============
VITAL WEEKLY
============
number 548
---------------------
week 42
---------------------
Vital Weekly, the webcast: 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
GREATER THAN ONE - KILL THE PEDAGOGUE (CD
by Brainwashed) *
THIGHPAULSANDRA - THE LEPORE EXTRUSION (CD by Brainwashed) *
DRUMCORPS - GRIST (CD by Ad Noiseam & Cock Rock Disco)
SONAR - ALIEN OVERDRIVE (CD by Ant-Zen)
GESCOM - MINIDISC (CD by OR)
PAR JOHANSSON - THE EMPTY PALACE (CD by Elektron Records) *
VERDE - LEGENDA (CD by Musically Incorrect Records) *
THE IDEALIST - I AM THE FIRE (CD by Nosordo) *
DAX PIERSON/ROBERT HORTON - PABLO FELDMAN SUN RILEY (CD by Nosordo)
JIM HAYNES - TELEGRAPHY BY THE SEA (CD by Helen Scarsdale Agency)
*
BJ NILSEN & STILLUPPSTEYPA - DRYKKJUVISUR OHLJODANNA (CD by
Helen Scarsdale Agency)
LGAMBLE - 0!1!0 (3"CD by Entr'acte)
SIMON WHETHAM - ASCENSION_SUSPENSION (CDR by Entr'acte) *
OLIVER DEMAND/MORITZ VON WOELLWARTH/SASCHA DEMAND.RALF KLEINEMAS/THOMAS
WINGER - BESIDE THE CAGE (CD by Creative Sources)
WADE MATTHEWS/ERNESTOR RODRIGUEZ/BECHIR SAADE/GUILHERME RODRIGUES
- ORANGES (CD by Creative Sources)
ERNESTO RODRIGUES/GUILHERME RODRIGUES/CHRISTINE SEHNAOUI/SHARIF
SEHNAOUI -UNDECIDED (CD by Creative Sources)
ERNESTO RODRIGUES/MATHIEU WERCHOWSKI/GUILHERME RODRIGUES - DRAIN
(CD by Creative Sources) *
RICARDO ARIAS/GUNTER MULLER/HANS TAMMEN - INTERSECTING A CONE
WITH A PLANE (CD by Creative Sources) *
NEUMATICA - ALUD (CD by Creative Sources)
NEIL DAVIDSON - GRAIN (CD by Creative Sources)
JOSEBA IRAZOKI - OLATUETAN (CD by Creative Sources)
SABINE VOGEL - AUS DEM FOTOALBUM EINES PINGUINS (CD by Creative
Sources)
PUNCK - A CONSTANT MIGRATION (CD by Creative Sources) *
FEAR FALLS BURNING - THE INFINITE SEA OF SUSTAIN (DVD by Soleilmoon
Recordings)
REFRIGERATOR MOTHERS - GHOSTS OF A PRIMITIVE WORLD (CDR by Urck
Records)
SWAMPS UP NOSTRILS/GUIGNOL DANGEREUX - SHITBREATHER (CDR by Krakilsk)
STAPLERFAHRER - CRUSADES (CDR by Krakilsk)
CARL KRUGER & JOSH BROWN - I'MMA KILL YOU IF YOU STOP T3H
ROK (CDR by Krakilsk)
CARL KRUGER - LONGPLAYER (CDR by Krakilsk) *
DARPH/NADER - GALAXY (CDR by Krakilsk)
DUO BARZABAL DE DIEGO - CENTRO CULTURAL ISLAS MALVINAS 2004 (CDR
by Rruido)
JOSE DE DIEGO - TARDE (3"CDR by Rruido) *
GRUNDIK KASYANSKY - LIVE JOURNAL 12.28.2005 (3"CDR by Rruido)
SEKVENS - LIVE IN MOSKVA (MP3 by Hwem)
WE WERE DANCING - IN A SIMULATED SENSE OF LOSS (MP3 by Hwem) *
KABURU - IF HE IS, WE'RE NOT (MP3 by Hwem)
GREATER THAN ONE - KILL THE PEDAGOGUE (CD
by Brainwashed)
THIGHPAULSANDRA - THE LEPORE EXTRUSION (CD by Brainwashed)
When the CD arrived on the market, there wasn't much interesting
music to buy, I thought. One day I bumped into a CD single of
Greater Than One, 'I Don't Need God', and I saw them perhaps one
or two years before that, and as I was determined to buy something
that day, I bought it. In fact it was CD player favorite for a
while. In years to come I bought most of their records, although
I wouldn't consider myself a big fan. I just very much liked the
sampling style. Loading techno related music with all those crazy
spoken word samples and classical tunes. Whatever happened after
Greater Than One (Technohead for instance) couldn't interest me
very much. My colleague at the illegal radio station knew them
personally and I'm sure he played 'Kill The Pedagogue' when it
was released. It was a cassette only release, which they put out
themselves, following 'Lay Your Penis Down', also a cassette only.
