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VITAL WEEKLY
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number 551
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week 44
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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
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* noted are in this week's podcast
Some editorial notes: some people think
it's perhaps 'cool', 'fun', 'art' or otherwise to send something
to Vital Weekly that has no information. Don't bother doing this:
anything that is too hard to decipher will be thrown away. Also
we have set this new policy: Vital Weekly only concerns itself
with new releases. We usually act quick, so sending us something
new means probably the first review you will see. If we start
reviewing older material we will not be able to maintain this.
Please do not send any thing that is older than six months. Anything
older will not be reviewed. In both cases: you can save your money
and spend it otherwise.
Lastly we have decided to remove the announcement section of Vital
Weekly that is archived on our website that is older than five
weeks. Since they 95% deal with concerts that have been, it's
gentle to remove the announcement and more important the e-mail
addresses coming with that.
ANDREA BELFI - BETWEEN NECK & STOMACH
(CD by Häpna)
A TASTE OF RA - A TASTER OF RA (CD by Häpna)
HANS APPELQUIST - NAIMA (CD by Häpna) *
JOHN HEGRE - COLORS DON'T CLASH (CD by Dekorder) *
BLACK LEATHER JESUS/INCAPACITANTS A PURPOSE NOT NECESSARY (CD
by
Dadadrumming)
LOVE INTERUPTS - A DADA DRUMMING SAMPLER (CD by Dadadrumming)
THE RETAIL SECTORS/YAPORIGAMI - SICOO (CD by Symbolic Interaction)
*
LUNCH WITH BEARDO - SURREALISTIC PICNIC (CD by FDH Records)
TO ROCOCO ROT - TAKEN FROM VINYL (CD by Staubgold) *
JOE TALIA - IN/EXTERIOR (CD by Holding Pattern) *
H5N1 (CD by Roggbif)
ROBERT HORTON - DIRT SPEAK (CD by Digitalis Industries) *
ROBERT HORTON & TOM CARTER - STEELJAGUAR FOR ROCKET (CD by
Digitalis Industries)
WILT - DARK MEADOWS (CD by Ad Noiseam)
S:CAGE - MADNESS TURNS TO GLASS (CD by Ant-Zen)
NEBULO - KOLIA (Cd by Hymen records)
MUSLIMGAUZE - HAFAZ AL ASSAD (CD by Staalplaat) *
MUSLIMGAUZE - INGAZA (CD by Staalplaat)
TAO G. VRHOVEC SAMBOLEC & TOMAZ GROM - TILT (CD by L'Innomable)
SABINE ERCKLENTZ - STEINSCHLAG (CDR by L'Innomable)
BILL THOMPSON - TRIPARTITE COLLISION (CDR by State Sanctioned
Recordings)
VIOLET - UNIVERSAM (CDR by Nexsound) *
RAVEN CHACON - OVERHEARD SONGS (CDR by Innova)
XNOBBQX - BLUES (CDR by Seedy R) *
NETHERWORLD - SIX IMPENDING CLOUDS (CDR by Gears Of Sand)
BEN FLEURY-STEINER - CHROMA (CDR by Gears Of Sand)
BEN FLEURY-STEINER - AS A MEANS THROUGH WHICH I CAN SPEAK (CDR
by Gears Of Sand) *
VERTONEN - FACING LEINTH (CDR by Gameboy Records)
SCENIC RAILROADS - AIRPORTS & APARTMENTS VOLUME ONE (CDR by
Gameboy Records)
RAGLANI - OF SIRENS BORN (CDR by Gameboy Records) *
SCOTT TAYLOR - FIVE DREAMS FOR SLEEPERS (CDR by Con.V) *
CON-VPILATION (MP3/CDR by Con.V)
MY FUN - IDYLL EP (MP3 by Test Tube) *
BRANDON LABELLE - BACKGROUND NOISE (Book by Continuum Books)
ANDREA BELFI - BETWEEN NECK & STOMACH
(CD by Häpna)
A TASTE OF RA - A TASTER OF RA (CD by Häpna)
HANS APPELQUIST - NAIMA (CD by Häpna)
Some weeks ago I visited an evening at Extrapool which I anticipated
very much. 3/4Hadbeeneliminated played, together with Fear Falls
Burning and Andrea Belfi. I very much looked forward to the first,
but was disappointed by their loud volume which took away the
tension of the music, the second was very consistent in his high
quality but it was Belfi who blew me away. He closed the evening
of loud music, with something that was the entire opposite. Playing
drums and some ancient synthesizer it was as sparse as it was
beautiful. You can imagine that I picked his CD out to play first
from the three new releases on Häpna. How much I like the
CD, it's not what I heard at the concert. Here he plays along
with a lot of people, playing guitar, slide guitar, drums and
various big band like sounds (wind instruments and such). It seems
to me that the material is generated by methods of improvisation,
but in the stage of mixing elements have been added or deleted,
so that a less improvised sounding and more coherent, even composed
record was made. It's not that I'm disappointed with this at all,
it is just sounding so different from the concert. It took various
rounds of playing this before it unfolded it's beauty. A lot of
small things happen on this album. Explorations of one note, getting
expanded upon. Acoustics and electronics mingle in a very delicate
and gentle way, making it at times very hard to tell the difference
between the two. In all a great release, fitting very well on
the Häpna label and perhaps next time the real solo thing?
