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VITAL WEEKLY
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number 545
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week 39
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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
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podcasts go here: http://ipodder.sourceforge.net/
* noted are in this week's podcast
TOM JOHNSON - RATIONAL MELODIES/BEDTIME
STORIES (CD by Ants) *
TOM JOHNSON - SYMMETRIES (CD by Karnatic Lab) *
SONORES - ELEFANTEN (CD by Structures Sonores) *
OVRO - MOSAICK THE SERPENT/VIPERA AUREA (CD by Some Place Else)
*
HAERETICI 7O74 - HEARD FLAYINGS (CDR by Some Place Else)
C-MON & KYPSKI - WHERE THE WILD THINGS ARE (CD) *
MUSIC DANCES ITSELF (CD compilation by Sonic Arts Network)
NOEXIT - ONE STEP (CD by 1000+1 Tilt Recordings) *
LIKE DEFEATED SOLDIERS OF A LONG FORGOTTEN WAR (CDR by 1000+1
Tilt Recordings) *
MATT DAVIGNON - SOFTWETFISH (CD by Edgetone Records) *
RENT ROMUS' LORDS OF OUTLAND - CULTURE OF PAIN (CDR by Edgetone
Records)
CANELL & WATKINS - LUFTKLUSTER/LUFTFLUKS (LP by Oscillatone)
DOC WÖR MIRRAN - DISCIPLINE (CDR by Mirran Threat)
DOC WÖR MIRRAN - PSEUDO ME, PSEUDO YOU (CDR by Mirran Threat)
*
DOC WÖR MIRRAN/MR EBU - WISH YOU WÖRNT HERE/MIRROR OF
TRIARCHY (LP by Empty Records)
JOSEPH B. RAIMOND - ALIEN PECKER (Book)
GRANNITTIN (2CDR compilation by Esc.Rec)
MAGA - THE SPEECHLESS (CDR by Esc.Rec) *
KAZUYA ISHIGAMI - JUN YIN 1 YU WANG - PRILGRIMAGE OF SOUND 1 (CDR
by Neus318) *
ZAVOLOKA & KOTRA - TO KILL THE TINY GROOVY CAT (CDREP by Nexsound)
*
IZANAMI'S LABOUR PAINS/MUNDKRACH/AUDIBLE PAIN (CDR by Reduktive
Musiken)
M.STABENOW - PATIENTEN SIND SCHWERVERBRECHER (CDR by Reduktive
Musiken) *
AUDIOPHILE DATENVERARBEITUNG (cassette by Reduktive Musiken)
TOM JOHNSON - RATIONAL MELODIES/BEDTIME
STORIES (CD by Ants)
TOM JOHNSON - SYMMETRIES (CD by Karnatic Lab)
For me the composer Tom Johnson is not well-known as a composer,
but as an author, of the book: 'The Voice Of New Music', a collection
of pieces he wrote for The Village Voice in New York from 1972
to 1982. Writings about new music, from Steve Reich to Charlemagne
Palestine to LaMonte Young. It's a book I still consult if I want
to know something about Minimal Music, or just re-read for fun
(and it's now free to download from www.tom.johnson.org). But
as said Johnson is also a composer, since 1983 living in Paris.
He has written a couple of Operas, an Oratorium and pieces for
ensembles and solo performers. These two releases deal with the
latter. Roger Heaton on clarinet performs both 'Rational Melodies'
and 'Bedtime Stories'. It's probably no surprise with Johnson's
writing about minimalism, that his own music may sound alike.
But there is a big difference: Johnson doesn't play on sustaining
notes, working the overtones that so many old and new minimalists
do, but each note is there, alone and naked without sort of process
happening. In 'Rational Melodies', the clarinet plays short wonderful
pieces, twenty-one in total, mostly sounding a bit desolate, but
no doubt that has to do with the character of the instrument.
'Bedtime Stories' have, as the title implies, stories, which are
sometimes very funny, read by Tom Johnson. The clarinet makes
perhaps too much sound to sleep too, but it's very fine: short
swirling melodies, often apart from the voice.