It shows Greater Than One in a embryonically stage: rhythms are
there, but also distorted voices, echo machines and guitars. Sampling
at a very primitive stage, inspired (perhaps) by such likes of
400 Blows or Portion Control. It's a rough edged sound, but now,
twenty one years later, it still stands. Slightly connected to
industrial music it forecasts their later refined style. Since
the original cassette wasn't that long, the lovely Brainwashed
mob added a whole bunch of MP3s, including 'Lay Down Your Penis'
and tracks of 'Dance Of The Cowards' and other rarities and a
whole bunch of photos (courtesy of Robin Rimbaud and Howard Stelzer).
Now that's what I call value for money and a perfect example of
how to re-issue. May I humble ask for a re-issue of their entire
catalogue on CD? Thank you.
On the same label is also a new work by Thighpaulsandra, who was
once a member of Coil, Spiritualized, Julian Cope's Band, Queen
Elizabeth and who played on a lot more albums, but also has a
couple of solo records. 'The Lepore Extrusion' is the music to
an interactive video installation by New York based visual artists
Daniel McKernan called 'Is Evolution Evil', featuring the world's
#1 transsexual, Amanda Lepore (ok that last I bit I took from
the press text, since it didn't mean much to me). The good thing
that here too the CDRom contains the video and other working plans
for the installation. The music of Thighpaulsandra is just one
piece of forty-five minutes for synthesizers and electronics.
And you bet these are real, old analogue beasts of machines, producing
a highly cosmic sound of gliding tones, square waves and whatever
sines possible. It's a beautiful work, even without seeing the
installation itself, of space synth music of perhaps not always
a too original kind, but it's surely a great work. (FdW)
Address: http://www.brainwashed.com/recordings
DRUMCORPS - GRIST (CD by Ad Noiseam &
Cock Rock Disco)
When Ad Noiseam released their anniversary box-set of two cd's
and one dvd titled "Ad Noiseam 2001-2006", I was quite
fascinated by a certain contribution by a project called Air Inspector:
"Sleepy" was a great atmospheric track of tranquilizing
downbeat ambient. The man behind "Sleepy", was American
sound artist Aaron Spectre. Now Aaron Spectre is ready with his
debut album titled "Grist"- not under the name "Air
Inspector", but under his alternative project "Drumcorps".
The sharp contrast between "Drumcorps" and "Air
Inspector" makes me consider Aaron Spectre as being electronic
music's counterpart to John Barrymore's "Doctor Jeckyll and
Mr. Hyde". Seconds after you begin the journey through album's
storm of hellish breakbeats you realize that Drumcorps certainly
is the enfant terrible of Aaron Spectre's musical explorations.
With its clash of two of music world's sonically most expressive
territories, listeners of harsh sounds couldn't ask for more here.
Offering a beautiful (or should I say "filthy") mix
of crushing grindcore and hyperspeed breakcore, "Grist"
offers plenty of supreme quality from both areas to keep both
listeners of extreme metal and of harsh electronics satisfied.
In the metal area the expression of Drumcorps comes in-between
the sounds of Grindcore/Death Metal acts such as Morbid Angel
and post-hardcore projects like Dillinger Escape Plan and Botch.
What makes the album such a pleasure is Aaron Spectre's obviously
deep knowledge in both the extreme metal and electronic territories.
The rhythm-texture, for instance, uses the basic structure of
fast grindcore rhythm patterns pushed into the hyperspeed world
of breakcore. In other moments, especially on a track like "Incarnate"
the rhythms slightly decelerates moving into catchy and progressive
rhythm grooves. But the furious expression remains throughout
every second of this breath-taking work of wrath. Prepare for
a sonic assault on this one! (NMP)
Address: http://www.adnoiseam.net http://www.cockrockdisco.com
SONAR - ALIEN OVERDRIVE (CD by Ant-Zen)
Having been part of legendary Industrial-project Klinik since
1985, Dirk Ivens and Eric van Wonterghem are true legends of the
Post-Industrial-scene. The number of releases from both artists
is quite impressive not only counting their Klinik and Sonar-projects
but also their individual side-projects. Their compositional activity
beautifully follows their great quality in harsh sound production.
"Alien Overdrive", being no exception, clearly demonstrates
the two artists' knowledge in how to control the buttons of heavy
pounding industrial machinery. The musical expression of the album
can be described as "Minimalist Power Noise" in short.
Imagine how Richie Hawtin would sound like if he left his Detroit
Techno-sound and moved into the Power Noise-spheres in his early
days of Plastikman. "Alien overdrive" operates in ultra-repetitive
spheres based on mid-tempo rhythm textures and heavy subtle bass-drones.
Crushing sounds of distorted noise penetrates and fades away intensely
following the sharp cut beats. The minimal expression results
in an amazing hypnotic though anything else but tranquilizing
atmosphere. "Play at maximum volume!", the notes in
the inner sleeve suggests. Hell I will! (NMP)
Address: http://www.ant-zen.com
GESCOM - MINIDISC (CD by OR)
When in 1998 OR released the very first commercially available
minidisc by Gescom it caused a minor ripple. Autechre/Gescom fans
no doubt bit their lip for having to buy it, perhaps without owning
a minidisc. The advantages of the mini disc back then seemed great:
to be able to loop tracks, play in shuffle, reorganize the order
etc. Add to this the possibilities that Gescom were offering with
their music, making it possible to use the small blocks (88 tracks
were delivered in total) in your own DJ set, it may still be a
surprise why this wasn't followed much more. One reason might
of course be the fact that MP3 were already lurking around the
corner, and perhaps also the fact that not everybody wanted to
invest in yet another device. I still have a mini disc player,
but one of the first things I did in 1998 with the Gescom mini
disc was to burn it to CDR (another great new gadget back then,
with the prices dropping dramatically) because it was so much
easier to play on the train. Now it is available again, on CD.