A Taste Of Ra return on Häpna with a second CD, called 'A
Taster Of Ra'. It's the project of someone calling himself Nicolai
Dunger, and is a strong continuation of the previous album. A
man with his guitar, now with drums, occasional wind instruments,
and still songs about god knows what. They are printed on the
cover, but aren't that easy to read. Perhaps A Taste Of Ra is
a joke? Perhaps an one-man version of No Neck Blues Band? I really
couldn't tell, and again, like before, I am surely missing a point
here. Maybe things will be clear when the third part of this trilogy
is released.
And with the thirty-first release by Häpna they wave goodbye
to the nice plastic bags and nice card board sleeves and do their
first release in a rather ugly designed digipack. However what
is pressed on the CD make up that. Hans Appelqvist is a highly
talented music maker, who already impressed with his previous
releases (see Vital Weekly, 321, 379 and 441). Like the previous
release 'Bremort', he comes up with another story here. The album
is about Naima, "an entity who in different ways is present
to the persons on the album. Sometimes she interferes with their
lives and speaks directly to them, sometimes her presence is only
communicated through her musical theme, Naimamelodin (Naima's
melody)". Appelqvist's music is clever blend of piano, vocals
(male and female), violins, drums plus whatever else he can lay
his hands on to sample. The whole thing is presented like a radioplay,
a large sound collage, with weird elements thrown, seemingly random,
but in the bigger picture of the story, making great sense altogether.
A barrel organ. Sounds from the computer set to rhythm. Stuff
like that make this is into quite a spectacle. If you don't want
to follow what this is all about, it makes it a great pop record.
Perhaps even a concept album, with the big C from the seventies,
but updated to the present day. 'Bremort' won a prize and I wouldn't
be surprised if this would win another. A great record. (FdW)
Address: http://www.hapna.com
JOHN HEGRE - COLORS DON'T CLASH (CD by Dekorder)
By far and wide known as one half of Jazzkammer, who are curiously
now named Jazkamer, together with his long time pal Lasse Marhaug,
but also responsible for a great CD with Maja Ratkje, 'Ballads'
(see Vital Weekly 519), as well as other collaborative projects,
but never solo - at least not release wise. On his debut release,
Hegre plays guitar, like he used to do before turning all things
laptop. It seems as if Hegre wants to convince us that he knows
how to play the thing, since it starts out with a rather soft
and sweet multi layered guitar piece of gentle guitar sounds.
However Jazkamer fans shouldn't worry: noise is here too, just
as in 'Worry', 'They' and 'Never' (the five pieces read as 'Don't
Worry They Never Do' as a response to the title of the CD - all
to be said by Snakefinger in an interview in 1987 just before
he died), both of which die out in a very slow manner. Hegre's
version of a blues piece closes the CD and that is the only piece
in which there is an actual band playing, including bass, drums
and Tore Boe and family on vocals. 'Worry' is for me the best
piece, since it combines in a single tracks various approaches,
but make throughout a great piece of music. Hegre shows us all
the possibilities of the guitar as an instrument, or perhaps,
his instrument, and as such he produced a pretty varied album,
but we can wonder if it's perhaps not a bit too varied. One could
wonder: what does Hegre want with this? A display of his no doubt
great skills, but the coherency of the album is somewhat gone.