For 'Symmetries' Johnson used a music typewriter, a rare machine
to type notes, which he used to make typewriter drawings, without
caring too much how to perform them, but later the made a version
to be played by piano four hands. Here too the pieces are very
short, each depicting a specific mood, sometimes highly rhythmic
and sometimes very melodic and sparse. Each of the typewriter
drawings is shown in the booklet, which makes it for the listener
all the more engaging to follow the interpretations. Very nice,
both of these CDs, showing an unique voice in minimal music. (FdW)
Address: http://www.silenzio-distribuzione.it/ants.htm
Address: http://www.karnaticlaboratories.com
SONORES - ELEFANTEN (CD by Structures Sonores)
Swedish label Structures Sonores started in 2002 but so far released
just works by label owner Viktor Sjöberg, but now, when releasing
the first real CD, he releases music by Jonas Odhner, who works,
oddly enough, under the name of Sonores. He worked as a scratch
DJ, played guitar, hip hop and now some laid back, melodic trip
hop. Electric piano, female vocals, down tempo rhythms: melancholic
music that we know so very well from Portishead, even when Sonores
strips the music more bare to the bone. A bit jazzy at times,
atmospherical throughout, not as engaging as Portishead and too
much a copy thereof, but what the hell: it's monday morning, the
sky is all grey and autumn is rapidly approaching, what more could
such a day want. It's nothing really new under the sun, but it's
ok for what it is. (FdW)
Address: http://www.structuressonores.com
OVRO - MOSAICK THE SERPENT/VIPERA AUREA
(CD by Some Place Else)
HAERETICI 7O74 - HEARD FLAYINGS (CDR by Some Place Else)
Still, it's a pity that there is no such thing as a double sided
CD (unlike the DVD), because it would solve the problem we have
here with Ovro: she offers six tracks belonging to one album and
then some silent tracks (convenient counting to start again at
11) and then another six tracks, forming another album. Which
is nice of course if you pay full attention to your CD player,
if not, you have a problem. Then it will appear to be just one
album. Ovro started her career as one of the few female exponents
of the microsound/glitch music, but throughout the few years being
active inside experimental music, she developed her personal style.
Sampling plays an important role, and the main instrument to sample
is her voice. This she feeds through endless amount of sound effects
and comes with a rather dark, atmospheric sound that is less ambient
than before, certainly on 'Vipera Aurea' where it reaches almost
industrial like peaks. Fans of Coil should be definitely drawn
into this.
Ovro, together with Some Place Else's main man Niko Skorpio, is
also Haeretici 7074, who release 'Heard Flayings' as their second
release and just like 'Haeretici, Schismatici, Excommunicati'
this is recorded live in concert. This concert, from May this
year, saw them incorporating visual elements. The two incorporate
once again voices from the grave, I mean some satanic mass, and
add a bunch of noise and rhythm to it. The voices get looped around,
distorted and destroyed and the whole thing breaths a semi (or
perhaps quasi) religious atmosphere. Short and to the point this
recording, but somehow fails to impress me very much. (FdW)
Address: http://www.someplaceelse.net
C-MON & KYPSKI - WHERE THE WILD THINGS
ARE (CD)
Normally I don't care that much about popmusic, not even the one
that some people label quite convenently as 'alternative', which
is merely an instrument to keep the kids that think they are alternative
also quiet. A marketing tool. So far, I though C-mon & Kypski
were just another Dutch duo hanging around in that 'alternative'
scene, department dance music. I'm wrong in as far that they are
a quartet, playing samples, scratches, beats, snares and keyboards.
Their latest album 'Where The Wild Things Are' was recorded in
Morocco, and they get help from punk rockers Voicst, the Amsterdam
Klezmer band and Benjamin Herman (Dutch jazzo). C-mon & Kypski
play samplemania, sampling to death everything from hip hop to
big band, techno to psychedelic keyboards, the overall sound being
a fine cross-over from hip hop to rock. The tracks are overall
funny, and the production is excellent. I must say I rather like
it, despite being the rather odd ball in the daily digest of Vital
Weekly. (FdW)
Address: http://www.c-monandkypski.nl
MUSIC DANCES ITSELF (CD compilation by Sonic
Arts Network)
When Junko Wada was asked by the Sonic Arts Network to curate
a CD of music, she decided to compile a CD of music she would
like to dance to. Nothing strange there, since dancing is her
main line of work. Therefore she asked a whole bunch of musicians
to create a piece of music for her, which, if I understood correctly,
all got a treatment in dance by Wada already. The beautiful booklet
shows pictures of this, rather treated than pure documentary.