Regular market wins? Well, releasing CDs on LPs or vice versa
is common practice too, so why not this? For those who missed
out first time around, or whose CDR worn out (me, me), this is
another great opportunity to play around with the sounds. Of course
the CDR doesn't loop that well, but the information can much be
ripped from it. Gescom stays away from the beat oriented stuff,
and plays around with more noise related, computer abusing sort
of material. Not dissimilar to the work of Pita or Farmers Manual,
it is perhaps too much common ground these days, but it still
sound great. Great to see this on CD! (FdW)
Address: http://www.itsaor.net
PAR JOHANSSON - THE EMPTY PALACE (CD by
Elektron Records)
Clever boy, this Par Johansson: studied computer engineering,
music, acoustic and Chinese language and culture. He also studied
electroacoustic composition at EMS in Stockholm. His music is
narrative, with it's inspirations from literary or philosophical
background, but one should be able to hear this music with any
background knowledge. The first three pieces are inspired by H.P.
Lovecraft. The booklet describes in depth about the pieces, and
it is about etc, so it's a bit hard to leave that out of mind
when listening to the piece. 'Nyarlathotep' is the only piece
that has hardly any description except 'The Crawling Chaos' (I
assume not the Factory Records band), but it's indeed a chaos
in this piece of piano improvisations, noise, mayhem and loads
of electronic processing. It turns out to be my least favorite
piece. The other pieces are of much more interest, me thinks.
Analogue synthesizer sounds tumbling over each other, carefully
processed field recordings being fed through a whole bunch of
synths and other sorts of crazy filtering. Sometimes the electro-acoustic
sounds sounds very much unfiltered, thus forming a counterpoint
to the electronics that sometimes sound like a wall of sound and
sometimes are as calm as the sea. The title piece is the best
one of the seven, with its changing moods and textures. Overall
one could say that the total length of the CD is also a bit stretched.
Maybe 'Nyarlathotep' could/should have been left off? (FdW)
Address: http://www.elektronrecords.com
VERDE - LEGENDA (CD by Musically Incorrect
Records)
This is the second CD by Verde, also known as Mika Rintala (formerly
of Circle and Ektroverde, Finland's answer to Tortoise), following
some CDR only releases. His previous CD 'Vuoronumero' was pretty
much alright (see Vital Weekly 432), not brilliant, but quite
nice indeed. The press text of this CD is quite ambitious: it
sees this CD as a logical continuum to 1960s and 1970s wild electronic
experiments, krautrock, the golden era of Pink Floyd, Nurse With
Wound and Throbbing Gristle. That sound all most promising: the
exciting years of music for those over forty who stopped listening
to anything else after 1985. I am not sure if Rintala heard anything
after that, but he indeed makes all the expectations from the
press blurb come through. There is the krautrock as played by
Nurse With Wound, guitar psychedelics of Ash Ra Temple, synthlines
of anything analogue, collated together with baby sounds, people
talking, field recordings, cut ups from improvised pieces of music
with horns and more such like. Cosey's guitar playing is also
dully copied. I must say that I had some problem with this release.
I can see all the beautiful points of reference, but Verde is
a bit too much of a freak-out for me. He plays his material on
end, with no built up, break down, tension curve, structure or
dynamics. It seems as if it was all smeared to tape without taking
too much notice of anything else. Nine tracks here, spanning almost
a good, solid eighty minutes, whereas with some editing the CD
could have been brilliant and genius and probably half the length.
Perhaps Rintala is indeed the madman, but not the genius that
say Steve Stapleton is. (FdW)
Address: http://mir.blogdns.com
THE IDEALIST - I AM THE FIRE (CD by Nosordo)
DAX PIERSON/ROBERT HORTON - PABLO FELDMAN SUN RILEY (CD by Nosordo)
Joachim Nordwall was born in 1975 and started playing music in
1987 as the Alvers Orkester, so then he was thirteen... His releases
were on the Swedish Börft label (and in 2006 they even had
a great album on Ash International, see Vital Weekly 512). From
1998 to 2005 he was a member of Kid Commando, 'an avant punk rock
trio' and also in 1998 he started the iDEAL organisation, responsible
for some fine releases and a festival. As The Idealist he plays
solo music, and so strangely enough 'I Am The Fire' is his debut
CD. I imagine that if you play this ultra soft, it would be indeed
ambient music, but the atmospherics captured by Nordwall are all
together of a much different kind. It's as beautiful as it also
painful, at the same time. Powerful drone music that won't lull
the listener into a deep sleep, but make the hairs on your back
rise up. Intense music that defies genres, belonging partly to
industrial music and partly drone/ambient, but is just right on.
The name Robert Horton popped up, for me at least, some where
in the mid-eighties when I got some compilation cassette with
a beautiful saxophone piece, with organs and drums by Plateau
(if I all remember this well, since I don't recall which tape
it was). Horton was the main member of Plateau. Back then we were
a bit in touch, but not for the last fifteen years or so.
