (CD by Non Visual Objects)
"The product of a definite convergence of ideas as well as
my own nascent french, the title 'A Travers Le Bord' can be interpreted
as both a 'crossing through' a material edge or border and a liminal
move from exterior to interior, or vice versa,. in terms of, for
example, flesh, or more generally, selfhood'. Pardon my french,
but this first line is to be found on the cover of a new CD by
Tomas Phillips and Dean King. Phillips we know from his recent
collaboration with I8U (see Vital Weekly 515) and with Tobias
C. van Veen (see Vital Weekly 499). Sadly we missed out on his
release for Trente Oiseaux (but then we miss out on all of the
releases on that label, for reasons unknown). I am not sure what
that first line means. Together Phillips and King were Eto Ami,
since 2000 and have released a couple of CDRs. Now they use their
real names and come up with this new CD, with one track spanning
almost thirty eight minutes. Computer processings still play a
big role in this music, which apparently also makes use of acoustic
instrumentation and field recordings. The two do a fine job, strongly
rooted in the tradition of microsound and not, au contraire with
the press text, slowly evolving tradition. As such this work is
greatly produced, contains some dam fine microsound, but also
is still very much known in what we already know of that particular
area of music. (FdW)
Address: http://www.nonvisualobjects.com
JOHN BUTCHER/XAVIER CHARLES/AXEL DÖRNER
- THE CONTEST OF PLEASURE (CD by Potlatch)
Three players of wind instruments. In fact: three renowned players.
John Butcher on tenor & soprano saxophones, Xavier Charles
on clarinet and Axel Dörner on trumpet. What is important
for acoustic players, is the room they play, as that can make
a distinct difference. These trio were recorded in the large hall
of L'Athanor cultural centre and in a studio. Especially in the
big hall various microphones were used to capture the sound of
the environment and the way the instrument travels. The resultant
recordings were later on mixed by editing them down to this full
hour, 'The Contest Of Pleasure'. As you can imagine from these
big shots from the world of improvised music, this is a true pleasure
to hear. Sometimes the playing is regular, with the large reverberations
adding lots of space, but most of the time the playing is less
conventional and the three use the instruments more to generate
whatever sound, as long as it's not anything close to normal playing.
Some of the pieces, or rather passages, are quite intense such
as the sustaining sounds in 'Les Oignons'. The full hour is perhaps
quite a sit through, but I found the music less demanding than
some other works in the world of improvisation, and found this
much easier to digest. (FdW)
Address: http://www.potlatch.fr
SANCHO - MYSTERY YEAR (CD by Seed Records)
Paul Hanford is the man behind Sancho, which was formerly called
Brothers In Sound. It's not a solo project as now up to nine people
are active in Sancho, including a visual team. Here however just
the music (the advance CDR doesn't have the music video that is
on the real pressing). Sancho works with old analogue equipment,
outmoded hardware and acoustics. 'Mystery Year' is a nicely varied
bunch of musics, sometimes pure electronica, but also with traces
of krautrock, folk music and synthipop. You could easily think
that it's bunch of different music that doesn't work very well
together, but oddly enough it does rather well. Most of the pieces
are instrumental, but the presence of vocal pieces, such as 'I'm
On Your Side' works pretty well. Some of the pieces are quite
sketchy, lasting less than a minute, but it keeps the album pretty
much up to speed. The thirteen tracks guarantee never a dull moment
in sight. Uplifiting music from a highly diverse supermarket of
music. Very pleasant! (FdW)
Address: http://www.seedrecords.com
ERIC CORDIER - BREIZHISELAD (CD by Erewhon)
M. HOLTERBACH - AARE AM MARZILIBAD (miniCD by Erewhon)
By my own quick count, I think it was almost three years ago that
we last reviewed something by the Belgium Erewhon label. Their
small catalogue focusses on music that can be best described as
a cross over between musique concrete, drones and field recordings.
These two new releases are no different, but both have a strong
conceptual edge.