As such as DVD release would perhaps be a better place, but the
audio CD is a good alternative. Not exactly music that makes the
listener dancing around rather freaking out, this is more music
to contemplate with, and that actually stands quite well on it's
own. Much of the music is on the minimal side of things, slowly
developing ideas and movements that work well on the music side
and are probably great to dance too. Of the pieces that stand
out is the one by Christina Kubisch for flute and tape delay,
with is quite silent and serene and the rhythmic piece by one
Arno P. Jiri Kraehahn, which has a both curious folk like character
trapped inside the computer. Also included are pieces by Akio
Suzuki, Hans Peter Kuhn, Rolf Julius, Werner Durand, Gordan Monahan
and Arnold Dreyblatt. Beautiful release, both music and package
wise. (FdW)
Address: http://www.sonicartsnetwork.org
NOEXIT - ONE STEP (CD by 1000+1 Tilt Recordings)
LIKE DEFEATED SOLDIERS OF A LONG FORGOTTEN WAR (CDR by 1000+1
Tilt Recordings)
Behind Noexit is one Joseph Fruiscante, of whom I never heard,
and on 'One Step' he plays, according to the cover 'sax and bamboo
string', while on one song one Myriam Boucris sings. Those are
the facts about this CD, while we are kept in the dark about other
information. In thirty minutes, Fruiscante plays some powerful
music, clearly recognizable on his saxophone and less clearly
on his string bamboo. What the cover doesn't tell us, is the fact
that studio treatments play an equally important role here, especially
delay and reverb are two important features (or perhaps I am wrong,
and we don't have a studio here, but is the whole thing recorded
in a tunnel). Fruiscante's music is minimal, even a bit drone
related, but at the same time, and perhaps strangely enough it
is also forcefully present, even a bit distorted in the deeper
bass end of the release. An odd combination of mood music and
some more distorted elements, Fruiscante moves here with outside
any regular movements or rigid paths of improvisations, ambient,
drone or noise. And that is, in my book, very fine.
On the same label, different format though, is Like Defeated Soldiers
Of A Long Forgotten War, an impromptu recording made by Michi,
Pille and Iason in Basel in April 2005. A three session inside
a studio packed with analogue synthesizers. The three hours are
trimmed down to seventy-four minutes on this release. In all it's
a minimal affair slowly developing synth music, arpeggio's and
small, minimalist rhythms - a stripped down version of Pan Sonic,
but expanded in length, as each track easily takes up ten to fifteen
minutes. It works very trance and ambient like, even despite some
of the harsher tones mixed in here and there. Quite some intense
music that is loosely improvised but hold together in some 'sample/hold'
mode of the machines. Captivating stuff that one should undergo
that really careful listen. (FdW)
Address: http://www.via.org.gr/1000+1tilt
MATT DAVIGNON - SOFTWETFISH (CD by Edgetone
Records)
RENT ROMUS' LORDS OF OUTLAND - CULTURE OF PAIN (CDR by Edgetone
Records)
In Vital Weekly we were introduced to the music of one Matt Davignon,
who quite originally used two drum computers and sound effects
for the improvised nature of his improvisations. On 'SoftWetFish'
he continues this line of work, and as such he does he great job.
The thirteen pieces are again, most likely, generated through
the use of improvisation and edited into small and delicate pieces
of music. However it stays far away from the sound of real drum
computers and is still nowhere close to anything even remotely
techno or industrial. Davignon's music is rather musique concrete
or even acousmatic music. The surprise here, compared to 'Bwoo'
is a bit gone, and that is a pity. Although it is a too bold statement
to make, I couldn't escape the thought of listening to 'Bwoo'
again. All the ingredients of that album are to be found here
again. Like I said before: his techniques are surely unorthodox,
now show us the improvisations with other people.