From the mid 90s to 2004 he spent his time in
doing anti-racism educational groups called the Untraining, and
maintaining to record his music, without releasing any. Since
then he has released a whole bunch of stuff on a whole bunch of
labels. Dax Pierson is new to me, but he is apparently a member
of Subtle and of 13&God. Together they recorded this work,
which is a homage to Augustus Pablo, Morton Feldman, Sun Ra and
Terry Riley - each a big city in it's own field. Dax plays melodica,
just as Pablo, as well as Dr Sample and mono synth, Horton plays
boot feedback circuit, voice, computer, tape guitar, guitar and
khaen and receive help from various players on cello and vocals.
The seven pieces here are best described as drone music, but one
of a more extraordinary kind. Sounds swirl around from endless
layers of melodica, gliding cello sounds and warped up vocalizations.
It's a kind of drone music that is closer to the traditional Indian
version (less the drums) then to the Mirror/Ora/Monos variations
of this world, and as such is much enjoyable. Great release! (FdW)
Address: http://www.nosordo.com
JIM HAYNES - TELEGRAPHY BY THE SEA (CD by
Helen Scarsdale Agency)
BJ NILSEN & STILLUPPSTEYPA - DRYKKJUVISUR OHLJODANNA (CD by
Helen Scarsdale Agency)
It's difficult to write a review on something Jim Haynes made
and not mention that publication he works for, reviewing music
from outer limits. He has also worked for the well-stocked Aquarius
Records in San Francisco, and the Helen Scarsdale Agency (which
is really a label, rather than an agency). Despite his appearance
on a CD along with M.S. Waldron, R.K. Faulhaber, Steve Stapleton
and Sigtryggur Berg Sigmarsson (on the same the label, but unheard
by me), this is my first encounter with his work. Haynes worked
on this for some, using sounds he recorded at an exhibition in
Melbourne and a six-hour concert in New York. His interest lies
in sounds from the electro magnetic and meteorological phenomena,
captured through perhaps the most obscure forms of field recordings.
Stuck away into a fine lump of sound somewhere on a harddisc,
and treated with god knows how many effects. Or perhaps not, really.
We don't know. As for influences, it's not difficult to trace
them back to the likes of John Duncan, C.M. von Hauswolff but
above and beyond all The Hafler Trio. One epic track of almost
an hour (another Haflerian ploy), Haynes takes the listener to
the heights and depths of his sound world. Maybe not the most
original thing in the world, but then what is, these days? He
produced a great work, with an excellent ear for all the different
subtleties that his material offers.
On the same Helen Scarsdale Agency label the second collaboration
between B.J. Nilsen and Stillupsteypa. One perhaps wondered if
the latter were still around, because the last thing we heard
was the previous work with Nilsen (see Vital Weekly 460) and again
alcohol abuse in the Scandinavian territory is the main theme
here. It's a firm continuation of the previous album. Using also
field recordings this is much along similar lines of the Jim Haynes
album and far away from the last thing we heard from Stillupsteypa
(which was close to being a disco band). A winter landscape, frozen
roads, empty swirling through a desolate country is what is on
this album. They captured the stale wind and put it to music.
If the term Isolationist music hadn't been invented before, it
should be done for this album. Droning landscapes, quietly humming,
and even at times using a faint trace of a melody, such as in
'Undir Ahrifum/Sunderlaus' (all credits are in Swedish and Icelandic
- two entirely different languages) with something that might
very well a guitar. And sometimes it seems nothing is happening
at all, such a breeze, such as in 'Supbröder/Drykkjufelagar',
humming quietly. This album is a great one, excellently produced,
but perhaps not holding something that is entirely new to the
world of electronic music, but rather carries on a tradition,
which sometimes is fair enough. (FdW)
Address: http://www.helenscarsdale.com
LGAMBLE - 0!1!0 (3"CD by Entr'acte)
SIMON WHETHAM - ASCENSION_SUSPENSION (CDR by Entr'acte)
Slowly Entr'acte is growing beyond the CDR only business. They
already released a LP by Esther Venrooy, and soon one by Shifts
and a 7" by Idea Fire Company and now also their first real
3"CD. Quite a surprise that it's hardly someone we know,
or at least I hardly know. One Lee Gamble is responsible here
for 'seven virtual-hybryd models of spontaneous and ordered (non-essential
goal) related celomund 0!1!0'. Computer music that is, 'culled
from live and studio recordings between 1999 and 2006. If we wouldn't
know that Lee Gamble hailed from the UK, we could suspect him
of living in Vienna. His radical computer music might as easily
been released on Mego, perhaps a few years earlier than this.
Having seen and heard Florian Hecker a few weeks ago at the lovely
Earational festival, I can easily compare their work: strict stereo
separations, heavy load of short sounds being looped around and
changing through a piece. As such the work of Lgamble might be
nothing new under the digital sun, but I found it altogether a
pretty strong release. Short and powerful, with not a second too
much of music. That is the way we like those things. Thumbs up!