But fans of Jazkamer, once again, will pleased with this. (FdW)
Address: http://www.dekorder.com
BLACK LEATHER JESUS/INCAPACITANTS A PURPOSE
NOT NECESSARY (CD by
Dadadrumming)
LOVE INTERUPTS - A DADA DRUMMING SAMPLER (CD by Dadadrumming)
Beware the Jubjub bird and anything that uses a fade! The incapacitants
came
whiffling through the tulgey wood, And burbled as they came! As
I said to
frans my beamish boy! Not all noise is the same ... Black Leather
Jesus
have the jaws that bite, the claws that catch! O frabjous day!
Callooh!
Callay! I chortled in my joy but incapacitants were all mimsy
with feedback
in the borogoves, and sounded like the mome raths outgrabe. Love
Interrupts has 22 tracks by various artists working, loosely in
some cases,
within the genre of noise and the difficulty of reviewing this
is similar to
those selection boxes of biscuits you get at Christmas, I only
found a
couple of chocolate bourbons with the custard cremes, cherry points,
priest
in shit and chocolate digestives. Well maybe this CD would make
a good
Christmas stocking filler for a favourite nephew or aunt? Joshua
or Rita?
(jliat)
Address: http://www.dadadrumming.org
THE RETAIL SECTORS/YAPORIGAMI - SICOO (CD
by Symbolic Interaction)
Can't remember seeing a more empty packaging since the releases
of Meme: all white, but this one goes a step further. Not a single
bit of information. As far as I understand this is a collaboration
between an one-man band called The Retail Sectors, also known
as Kentaro Togawa and another one-man band called Yaporigami,
being Yu Miyashita. The first is described as post post post post
rock and second as post (x4) punk. And I guess that is a very
much true. Both the complexity of post rock and the aggressive
stance of punk are combined here. All very well and fine made,
but hardly with any surprises. Only the final two pieces are different:
the are breakbeat like cut ups of the material in a pretty aggressive
style in the drum section of the release, but with guitars swirling
on top. In all quite an alright CD, but hardly with any real surprises.
(FdW)
Address: http://www.symbolicinteraction.net
LUNCH WITH BEARDO - SURREALISTIC PICNIC
(CD by FDH Records)
From the ashes of various punk bands, such as The
Sex Machines, Deprivation, Murdershift came in 2003 a new band:
Lunch With Beardo. No more punk, but free form experimental improvisation
music. The band consists of Jeff Bumiller, Jesse Heffler, Eric
'The Ill', Jon Wazoo and Timh Gabriele and they play the whole
rock kit, but also synthesizers, saxophones and perhaps other
sound generators. It seems to me that this is culled from a variety
of recordings, and then pasted together again in a collage fashion.
Not of the abrupt kind, but gentle gliding into each other. Especially
in the first two tracks this works well: a spacious built up,
free form psychedelic music running amok, all quite uncontrolled
and yet quite controlled at the same time. The third track, by
far the longest of the three, things erupt into the world of noise
and here sometimes things collapse under their own weight. The
tension that is present in the first two tracks is gone, certainly
after the eight minute (which I thought would have been a suitable
ending of things). For those who love their rock music to be free
form, psychedelic and also a bit noisy - and by my account there
should be a few - keep an eye open for Lunch With Beardo. (FdW)
Address: http://www.fdhmusic.com
TO ROCOCO ROT - TAKEN FROM VINYL (CD by
Staubgold)
It has been a while that I listened to some To Rococo Rot, in
fact I might not even remember when. Ever since the old vinyl
pieces, I guess and when they moved to labels such as Kitty-Yo
and Domino I lost contact. Oh well. But the first pieces of vinyl
on labels such as Fat Cat or City Slang were quite nice. I may
even have some, but not all, and as such it's great to see a CD
like this. All of the pieces are taken from slabs of vinyl which
are hard to get - unfortunately for the die-hard collectors: keep
on searching as this is far from complete, which is a great pity.
To Rococo Rot's music, in case you are uninitiated, is the missing
link between rock and dance music, but not the heavy New Order
like stadium rock, but the gentle kind of post rock. Drums are
coming out of a box, but also from the kit, there are nicely gliding
synthesizer sounds, the bass is like the glue holding things together,
and the guitar makes nicely sparse melodies. Eleven great tunes
of mildly pop music. I have no idea why I didn't play To Rococo
Rot in recent years, but it's about time to dig out all the old
recordings and have a long, sweet To Rococo Rot evening. Despite
being somewhat incomplete, it's great getting re-acquinted and
to recent admirers a fine introduction of the past. (FdW)
Address: http://www.staubgold.com
JOE TALIA - IN/EXTERIOR (CD by Holding Pattern)
From a country with about the some amount of
people as The Netherlands, Australia seems to have, certainly
seen from the outside, many people who are actively involved in
creating experimental music. Joe Talia is a new star on the firmament.