Also improvised but on an entirely different level is Rent Romus'
Lords Of Outland with 'Culture Of Pain', their first album in
almost six years. I never heard of them before. It's basically
a four piece band on saxophones, zitherod, voice, electronics,
guitars, bass and drums, who are helped here by four other players,
adding more saxophone, trumpet, piano and double bass. They explore
the boundaries of jazz and improvisation and sound perhaps exactly
you would think such music would sound like: noisy, chaotic, hectic,
destroying whatever perception you may or may have about jazz
music. Moments of rest or contemplation are hardly there, as the
whole thing thunders on like giant hurricane. Lovers of the genre
will no doubt love this, and those who have pre-conditioned minds
about free jazz probably stopped reading this review anyway. For
the die hard fans then. (FdW)
Address: http://www.edgetonerecords.com
CANELL & WATKINS - LUFTKLUSTER/LUFTFLUKS
(LP by Oscillatone)
In Vital Weekly 487 we reviewed a LP called The New Heat and Obscured
By Light. Two bands with twice the same people: Nina Canell and
Robin Watkins. Two names for two different kinds of musics. The
new LP, on the same label, now credited as Canell & Watkins,
seems to be blending both their styles together. One on hand there
is the acoustic guitar, singing and drones in a folk style, but
tracks seems to fade into more noisy outings of that were previous
known as by Obscured By Light. These sounds may seem computer
treatments, but I do believe they are tapeloops. I must admit
I don't like the singing as such, which is perhaps something odd
for me. But what I do like about it is the odd mixture of both
the folk like playing in combination with the more experimental
sounds, which gives the listener the idea of bouncing back and
forth between the ordinary and the unusual. Herein lies the big
power of the record, the gesamtkunstwerk and not the individual
elements that make the record. And at that it is quite captivating.
(FdW)
Address: http://www.oscillatone.com
DOC WÖR MIRRAN - DISCIPLINE (CDR by
Mirran Threat)
DOC WÖR MIRRAN - PSEUDO ME, PSEUDO YOU (CDR by Mirran Threat)
DOC WÖR MIRRAN/MR EBU - WISH YOU WÖRNT HERE/MIRROR OF
TRIARCHY (LP by Empty Records)
JOSEPH B. RAIMOND - ALIEN PECKER (Book)
In Vital Weekly 486 we reviewed a CDR release by German's Doc
Wör Mirran, called 'Ipso Facto' and that was the 94th release,
but I don't where they are now, as their discography is a pretty
extensive and somewhat clouded thing. Just as their ever floating
membership, although Joseph B. Raimond is the only constant factor.
For the two CDRs here at hand, he is the sole musician responsible
for both. Also extensive is their field of music, which can be
basically anything, from rock to punk to experimental and ambient
music. Although after hearing this new lot it seems to me that
the sound has now, perhaps, moved towards the ambient and minimal
music end of the spectrum. As I understand from the liner notes
of 'Discipline', things now released may sit around for a while.
Raimond is an artist of many disciplines, as part of the 'Discipline'
release is a CDRom part with paintings he made for this project.
The music part was recorded over the years on an analogue track
machine, with each track filled with the rather static sound of
an analogue synthesizer. In a highly minimal mood, these eight
lines are mixed together, waving together a most beautiful pattern
of sound, that doesn't sound too dissimilar from say Alvin Lucier
or Paul Panhuysen. Very relaxing music to watch the painting with.
'Pseudo Me, Pseudo You' is something entirely different, but here
too minimalism takes control, but in a more modern classical sense
of the word. Three tracks here of which the first is a choir-like
processing of voices humming, feeding through various oscillators.
'Work Is A Four Letter Word' is a short piece of synthesizers
humming and making spacious curves. In 'Pop Goes The Joe' percussive
sounds are drawn into the game and here is where things really
get modern classical. The percussion sounds are loud bangs on
drums using odd time signatures. To enhance this, samples of classical
instruments are running along this, adding a dense character to
the piece. Short release, perhaps a bit too short, but very well
made.