On the more conventional format we find a likewise unknown British
composer and sculptor Simon Whetham. He has had a release before
on the online Filament label, even when he has been creating music
for twenty years. During a trip in to the Portes du Soleil region
in France he made the source recordings for this release, more
in particular cable cars. Apparently minimally processed, which
I find hard to believe. I have travelled up in the mountains,
always taking a cable car, lazy soab that I am, but also because
of the sound involved. The mechanics that are there for quite
some time making the rusty sounds and on a good day with some
fresh wind, this is a nice way to spend your time. So for me common
territory, more or less (I wasn't in the same area as Simon),
and I must say I heard his work with some fascination. He cleverly
repeats lengthy blocks of sounds, thus creating the illusion of
a trip, with occasional bumps along the ride. Field recordings
with just a little bit of procession, but with a high amount of
imagination. One wants to go on holiday straight away! (FdW)
Address: http://www.entracte.co.uk
OLIVER DEMAND/MORITZ VON WOELLWARTH/SASCHA
DEMAND.RALF KLEINEMAS/THOMAS WINGER - BESIDE THE CAGE (CD by Creative
Sources)
WADE MATTHEWS/ERNESTOR RODRIGUEZ/BECHIR SAADE/GUILHERME RODRIGUES
- ORANGES (CD by Creative Sources)
ERNESTO RODRIGUES/GUILHERME RODRIGUES/CHRISTINE SEHNAOUI/SHARIF
SEHNAOUI -UNDECIDED (CD by Creative Sources)
ERNESTO RODRIGUES/MATHIEU WERCHOWSKI/GUILHERME RODRIGUES - DRAIN
(CD by Creative Sources)
RICARDO ARIAS/GUNTER MULLER/HANS TAMMEN - INTERSECTING A CONE
WITH A PLANE (CD by Creative Sources)
NEUMATICA - ALUD (CD by Creative Sources)
NEIL DAVIDSON - GRAIN (CD by Creative Sources)
JOSEBA IRAZOKI - OLATUETAN (CD by Creative Sources)
SABINE VOGEL - AUS DEM FOTOALBUM EINES PINGUINS (CD by Creative
Sources)
PUNCK - A CONSTANT MIGRATION (CD by Creative Sources)
If I complained about it before, I will do it again. Any label
sending me more than three CDs for review, must realize that this
will surely limits the space of reviews. Creative Sources from
Portugal don't realize this, and send me ten new releases. It's
easy if the artists are the co-sponsors of your label, but it's
all a bit ridiculous. Me thinks, quite humbly. Reviewing will
not be in-depth, just a fly-over view. May I beg for a less productive
schedule, more selection and perhaps a sending method that doesn't
mean landing ten discs at once?
Creative Sources is a label devoted to improvised music, so let
us start with the one with the most players, five in total: Oliver
Demand (trombone), Moritz von Woellwarth (trombone), Sascha Demand
(e-guitar and e-table guitar), Ralf Kleinemas (drums) and Thomas
Winger (drums). The full title is '10 years of beside the cage
music', perhaps suggesting they have been together since ten years.
The recordings were made a year ago at the ZKM in Karlsruhe. I
must say I thought it was all pretty boring improvised music.
Instruments are played in a quite a regular way, tension is lacking
among the players and they just freak around in a pretty uninspired
way. Not a great start.
The first quartet is Wade Matthews (bass clarinet, alto flute,
electronics), Ernesto Rodrigues (viola, and labelboss), Bechir
Saade (bass clarinet, nay) and Guilherme Rodrigues (cello). Matthews
presented his work before on a solo CD on the same label, and
he played three concerts in Lisbon this year. There he met Bechir
Saade from Beirut, and together with the two Rodriguez' they end
up in a studio, recorded nine short improvisations. The music
here is much more interesting: the instruments as objects, recorded
with a very close microphone, sometimes electronically sounding
and sometimes more conventional, makes this a very intense piece
of music and a fine example of improvised music.
The same Rodrigues (both of them actually) appear on a quartet
disc with Christine Sehnaoui (alto saxophone) and Sharif Sehnaoui
(electric guitar). Guilherme Rodriguez also plays pocket trumpet
on this release. The music is very vibrant again, although a bit
more conventional playing here. Scraping of the violin, guitar
and intense blowing in the wind instruments. It's music that leaves
the listener a little breathless: very nervous and hectic playing
throughout here.
More of the same two Rodrigues is on a disc with Mathieu Werchowski,
who also plays violin. This disc is unmistakably more quieter
and thus serves as a good chill party after the previous two,
but to be honest I must say it's also less interesting. The music
didn't grab me that much, and seemed to have a little less tension
in it than the previous two. It's not bad at all, but some of
the curves taking are a bit too long.
An older recording can be found on the disc by old friend Günter
Müller (selected percussion, mds, ipod, electronics, processing)
together with the for me unknown Hans Tammen (endangered guitar,
whatever that might be) and Ricardo Arias (bass-balloon kit).
Ever since seeing Judy Dunaway playing balloons, I love the sound
of it. The music was recorded in 2003 in New York and is simply
great. Largely electronically sounding, this is an album of intense
fields of sound, charged with electricity, small explosions on
the guitar (an endangered species perhaps) and all sorts of sounds
balloons can produce. The best release so far.