Born in 1980, he plays drums, guitar and laptop (not all at the
same time, I think) in a wide variety of styles. From jazz, improvisation,
rock, contemporary classical, hardcore and musique concrete -
you name it, he does it. He has played with David Shea, rand And
Holland and many others. 'In/Exterior' is his solo debut release.
The title sounds like it is music for a sound installation, but
I believe it's not. He uses gongs, bowed cymbals, washing machines,
feedback, springs, noise and theremins. What he exactly does to
them is hard to tell, but he creates an interesting combination
of musique concrete, drone and is at times influenced by the old
Organum sound. Shriecking sounds of bowed gongs and cymbals are
fed through a wall of electronics. Talia's love to play a variety
of styles works also in this solo work, perhaps not as broad as
playing with other people, but the four pieces are a fascinating
journey of vast empty spaces, with insects swirling around and
all the other usual ingredients to sum up this kind of music.
Very nice indeed. (FdW)
Address: http://www.joetalia.com
H5N1 (CD by Roggbif)
The third release by Roggbif in as many weeks. Don't get fooled
by the low catalogue number (008) of this release, for it 'just'
took a long time to complete it. You could wonder why Roggbif
releases two compilations, shortly after each other, which, if
you leave of one of the two Sten Ove Toft tracks, could have fitted
on one CD? Perhaps it has to do with the more or less thematic
approach of this one. 'H5N1' is the bird flu, suddenly erupting
and spreading it wings (sorry for the pun) rapidly. In Sten Ove
Toft twenty minute drone piece this is not the case. It's not
erupting and expanding - it stays on the relatively soft side
of things. What his title 'Petit Mal' has to do with bird flu,
I don't know, but then I am not a doctor. The other half of Ryfylke
is Stian Skagen. He opens the CD with a more computerized version
of drone music. Software based, this highly kinetic music, moving
forward as well as backward and has a vague machine hum. Quite
an intense piece of drone music, not sounding anything like the
usual drone music, which is of course always a good thing, if
you look for something new to happen in the field.
Sandwiched between these is Morten Norbye Halvorsen, or MNH in
short, who worked with the boys from Ryfylke. He offers a most
curious live piece that starts out with some rhythmic sounds feeding
through an analogue synthesizer with a deep drone lurking in the
background. Towards the end there is suddenly an outburst of noise.
In a sloppy piece of music, but the curious thing is: it works
rather well. Just like 'Penumbra Booming', quite a nice compilation
again. (FdW)
Address: http://www.roggbif.com
ROBERT HORTON - DIRT SPEAK (CD by Digitalis
Industries)
ROBERT HORTON & TOM CARTER - STEELJAGUAR FOR ROCKET (CD by
Digitalis Industries)
Only three weeks ago we noticed the return of Robert Horton, whose
work I first heard in the early 80s (see Vital Weekly 548). I
noticed he had a whole bunch of recent releases on a whole bunch
of labels. One of those labels is Digitalis Industries, who releases
two CDs of his work. 'Dirt Speak' is a solo release, and apparently
the first solo release under his own name and 'Steeljaguar For
Rocket' is a release with Tom Carter of Charalambides. Horton
uses a whole bunch of instruments, including something called
boot, which is a four string home made instrument, guitars, casio,
trumpet, bowed appalachian dulcimer, turntables, cds, khaen, air-pump
trumpet and many more. 'Dirt Speak' is a collection of pieces
he recorded over the last few years, the period in which he didn't
release much. It relatively safe to state that Horton plays minimal
music. Per piece he seems to be limiting himself to just a few
sounds, usually picking up the ambience where it was played, such
as in the backyard or near a campfire. The computer however plays
some role. Not to transform the music beyond recognition, but
to add a little extra flavor to the music, some extra layers,
or some pitched up or pitched down material. His playing on guitar
or the boot reminded me of some of the playing of Steffen Basho-Junghans,
or even some John Fahey, but Horton plays very much his own tunes,
since he is not limiting himself to the stringed instruments per
se. Horton plays drone music, but one of a kind that is highly
personal, away from the drone posse that have the delay machines
on endless feedback and just fiddle with the equalization. A pretty
strong release.
The release with Tom Carter starts out with the title piece and
in a very beautiful drone manner. Perhaps even a bit like what
I just slagged down, but it is a slowly unfolding piece of music
of softly tinkling guitars, bowed guitars, boot and such like.