Despite all the activity of studio front, live Doc Wör Mirran
is a rare thing. Over the twenty or more years since they started
they played under five shows in their entire existence, but one
of these shows is captured here on a split LP with Mr. Ebu. The
latter is also guest musician on the Doc Wör Mirran side,
as well as saxophone player Adrian Gromley. His playing dominates
the pieces played, but sadly it's the kind of saxophone playing
I am allergic to. The music sometimes drops back in volume and
one can hear that they aren't the usual live players. It's a bit
too loosely played, without too much tension going on. Mr. Ebu
has also been long around the cassette scene, perhaps since the
mid-eighties as well. Also for his side of the record I must say
I am a little bit disappointed. The music seems also to be a bit
of haphazard affair of cosmic synthesizers and later on a banging,
hypnotic sounding drum machine, but somehow also lacks the needed
tension. Perhaps this kind of music is just too difficult to play
live, or too complicated to be brought full scale? Perhaps being
there would have helped...
The final release is the second poetry book by Joseph B. Raimond,
called 'Alien Pecker'. I don't consider myself to be a poetry
critic, and much of his poetry doesn't make much sense, if one
reads it quietly, but I tried reading some out loud, and then
the rhyme and prose start to make sense. It's a funny mixture
of English and German and as such written out sound poetry. You
can perform! (FdW)
Address: http://www.empty.de
GRANNITTIN (2CDR compilation by Esc.Rec)
MAGA - THE SPEECHLESS (CDR by Esc.Rec)
The launch of Esc Rec brought us some years ago a most odd double
compilation CDR called 'J'ee-haw' (see Vital Weekly 387), based
around the call 'j'ee-haw', now they return with something likewise
odd. Robert Witt did a performance in which the sound of knitting
was fed through a bunch of plug ins and granular synthesis and
that became the basis of this double compilation, of course neatly
packed in a knitted sock. Many of the remixers take one knit from
the performance, and create a loop and tons of variations around
that to built a piece of music that is highly techno related,
with Radboud Mens as the most commercial actor on the scene. His
piece is thick, fat and highly minimal and highly danceable. Phako,
Xaf, slo-fi, Timvankessel, Goem all to the same. The odd balls
here are those who create a non-linear piece, such as the careful
deconstruction by Staplerfahrer, Robert Witt's own ambient variations
and Jos Smolders outing in the field of musique concrete and Igor
Krutogolov (the only non Dutch musician as far as I can judge)
doing a bit of rhythm and noise. Transfolmer is the only one who
adds another instrument: a quite horrible guitar solo. Also present
are Marius, Gluid, Toxic Chicken, Lukas Simonis and Maga.
Maga is also present on 'Grannittin', and with 'The Speechless'
he offers his third release for Esc.Rec. Originally Marc Fien,
the man behind Maga, was a drummer for various bands playing all
sorts of music. But solo he plays around with electronics, acid
and techno to be more precise. He does a really fine job at that
actually. Raw and intense the beats thunder around in a straight
four to the floor fashion, with fat synths bubbling underneath.
Dark, intense but sure to be a good spin at your underground party.