The only duo here, is also named as a band: Neumatica, a duo of
Pablo Rega (home made electronic devices) and Alfredo Costa Monteiro
(pick-ups on turntable). They recorded their three pieces in 2005,
in Barcelona. Here too the music sounds very electric, as opposed
to electronic. Feedback hum and hiss about, with the amplification
of objects playing a different, yet completely adequate part.
The two sound world that may seem alien to each other work together
very well. Another highlight.
There are four solo discs, all by players who are also active
as improvisers and perhaps we should see their solo discs as business
cards. Three of them are new to me, and one is Neil Davidson,
who plays a favorite instrument of mine, the acoustic guitar.
It wasn't until the third piece before I this out, as the first
two were rather drone related pieces of playing whatever sound
through the body of the guitar and picking them up before throwing
it around. Or perhaps the playing of ventilators against the strings
to create a wealth of overtones. In 'Across' both this as well
as rudimentary improvised playing exist. Quite a loud beast.
Joseba Irazoki plays 'lap steel, nylon strings, electric guitar,
banjo' on his solo release and dedicates it to Derek Bailey and
Robbie Basho, which might be an indication where this. For reasons
that aren't entirely clear to myself, I think it's the work of
multi-tracking, i.e. various layers of sound played by one person.
I might be wrong. Some of the pieces sound indeed like Basho,
plucking away, and some others are more like Bailey's acoustic
guitar abuse, but I must say that that Irazoki plays some fine
tunes and makes a great combination out of the various instruments
he plays.
Sabina Vogel plays flute and electronics and on her CD there are
four recordings made in at a concert in Stockholm, a piece for
an exhibition and whole bunch of very short field recording pieces
involving ice ('just another state of water, but it makes different
sounds'). In her concert pieces, Vogel treats her instrument as
an object: careful blowing, producing small sounds, but it's hard
to think of this as a flute, at least most of the times. In the
exhibition piece see uses a large dose of echo on her field recordings
of water to create an atmosphere of walking around, along with
her flute, which acts as a bird. It's altogether a pretty varied
disc, quiet listening music, but full of tension.
The last release might be a bit of a surprise, since Adriano Zanni,
also known as Punck, is not exactly the man I would expect on
this all improvisation label. So far his releases were all stuck
in the microsound corner, but perhaps he's opening new territories.
Zanni uses laptop, field recordings, found sound and sampling
to create his music. It proofs indeed to be the odd ball of this
batch of his releases, even when the first track sound like an
improvised affair. Zanni finely waves field recordings together
with sounds recorded from objects and such like. Improvisation
seems far away on this release, which is still along the lines
of microsound and found it's influences in the work of Roel Meelkop
or Richard Chartier. On a totally different, but the best of all.
(FdW)
Address: http://www.creativesources.com
FEAR FALLS BURNING - THE INFINITE SEA OF
SUSTAIN (DVD by Soleilmoon Recordings)
Not just a live document of a single show by Fear Falls Burning,
but no less than six complete shows, the shortest being just under
thirty-six minutes and the longest over fifty-five, that makes
a dazzling amount of music. Pressed on a DVD, but it comes without
any images, save for some static pictures. All the space is used
to present music. Fear Falls Burning, the new moniker of Dirk
Serries (formerly known as Vidna Obmana), has presented in a short
time quite an amount of work. Serries plays guitar, feeds it through
effects, loops it around and is somewhere close to post rock and
ambient, although occasionally Fear Falls Burning know how to
explode the music in a heavy rock type. Each of his releases is
recorded in a single, two track take, so as such everything he
recorded is live. As such it may be curious to see why this is
marketed as a separate live document. Of the six concerts I saw
the first, at the beautiful CC Luchtbal in Antwerpen, Belgium,
which opens the DVD. In a typical Fear Falls Burning piece, it
starts out with some simple strumming, note picking or some such,
which are looped around and from then on things slowly evolve
in a strict linear fashion. Sometimes half way through there is
a break, following a might crescendo, and then things starting
to pick up again. A regular feature is however the sound cutting
straight out at the end of a concert. Six concerts is perhaps
a bit too much, certainly when listened to go in one go, as I
did, and perhaps may not add that much to what we already heard
before. However, if you need a starting point to dive into the
deep end of Fear Falls Burning, than this is it: quite a complete
collection of six more than excellent recordings, summing up what
Fear Falls Burning is all about. (FdW)
Address: http://www.soleilmoon.com
REFRIGERATOR MOTHERS - GHOSTS OF A PRIMITIVE
WORLD (CDR by Urck Records)
'Ritualistic and tribal post-punk folk dreamweavers': that is
how the Refrigerator Mothers call themselves. It's a loosely organized
collective of over twenty participants, including musicians (of
course I'd say), visual artists, film makers, business owners,
dancers 'and much more' (mothers perhaps?), and together they
have a whole array of instruments at their disposal: from analogue
synthesizers to guitars, prepared guitars and piano, but also
frame drum, floor tom, various cymbals and bells and the kitchen