Like a mass of softly humming violins. A long and beautiful track.
The other two tracks are much shorter, and much more disturbing.
They form the complete opposite: freely improvised and noisy to
the core. Perhaps also drone music but of an entirely different
order, shape and color. Here it hints towards the music of bands
like Sunroof or Vibracathedral Orchestra, in a similar tour de
force. I think I prefer the intimacy of the title track or Horton's
solo disc, so there is more than one and half disc that is great
and one half that is perhaps not my cup of tea, but that still
is quite good. (FdW)
Address: http://www.digitalisindustries.com
WILT - DARK MEADOWS (CD by Ad Noiseam)
Four years ago I had the pleasure of reviewing the double disc
'Radio 1940' by American composer James Keeler (a.k.a. Wilt).
It was a very interesting work that combined harsh elements of
noise with ambient of the darker kind. Latest release by Wilt,
also released on Ad Noiseam, carries the suitable title 'Dark
Meadows'. The music on the album is dark and quite cinematic in
expression. Imagine a night trip into unknown and threatening
territories of misty fog. The album cover, showing a dark valley
between high mountains and a black crow awaiting your arrival
represents a great visual impression of what to expect from the
audio part of the album. There is quite a change in the expression
compared to Wilt's aforementioned album 'Radio 1940'. The noisy
elements have faded slightly. They still saturate somewhere in
the sonic space but less abrasive compared to 'Radio 1940'. A
remarkable thing about the ambient part of 'Dark meadows' is its
combination of dark threatening drones and traditional music instruments
with baritone, guitars and piano being the most dominating. In
that sense the album reminds of Biosphere's milestone 'Substrata',
since the musical instruments adds an impression of melody to
the dark spheres of ambience, just like the use of field recordings
gives a hint towards the living nature of the dark meadows. Despite
its division into ten individual tracks the album works as a whole
piece. One track that divides from the others approaches the listener
towards the end of the album. "The devil's rainbow"
is a quite noisy beast using elements of processed field recordings
and cutting edge-noise drones. But the journey into the 'Dark
meadows' ends beautifully and harmonic with a short piece for
classical Spanish guitar titled 'Forever end credits'. Excellent
album! (NMP)
Address: http://www.adnoiseam.net
S:CAGE - MADNESS TURNS TO GLASS (CD by Ant-Zen)
Stephen Seto had his debut as S:Cage released on Ant-Zen Recordings
back in 2004. The album titled 'Remote' was an impressive combination
of harsh electronics and gently floating ambient-scapes. Now two
years later Stephen Seto is ready with his follow-up titled 'Madness
turns to glass'. It is a perfect title to the album that takes
its starting point in the 'aggression meets fragility'-expression.
Opening with the 13-minutes long track 'Madness', fragile tunes
of sweet piano melodies walks hand in hand with spheres of distorted
noises and broken beats. The beautiful opener is followed by another
atmospheric piece: Being an otherworldly exploration into neverland,
'Vapou' goes into deeper and more dreamlike territories with grandiose
ambientscapes and distant voices. The latter represents the only
signs of life from the real world. Third track titled 'Collapsing
Breath' moves a step towards reality with more focus on rhythm
texture, though the rhythms are kept in the lower levels of expression
suppressed by floating ambient and tense samples of human breathing.
Fourth track 'Gone (Undone)' is another piece of electronic art
built on ambientscapes reminiscent of Aphex Twin from his "Selected
ambient works"-period assisted by sharpcut yet distorted
electro-beats. Final track on titled 'Glass' takes us back to
the beautiful sounds of piano added atmospheric ambience and thus
putting end to another great work by S:Cage! (NMP)
Address: http://www.ant-zen.com
NEBULO - KOLIA (Cd by Hymen records)
This is beautiful! French formerly visual artist, now composer
Thomas P. uses a wide pallet of sound colors to express himself
on this debut as Nebulo. With his background interest spawning
from 20th century avantgarde classic to contemporary electronics,
from sound design to concrete movie soundtrack, Thomas P. shows
his various sonic approaches on his debut album titled 'Kolia'
out on German label Hymen Records. Being a rather complex compositional
work, the album picks elements from acoustic-based postrock, across
clicking ambience, to abstract IDM-textures transformed into a
surreal collage of sonic dreamscapes. And it certainly works!