Eric Cordier uses a 1960s 78 RPM record as the sole source for
his entire CD. Not just a 78 RPM, but the first record that had
the Breton language carved into it. Much of the original information
is erased through time, but it provides some excellent source
material for Cordier. He uses 'a sophisticated delay pedal: GSP
2101 and a sound processor TC (G Force) and handmade devices'.
He plays six lengthy pieces with this limited material, but cranks
out some beautiful material with it. Of course the crackling vinyl
plays an important role, but throughout there is a great sense
of peace and warmness in these recordings. Everything moves solemnly
and slowly around, and makes a hotbed of ambient sounding material,
but albeit an ambience of a highly original kind. Perhaps limited
in it's concept, the execution thereof is great.
Manu Holterbach, inventor of the electronic glasses (see Vital
Weekly 472), works also with spatialization devices and mutant
loudspeakers, but also installations and performances. For the
piece presented on this miniCD, he locked a microphone hermetically
in a bottle. He threw the bottle in a Swiss river, the Aare, and
made this recording. If you open a bottle of some drink with bubbles,
you might be fascinated at the sounds of the bubbles escaping.
The first half of this piece sounds a bit similar, but if you
listen carefully you can also hear voices from aside of the river.
But they are far away, and as the piece progresses, they become
louder. Perhaps the bottle washed ashore? It's a pretty single-minded
concept that however works out very well. It's a beauty to listen
to. Somewhere between highly filtered rain sounds and opening
the next beer can. (FdW)
Address: http://www.radiantslab.com/erewhon
KOEFF - PERFORMANCE ARCHAEOLOGY (CD by Firework
Edition Records)
HENRIK ANDERSSON (CD by Firework Edition Records)
JOHANNES HELDEN & LASSE MARHAUG & JOACHIM NORDWALL - WHEN
THE ICE IS LEAVING SCANDINAVIA IS BURNING (CD by Firework Edition
Records)
Up until 2002 we regularly reviewed CDs by Firework Edition Records,
usually three at a time. In 2004 we reviewed just one and then
things went all quite. I don't know what happened in the meantime,
but these three proof they are back. Firwork Edition Records operate
on the boundaries of performance art, serious modern classical
work and noise. And you might stumble upon a new name or two you
never heard of. Koeff for instance? There are extensive liner
notes, but who Koeff is who, I don't know, other than a female
artist. Upon reading the liner notes we learn that she does performances
using vacuum cleaners, washing machines and other household gear.
Probably, I don't know, a comment on the traditional position
of women responsible for household jobs? Koeff uses her voice
along these household appliances, which is a pretty noisy affair.
I can't say that I'm overtly blown away by this work.
Also Henrik Andersson is a new name for me. He was born in 1973
and works within visual art, performance and music. 'Using sound,
music and language as material his interest could be said to take
aim at the concept of translation'. His self-titled CD is his
first solo CD and is varied bunch of works. Pieces of music, installations
and 'self playing art objects'. You will hear a piece of made
with a double bass, toy car and horse hair playing itself, a SMS
message read by a computer voice, but also a piece for water,
glass and filter sound system and a piece for modified bass and
drums. The latter is a free rock piece and probably comes closest
to real music, but also falls a bit apart with the rest of the
CD. Normally music that is so much art that it becomes unlistenable
is not well spend on me, but this utter varied bunch of music
and concepts is executed quite well.