sink. I assume that their material is conceived during lengthy
jams which are then cut to shape. They also have a 7" out
called 'Arab National Anthem', which along with the b-side can
also be found on this CDR release (for reasons not entirely clear
to me), and that might show some of their love for love for middle-eastern
sounding, tribal percussion and vocal chanting. Ever since Muslimgauze
picked up a tabla and played too much, I can't hear a tabla without
thinking of Muslimgauze, which makes I have some problem with
this too. But the Refrigerator Mothers get the benefit of the
doubt from me. Their addition of a whole blend of other instruments
makes this into something that is wholly more enjoyable than the
more single minded Muslimgauze. Their freaking sound goes out
into the directions of No Neck Blues Band at times, but with a
slight touch of arabic sound. Quite a great release of improvised
music in something that might very well be considered their own
sound. (FdW)
Address: http://www.urckrecords.com
SWAMPS UP NOSTRILS/GUIGNOL DANGEREUX - SHITBREATHER
(CDR by Krakilsk)
STAPLERFAHRER - CRUSADES (CDR by Krakilsk)
CARL KRUGER & JOSH BROWN - I'MMA KILL YOU IF YOU STOP T3H
ROK (CDR by Krakilsk)
CARL KRUGER - LONGPLAYER (CDR by Krakilsk)
DARPH/NADER - GALAXY (CDR by Krakilsk)
When I opened this parcel containing five CDRs, I thought it was
send by Tib prod. Same kind of packaging (computer design, plastic
sleeves) and similar artists (Carl Kruger, Staplerfahrer, Guignol
Dangereux), but it is really a different label, albeit from Norway
(Trondheim), and they call themselves 'some sort of label or something'
and are closely connected to the nice venue in that city Klubb
Kanin. As said, some artists sound familiar, like Guignol Dangereux,
who share their piece with five studio pieces by Swamps Up Nostrils
(who were also on Tib Prod), which is one Arnfinn Killingtveit,
aka Helmetricon, Synkopat or Malebarisk, and also the guy who
runs the Krakilsk label. The five pieces continue where we left
S.U.N. in Vital Weekly 459: technoid music, with industrial influences,
but also some quieter moments, but still not every moment is convincing.
Guignol Dangereux, whose main stream of releases comes from Tib
Prod (under which ever banner he works), but his long piece of
hard techno works quite well. It bangs and booms, four to the
floor, with nasty, mean little synthesizer sounds to support it.
From The Netherlands hails Staplerfahrer, whose
'Crusades' was recorded in an abandoned and squatted church that
was to be evicted and make space for office buildings. Despite
Staplerfahrer's concert, the evication went ahead. Since some
years active behind his laptop, Staplerfahrer has grown quite
a lot since then his early days. Away from the simple, straight
forward rhythm and noise, he plays here a piece of what I assume
to be an all improvised set of music, which make a fine combination
of vaguely humming drones (organs? processed guitar sounds?) and
scratchy rhythms and a bit of noise. Quite a nice combination
of sorts, displaying a wide interest in sound processing.
Of a more conceptual nature is the release by Carl Kruger and
Josh Brown. They have no less (or rather no more: a CDR can't
have more than this) ninety-nine tracks of twenty second pieces
of music. Distorted, computerized, noise, disturbance, static,
hiss, drones, glitches, cracks, mayhem. You can play this at repeat
and random, as suggested on the cover, but you could wonder why.
Maybe it's a nice idea to copy some of your favorite tracks to
your computer and create some nice music with it. I view it rather
as a catalogue of sounds than as a great product of music value.
Carl Kruger, again known from releases on Tib Prod, has also a
solo release here. In his solo music he continues what he does
with his release with Josh Brown, except that he tries to make
music with all the glitch sources. His love extends to the more
rougher and noisier material found inside the defaults of machinery
and software. Like before he creates sound collages with the material
that aren't always easy to follow, but who said things should
be easy. Some of the pieces are bit long and not every moment
is great, but in terms of noise going a different direction, this
is quite alright. Noise meets musique concrete and microsound
becomes macrosound.
The last one is by the unknown duo, at least for me, Darph/nadeR.
I have no idea where they are from, but their release was quite
a puzzle. Within a track they can skip of fucked popmusic with
vocals to something in the limits of outer noise. Certainly outsider
music of people that definitely want to do whatever they see fit,
inside a track or for the an album as a whole. Having said that,
I sort of grasp what this about, but not necessarily makes me
liking this very music. The pieces are too long, too chaotic and
don't seem to go anywhere. Just not my thing really. (FdW)
Address: http://www.krakilsk.org
DUO BARZABAL DE DIEGO - CENTRO CULTURAL
ISLAS MALVINAS 2004 (CDR by Rruido)
JOSE DE DIEGO - TARDE (3"CDR by Rruido)
GRUNDIK KASYANSKY - LIVE JOURNAL 12.28.2005 (3"CDR by Rruido)
In years to come I think we will see more and more music that
will fit the pages of Vital Weekly very well from exotic countries.
By now Argentina is no longer a 'strange' and 'exotic' country
anymore, due to the likes of Reynols. Rruido is a small Argentinean
label that releases 'experimental, improv and noise music in cdr
and mcdr format'. The label believes in exchange of music and
projects, exporting their, importing yours, thus avoiding the
hard cash that the country lacks. The label started in May 2006
by Jose de Diego, who plays on two of the three releases here.