'Kolia' is the type of album that deserves deeper listening to
consume the multileveled work, even though it also works well
as background listening thanks to the dominating use of acoustic
instruments. The more you listen, the more your ears will be caught
in the complex soup of sonic beauty. Highly recommended! (NMP)
Address: http://www.hymen-records.com
MUSLIMGAUZE - HAFAZ AL ASSAD (CD by Staalplaat)
MUSLIMGAUZE - INGAZA (CD by Staalplaat)
There was a time when the music of Muslimgauze belonged to my
daily digest, not just because I thought it was o.k., but it was
something that had to do with my work. Hearing so much Muslimgauze,
or even being a self-proclaimed expert is leading to some fatigue,
that for the last three and half years I didn't play a single
Muslimgauze work; and I had a lot to chose from. The posthumous
release party apparently dried up by now, since Staalplaat is
now about to re-issue all nine discs from their 1999 release 'Box
Of Silk And Dogs'. 'Ingaza' and 'Hafaz Al Assad' are the first
and like with many of the Staalplaat releases: they look once
again spectacular. No doubt that Staalplaat still didn't loose
any of that touch. Triangle, hard cover cardboard cover, printed
in silver, black and gold. Matters in Middle East didn't soften
out, to make an understand, so that makes the music of Muslimgauze
perhaps still relevant. I say perhaps, because Bryn Jones got
all his information from the newspaper and TV (and despite Al-Jazeera
existing ten years, I don't think Bryn ever watched that) and
whereas his concerns about the Middle East were probably genuine,
he could perhaps as easily taken another good cause (racism in
South Africa, Tibet, Ireland) to make his somewhat provocative
statement.
'Hafaz Al Assad' is the lesser albums of the two. It sounds like
a Muslimgauze sketch book with many short tracks, hints towards
what a piece could be, radio stations and 'field recordings' (not
made by Jones on location however). Only a handful of tracks are
worked out. As such 'Ingaza' is a much better CD, giving a much
clearer picture of what Muslimgauze was all about. Sampled ethnic
music set to an onslaught of minimal rhythms, spiced up with electronics,
even a vague trace of techno music. The ambient side of things
are largely absent here, and this is the harsher Muslimgauze material.
After years of not hearing any Muslimgauze this was quite fun
to hear, but perhaps for these two CDs. It doesn't want me grabbing
the other hundred or so CDs that are also here somewhere. (FdW)
Address: http://www.staalplaat.com
TAO G. VRHOVEC SAMBOLEC & TOMAZ GROM
- TILT (CD by L'Innomable)
SABINE ERCKLENTZ - STEINSCHLAG (CDR by L'Innomable)
Following a number of CDR releases, the L'innomable label now
expands for the first time to the world of CDs, but at the same
time they release a CDR too. Perhaps they found a little bag of
money? Tilt is one Tao G. Vrhovec Sambolec who plays 'live electronics'
and one Tomaz Grom who plays double bass. The seven cuts on their
disc were recorded in Alicante (the first three) and in Ljubljana
(the last four), all in 2004. It starts out quite soft, the Alicante
recordings, and one could easily think this is another of those
onkyo improvisation releases, but it is not. Quite soon there
is a lot more happening and it seems to me that the live electronics
don't play a separate role from the bass, but that he is processing
the sounds produced by Grom. Especially the Alicante recording
is very vibrant and offers lots of small changes and new insights.
The Ljubljana recording is a bit more chaotic, less structured
and overall a bit too simple in terms of processing. Throughout
a very fine disc.
I never heard of Sabine Ercklentz, although her name did pop up
in previous Vitals, in the announcement section. She plays trumpet
and computer. Or rather, me thinks, that she first plays trumpet
and then feeds it through the computer, since the cover says:
'all sounds on this CD originate from trumpet signals' - perhaps
I am entirely wrong. Here things are very much 'the instrument
as object'. Ercklentz blows into the trumpet, making small rhythmic
sounds, which she cuts a bit shorter and puts on repeat, and which
is later used as a backdrop for further playing. It seems again
to me that she isn't really interested in all sorts of weird plug
ins or real time max/msp (or what have you) kind of sound processing,
but rather uses whatever she records to add to live playing, thus
creating a richer, more layered kind of sound. Through this relatively
short disc, she puts up some wonderful textures of music, which
are rich in all its sparseness. (FdW)
Address: http://www.linnomable.com
BILL THOMPSON - TRIPARTITE COLLISION (CDR
by State Sanctioned Recordings)
Perhaps I missed out on Bill Thompson somewhere along the line,
but he has had releases on Spectral House, Bremsstrahlung and
Autueach othermn Records, but yet this is my first encounter with
his work. Originally Thompson was an aspiring jazz guitarist,
but thought that composing was perhaps of more interest. He spends
his time in Austin, Texas and Aberdeen, Scotland and in his work
as an improviser he uses prepared guitar, CD mixers, laptop, radio,
found objects and circuit-bent devices. On this release two pieces,
but if you didn't know, it would hard to hear, since they fade
over into each other and might as well be one single piece. The
title piece was created in 2005 as part of the See/Hear event
in Inverurie in Scotland starts out with a low end bass hum, and
some pitched crackles, but as the piece evolves more mid range
sounds come in like a swirling dervish and makes a very fine piece
of microsound. Very lush and ambient but also quite engaging.