Great stuff. (FdW)
Address: http://www.escrec.com
KAZUYA ISHIGAMI - JUN YIN 1 YU WANG - PRILGRIMAGE
OF SOUND 1 (CDR by Neus318)
Kazuya Ishigami is the man behind the Neus318 label (many more
releases to be reviewed soon) and much of music deals with more
noise related areas of music. However on 'Jun Yin 1 Yu Wang -
Pilgrimage Of Sound 1' he deals with something different. It's
a series of three tracks with 'deep sounds express "desire"
of plant, human and machine'. All three tracks display a great
sense of silence. The sound is buried underneath the deepest drones
possible, and on top (even when such notion means also barely
audible) there are some loosely connected sounds. It's very hard
to trace back the origin of these sounds: they might be from plants,
humans or machines, but it might be as well something entirely
different. The music is slightly to be traced back to the likes
of Richard Chartier, Roel Meelkop or Bernard Günter, but
it's also a bit more mechanical and colder than those. The warmth
is mainly in the deeper drone end part of this release, whereas
the other sounds have, perhaps due to the somewhat over enthusiastic
use of reverb, this more mechanical feel to it. Throughout it's
quite emotive music. (FdW)
Address: http://www.neus318.com
ZAVOLOKA & KOTRA - TO KILL THE TINY
GROOVY CAT (CDREP by Nexsound)
This short release is a taster for a forthcoming full length release
by Kotra and Zavoloka. Both are from the Ukraine and over the
last couple of years they have played together a lot, both live
and in the studio. For this release, Kotra returned to playing
the bass, 'clanged and creaked'. Zavoloka 'has nurtured it and
killed it', it says on the rather beautiful cover. Whatever nurturing
and killing may be, it's hard to trace any sound back to the bass
in these five pieces. Five pieces of chilling computerized glitch,
with a good ear for a bass sound (that seems to be coming from
anything deep end in the plug in section, rather than from a wooden
box with four thick strings). Sounds crash like hard drives here,
with fierce high end pitches among the deeper end music. Not danceable,
hardly 'warm', but a truly noise related attack on the senses.
Good for the fact that it defies any relation to microsound and
clicks 'n cuts, trying really to melt down all the various influences
together and be something new. Makes great expectations for the
full length. (FdW)
Address: http://www.nexsound.org
IZANAMI'S LABOUR PAINS/MUNDKRACH/AUDIBLE
PAIN (CDR by Reduktive Musiken)
M.STABENOW - PATIENTEN SIND SCHWERVERBRECHER (CDR by Reduktive
Musiken)
AUDIOPHILE DATENVERARBEITUNG (cassette by Reduktive Musiken)
The German Reduktive Musiken (reductive music) have a nice way
of packing their releases, and even release formats that are curiously
odd, like a cassette. The release by Izanami's Labour Pains, Audible
Pain and Mundkrach comes in a nice box. Izanami's Labour Pains
is from Japan and Mundkrach is one Theo-Ohm of Ohmkill and as
the name implies, the music is made with the use of the voice.
Audible Pain is the 'band behind the label'. Together they traded
sound samples to create this work. The first five tracks are by
Izanami's Labour Pains playing around with samples from Mundkrach,
although the voice is hard to be recognized. It's a harsh noise
affair of distortion and more distortion on the samples. However
things are not as loud as on the three Mundkrach tracks, who uses
samples from Izanami's Labour Pains, to take them on a trip to
feedback land. Quite Merzbow like, and sometimes as good. The
final track, perhaps as a bonus, is short and by Audible Pain,
using both other bands' sounds and making it distorted and noisy.
Quite nice too, but perhaps a bit too short.
The man behind Audible Pain is M. Stabenow, running the label
and also active under the name Pollo. Under his own name he releases
a work that roughly translates as 'patients are dangerous criminals'
and the overall theme is the reform in the health service in Germany,
and no doubt Stabenow is no fan of that. No noise here, but electronic
music made out of sine waves, chopped up to form small rhythms
and some computer treatments. And then among all of this there
cut ups from radio texts in German about patients and diseases.
Perhaps some of the political connotations of this release will
be lost on the none German speakers, but somehow Stabenow gets
his point across. And fans of Asmus Tietchens should be on the
look for this: he reads the text for the last piece.
It may seem weird to release an audio cassette these days, but
in the concept of Audiophile Datenverarbeitung it makes sense.
It's one E. Weber who made this, and he uses 'analogue measuring
instruments of the domain of medical technology, electronical
engineering or wireless communication'; old stuff so to say and
therefore the release on cassette makes sense. He creates his
tracks live with these machines to create patterns of rhythms
and sound waves. His sound is not unlike a very stripped down
version of Pan Sonic, but far less complex, and much more raw
in approach. Both rhythmic pulses and sinewaves are kept to a
bare minimum and somehow doesn't have the same urgency as Pan
Sonic (or similar minimlist beatings), but it makes a good point
in using ancient machines for more artistic means. Quite nice
stuff. (FdW)
Address: http://www.reduktivemusiken.de
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