Joachim Nordwall (Skulff Defekts, Ideal Records label boss) and
Lasse Marhaug (Norway's answer to Merzbow) team up with one Johannes
Helden, at least on a couple of occasions between 2002 and 2005
to work on their CD, which uses field recordings as it's prime
source, but which were later computer processed. With the names
of Nordwall and Marhaug you could all too easily think we are
dealing here with strong hard powernoise, but that is not the
case. Throughout these seven pieces, there is a strong sense of
control. None of the field recordings can be recognized as such,
but controlled static crackling and drone related sounds form
the backbone of these pieces. It could as easily be actually one
piece of music, divided in seven parts, as there is a sense of
continuity in all of these pieces. This work could have been released
by Line as well, for it carries the same carefulness and similar
acoustic esthetic. Music-wise the best of this new trio. (FdW)
Address: http://www.fireworkeditionrecords.com
PSYCHIC SPACE INVASION - ALL GOD'S CHILDREN
GOT SPACE (CDR by Elvis Coffee Records)
THE ETERNAL PRESENT (CDR compilation by Elvis Coffee Records)
In Vital Weekly we first encountered the music of Psychic Space
Invasion, aka Ian Holloway via two releases that were a bit different
from each-other. One of them was drone music. For his new one
he expands again on the subject of drone music. In a forty minute
piece he plays one long drone, which starts out quite solemnly,
but over the course of the next forty minute, things get expanded
and more spacious through the use of sound effects, mainly the
phaser or flanger. I am not sure, but it doesn't need be expensive
synthesizers to make something that sounds very good. There is
a strong similarity between this release and the first few Jliat
releases, with a kind of similar organ like sound, but Psychic
Space Invasion does just a little bit more than Jliat did in the
past.
On the same label we have 'The Eternal Present', the second label
compilation of bands on The Elvis Coffee Records label. Other
than Psychic Space Invasion, none of the names mean much to me.
Kiss My Farkin, Swn, Les 7 Mondes, Ghoul Detail, Analgeek and
The Buff Monkey Ensemble for those who want to know. They all
play some kind of music that is best classified as 'experimental'
in whatever capacity. A bit of drones, computer generated time
stretching or just a bunch of beats. Much of the material is rather
lo-fi and consist more of ideas than of worked out pieces of music,
but it's a nice collection. At least for those who want to seek
out something really new. (FdW)
Address: http://ecr.homestead.com
ANTONY MILTON - GUITAR HAS STRINGS (CDR
by Black Petal)
MUURA - SCARLET URMINE SANDSTONE LADY (CDR by Black Petal)
MATTIN - SONGBOOK 3 (CDR by Black Petal)
Music from Antony Milton has been reviewed before, under his moniker
A.M. (see Vital Weekly 400). He also worked as The Nether Dawn,
Clay Man In The Well and plays along with Campbell Kneale, Uton
and Pumice, as well as running his own Pseudo Arcana label. For
some reason he didn't touch his guitar for a year or so, and he
had 'soft' fingers he set about to play seven tracks of acoustic
guitar and six of electric guitar blues. All recorded by a cassette
deck, so hiss is a guaranteed feature. Solemnly solo slow music,
of despair, of isolation. Black music, with hardly a sign of light.
Blues with the big B, especially in those electric tracks.
Muura is an one-man freak band out of the blue mountains of New
South Wales. It's Matt Earle doing it, who is also in Stasis Duo,
X-wave, Your Intestines, The Minerals, Antipan and XnobbgX, and
owner of the cassette label Breakdance The Dawn. The four lengthy
cuts here were recorded on a cassette deck, and uses the simultaneous
playing of vocals, drums, guitar, and analog synthesizer. Lo-fi
is not really a word that can apply here, as this beyond being
lo-fi. Much hiss. Primitive playing on all accounts, but it has
something captivating. The rawness of course, but also the minimalism,
such as in 'Urmine Lady', waiting for something to happen, but
nothing does. Just an occasional bang.
In Vital Weekly 506 we discussed the odd 'Song Book' release by
Mattin, and somewhere along the lines I missed 'Song Book 2' as
here Black Petal releases the third volume. Mattin plays again
acoustic guitar, and gets help on seven tracks by Werner Dafeldecker
on electric bass, and on six more by Noid on cello. It's Mattin
doing Lou Reed, and trying to make it more worse than Reed. As
much as I like a good joke, or perhaps a good concept, or perhaps
even both (at the same time), I don't see much point in this.
The first time around it was too long already, so why continue.
"If you like it that much, I'll do it again".
But all three releases on Black Petal, Anthony Guerra's label,
have excellent cover, nice paper, nice folding, very stylish.