In the second piece, 'Feb'23rd', Thompson composes a piece made
out of small audio files made by the musicians of the Found Ensemble
from Edinburgh. These pieces were traded over the web, and everybody
altered whatever he or she thought was necessary. In the end Thompson
created this piece of music, which is, as said, quite similar
to the first piece, but much longer. Thompson stretches out the
material to quite an extend, and lets all the sound in there 'breath'.
They slowly shift back and forth, going out of sync and certainly
in the second part of the piece things turn quite microsound-ambient-glitch
(you don't need to call like that if the term shocks you) in the
best Taylor Deupree tradition. (FdW)
Address: http://www.statesanctioned.com
VIOLET - UNIVERSAM (CDR by Nexsound)
Jeff Surak, also known as Violet (as well as a whole bunch of
other things actually), was always closely connected to the area
which we now identify as the former Soviet Union, traveling there
since twenty or so years. He's also frequently visiting the Ukraine,
and on the second of July 2005, he played at the A&T Trade
Shop in Kyiv, a half hour solo piece of music. Violet plays his
form of drone music that is not set to lull the listener to sleep,
but keep him present and noting what is going on. Here he plays
autoharp, effects and perhaps some field recordings, and the whole
thing is rather loud and piercing, through the use of ever increasing
feedback sounds. Half way through the piece collapses and towards
the end things get more introspective, towards a more 'real' drone
sound. It's altogether a pretty solid live concert, full of tension
and excitement, good built-up and performed with great care. What
more do you want? (FdW)
Address: http://www.nexsound.org/nlr
RAVEN CHACON - OVERHEARD SONGS (CDR by Innova)
On the US label Innova, who releases a lot of music of all sorts
from American composers, we are introduced to Raven Chacon, a
'Navajo noise artist based in Los Angeles'. Otherwise the cover
doesn't provide us with much useful information, but Chacon likes
his noise, his feedback and his distortion. For the majority of
the twelve songs, these pieces are loud and dirty. Occasionally
there is a flute, or drum to be spotted, mainly on the first few
pieces, but otherwise it's all highly in Arcane Device mode. As
such these excercises in feedback are nothing new under the noise
sun, but it's not bad either. Rather one of the things that happen
and are there, like they were there ten years ago, or even twenty.
Not exactly the good medicine to cure a headache, this one, but
lovers of the more serious forms of noise should take notice.
(FdW)
Address: http://www.innova.mu
XNOBBQX - BLUES (CDR by Seedy R)
A sublabel that releases CDRs as part of a label that already
releases CDRs - well, why not. Seedy R is part of the Pseudo Arcana
imperium and sets out for "weird documents and live recordings,
eccentric experimentation and other ephemera". How to pronounce
xNoBBQx is beyond me, but it's a duo from Sydney of Mat Earle
and Nick Dan. They play drums and guitars. And much hum from broken
cables, speakers and whatever comes up and is usually polished
away. Not so with xNoBBQx: they seem to be proud of their hum
and line noise, and emphasize it. It's hard to say wether xNoBBQx
actually play blues music, but some of the pain that is usually
connected with blues music is very much alive in this album. The
hum is always present and clearly present in these recordings,
and there is surely something strongly captivating about these
recordings. All fine and neat, but the downside is that the pain
is all long, too long. Clocking in at just over an hour, this
is quite a tour de force. A bit too much to swallow. This pain
is well-enjoyable, but in a small dose only. (FdW)
http://www.sphosting.com/pseudoarcana/seedyr.htm
NETHERWORLD - SIX IMPENDING CLOUDS (CDR
by Gears Of Sand)
BEN FLEURY-STEINER - CHROMA (CDR by Gears Of Sand)
BEN FLEURY-STEINER - AS A MEANS THROUGH WHICH I CAN SPEAK (CDR
by Gears Of Sand)
From these three releases, I believe 'Six
Impending Clouds' by Netherworld is somewhat older. Behind Netherworld
is one Alessandra Tedeschi, who released 'Otherwordly Abyss' (see
Vital Weekly 514), who plays voice, synths, field recordings and
gong. Like before, I miss out the word 'reverb' in this list,
since Tedeschi likes to drown his music in a bath of reverb, especially
the deep drum like sounds. Quite dark, also once again, with the
drum banging slow and solemn (like in a big cathedral we are supposed
to think), with some crackles and weird sounds. The voice however
is something that we didn't hear coming through. It's quite an
ok release, not really much different than 'Otherwordly Abyss'
really, but in it's kind not bad at all. For those who love such
labels as Old Europa Cafe.