First is a duo of Barzabal and De Diego, recorded at the Centro
Cultural Islas Malvinas, which to some other people are known
as the Falklands. Three very long improvised cuts of guitars and
percussive sounds. The guitars are 'prepared' with all sorts of
metallic junk, feeding through effects. In total seventy-six minutes
of freaking out, which might have served better when it was edited
a bit more. Now everything is there, including moments of searching
for the interesting sound, which sadly brings in boredom. Cutting
out these moments wouldn't have been a bad thought, me thinks,
as there are certainly other moments in which some tension can
be heard.
Of much more interest is De Diego's solo mini CDR which uses guitar
and computer. I assume he recorded his guitar sounds to his computer
and from there on started to manipulate them. Some of the more
harsher parts sounded a bit too simple in terms of overloading
the computer and time stretching, but the quieter moments here,
in which the guitar has a saying too, sounded very nice, especially
in the hissy last track.
The best release of the three is however from a Russian musician
living in New York: Grundik Kasyansky. He had releases on State
Art (see Vital Weekly 424) and Creative Sources Recordings (see
Vital Weekly 530). His instruments include a computer, small theremin,
radios and feedback synthesizer, although he limits himself to
the latter here. Recorded on December 28th last year, he plays
some ultra soft music. Soft peeps with lots of silence in between.
If you put the volume all the way up, you may even hear much more
sounds that aren't unlike insects or bugs in your room. Quite
an intense release, this one. (FdW)
Address: http://www.rruido.com
SEKVENS - LIVE IN MOSKVA (MP3 by Hwem)
WE WERE DANCING - IN A SIMULATED SENSE OF LOSS (MP3 by Hwem)
KABURU - IF HE IS, WE'RE NOT (MP3 by Hwem)
A new netlabel from Sweden, 'dedicated to drone-, noise- and avant/experimental
music'. Sekvens we came across in Vital Weekly 541 with their
'Requiem For Analogue TV-signals'. This duo of Tobias Astrom and
Martin Herterich started out only last year, and in august they
already played in Moscow. They use microphones, short wave radios
and a laptop. Their music here is very much in the territory of
ambient glitch: a warm bed of drones, processed from radio waves
that don't seem to hold much information, just static crackling.
There are two parts here, but honestly I thought it was merely
a glitch in the recording: there isn't much difference between
both tracks. But throughout it was fine listening.
Someone whom we met before is Robin Rådenman, but he was
called The Winter Quarters before, now it is We Were Dancing.
His previous incarnation was more about atmospherical musics,
as We Were Dancing he still operates in the field of computer
music, but it's rather cracked, collage like and a distorted,
but in a strange twist of fate, it doesn't sound very loud, obnoxious
and dirty, even when in 'Fragile' he uses pure sinewaves. It always
sounds 'fragile', sweet, microsounding and never over the top.
Of a totally different kind is the release by Kaburu, two improvising
musicians and 'critics of civilization' (Thomas Toivonen and Iggi
Malmborg). Apparently they released many hours of music on the
internet, and have played anything between the art museum and
punk club, but this is their first release. No laptops here or
careful cracking of sound, but the free improvisation on anything
that can make a rhythm (Malmborg playing) and guitar, cittra and
clarinet (Toivonen). In about thirty minutes they improvise their
way through pretty rough edges, but their instruments are always
recognizable. Noise most of the times, I must admit, it didn't
grab me this much. Probably it's more fun to play this kind of
music than to hear it. (FdW)
Address: http://www.hwem.net
Correction: Ole Records (see last week's The Hitmachine) have a website: http://www.ole-records.nl. And the singer referred to in the Avia Gardner review should have been Beth Gibbons and not Beth Hart.
Vital Weekly is published by Frans de Waard
and submitted for free to anybody with an e-mail address. If you
don't wish to receive this, then let us know. Any feedback is
welcome <vital@vitalweekly.net>. Forward to your allies.
Snail mail: Vital Weekly/Frans de Waard - Acaciastraat 11 - 6521
NE Nijmegen - The Netherlands
All written by Frans de Waard (FdW), The Square Root Of Sub (MP
<sub@xs4all.nl>), Dolf Mulder (DM) <dolf.mulder@hetnet.nl>,
Robert Meijer (RM), Gerald Schwartz (GS), Niels Mark Pedersen
(NMP), Henry Schneider (SH), Jeff
Surak (JS), TJ Norris (TJN), Gregg Kowlaksky (GK), Craig N (CN),
Boban Ristevski (BR), Maurice Woestenburg (MW), Toni Dimitrov
(TD <info@fakezine.tk>), Chris Jeely (CJ), Jliat (Jliat),
Freek Kinkelaar (FK), Magnus Schaefer (MSS) and others on a less
regular basis.
This is copyright free publication, except where indicated, in
which case permission has to be obtained from the respective author
before reprinting any, or all of the desired text. The author
has to be credited, and Vital Weekly has to be acknowledged at
all times if any texts are used from it.
Announcements can be shortened by the editor. Please do NOT send
any
attachments/jpeg's, we will trash them without viewing.
There is no point in directing us to MP3 sites, as we will not
go there. Any MP3 release to be reviewed should be burned as an
audio CDR and send to the address above.
the complete archive of Vital Weekly (1-494) can be found at: http://staalplaat.com/vital/