(FdW)
Address: http://www.blackpetal.com
IDEA FIRE COMPANY - RAGS TO RICHES (DVD-R
by Swill Radio/Pineapple Tapes)
GRAHAM LAMBKIN - DRAINING THE VATS (Cassette by Pineapple Tapes)
Perhaps I'm not the most objective person to review anything to
do with Idea Fire Company, having been close in their European
presence lately. During this tour they sold the real thing: Idea
Fire Company live in the USA DVD-R. The full four piece, with
a videotaping of a recent show. Camera is in one position, which
is a pity. Four people stand behind their instruments. At least
let's hope so, because we don't get to see them, and they play
the usual fine blend of drone related synthesizer music. Someone
compared it to Sonic Boom, and I must say that was very well spotted.
But the music of Idea Fire Company is much more roughly shaped,
which adds to the fun. How would I know?
On the same label, Graham Lambkin, released on cassette. Graham
Lambkin is member of The Shadow Ring and Tart (along with Idea
Fire Company's Scott Foust and Karla Borecky), but this tape is
my first introduction to his solo music. 'Draining The Vats' contains
pieces recorded between 1998 and 2005, sometimes along, sometimes
with others, such as Scott Foust, Don Raleigh or as Elklink, a
duo of Lambkin on tapes and synth and Adris Hoyos on electric
guitar. It's interesting to hear that some of this music is so
strangely familiar, if you know his bands. Lenghty and spacious
cuts of drone like material, but also with a fair use of concrete
sound elements, such as water sounds and vocal/poetry stuff. It's
entire ninety minutes are long indeed, but it's all quite interesting
to hear. Just why this is a cassette only release, is beyond me.
With the same amount of trouble, it could have been a nice CDR
release. (FdW)
Address: http://www.anti-naturals.org
AKIRA RABELAIS/STEPHAN MATHIEU - QUIEN ERA
ACQUELLA QUE TE AMO (DVD-R by ConV)
At first a big questionmark on my face? These two 'bigshots' on
a DVD-R? Not a real DVD? But when I stopped watching, listening
and experiencing this, I perhaps have a better idea. The image
part (there is nothing mentioned as such anywhere, but me thinks:
Akira = visual, Mathieu = music) consists of an endless stream
of images: flowers, guns, art, architecture, naked girls. A bit
like a flicker movie, but slow enough to picture every image and
see what it is. But after a while your perception goes down at
great length (in my case fatigue). The soundtrack is a dark loud
and heavy drone piece. None of the details that these boys are
better known for are present. It's certainly interesting to watch
for a while, but the entire fifty minutes is a bit too much. The
rawness of the work made me think that indeed the DVD-R is the
right format for such a more raw and rough work. It's all not
too well spend on me. (FdW)
Address: http://www.con-v.org
AAL - OGGI HO INDOSSATO LA TUA MANCANZA
(MP3 by Ctrlaltcanc)
Early 2005 the excellent CDR S'agita Recordings stopped doing
business and that was a great pity, since they presented some
of the better Italian underground music. Music by people like
Davide Valecchi, aka Aal, of whom S'agita released three albums
(see Vital Weekly 310, 330 and 357), but it's all three to four
years ago. Perhaps I thought Davide Valecchi just stopped doing
music. Not so. 'Oggi Ho Indossato La Tua Mancanza' was recorded
in those years, and is now available as a MP3 or you can order
a CDR version of it - whatever you desire. According to Valecchi
this new work is a 'deep digital rework of several sound sources
(most of them coming from acoustic instruments, field recordings
and manipulation of found objects'. I must say I don't have that
clear of a picture of his older releases, but I do remember they
were a bit roughly shaped. The new work isn't that at all. Aal
walks the confident paths of sound processing with great care
but also with confidence: he knows what he wants. Sometimes we
hear the known crackles and static (deep end, high end) but also
some nice spacy ambient music in 'Dove Sei Adesso'. Made with
care and eye for detail. This is a renewed Aal, and making a giant
leap forward. (FdW)
Address: http://www.ctrlaltcanc.tk or http://www.lulu.com/content/286657
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