From the two releases by Ben Fleury-Steiner, he
who is the boss of Gears Of Sand, I think 'Chroma' is the older
one, but it's re-mastered and polished up. It is already mentioned
in the review of Paradin's release on Mystery Sea (see Vital Weekly
472). Paradin was the name used by Fleury-Steiner before using
his own name. Like his previous work, it is not told what sort
of instruments he is using and the website is also quiet about
this. 'Chroma' might be played on a bunch of guitars and an even
bigger bunch of sound effects, whereas 'As A Means' might be more
the work of a bunch of software synthesizers. But what would I
know about these sort of things. I played both releases back to
back and the thing that occurred to me was that the differences
between both releases are quite small. Both play a great but traditional
card of ambient music with a big A. 'As A Means' sounds a bit
fuller, richer and perhaps a bit better worked, soundwise, than
'Chroma', but as said the differences are marginal. It's more
ambient and less experimental than his Paradin moniker, but he
does a fine job. (FdW)
Address: http://www.gearsofsand.net
VERTONEN - FACING LEINTH (CDR by Gameboy
Records)
SCENIC RAILROADS - AIRPORTS & APARTMENTS VOLUME ONE (CDR by
Gameboy Records)
RAGLANI - OF SIRENS BORN (CDR by Gameboy Records)
Two familiar faces on Gameboy Records, one of my more favorite
CDR labels. I sinned against all the recommendations on the Vertonen
disc: 'headphones/sober/darkness/supine'. The only darkness around
here is the grey deck of clouds if I look out of the window. The
cover lists eight tracks, but there are placed as one long track
(perhaps a mistake?). Over the years, Vertonen, nom de plume for
Blake Edwards, has grown from a noise band using turntables into
something that deals with drone music, but drone music of a much
harsher and intense kind than say the UK counterparts. Some of
the pieces here (and I wish I could tell which) are ear piercingly
loud, using some nasty frequencies, but then there are moments
in which Vertonen is contemplative and soft. It's this combination
of the soft versus the loud that makes this into a very interesting
release, breaking the rules of what is 'usual' in the field of
drone music, yet it never bursts out into the realms of real noise.
The Eno like title for the third release by Scenic Railroads may
contain a clue of what to expect. Scenic Railroads is a duo of
Joe Panzner and Mike Shiflet, and indeed the title is a clue.
Both to Eno for they operate in the world ambient glitch and to
the two places in which this was recorded. The first piece was
recorded during 'a layover between Columbus and Houston' at Dulles
International Airport and the second at 'Casa Gameboy' - at home.
I don't know how you would record at an airport, but alas, there
is probably a way. Scenic Railroads continue what is already set
forward on their previous releases: lengthy and spacious crackles,
humming of fridges or heaters, and a bit of sinewave like material.
It's all quite alright actually, but of course the question is:
what next?
Raglani is a guy from St. Louis and he plays sine/square wave
generator, analog modular synth, acoustic guitar, voice, melodica,
bamboo flute and electronics. It's good to see such a listing
since I would have all too easily mistaken this for another disc
of computer type of sound processing. The five pieces here are
a pretty varied bunch of music, which is not easy to describe.
There are certainly elements of noise to be discovered, yet it's
not his primary thing. There are bits of ambient, yet that too
is not his goal. It sorts of moves between all things experimental,
and that's perhaps the nicest thing about the release. Pieces
are relatively long, but offer enough variation to hold the interest
of the listener. Quite a curious and good release. Certainly a
name to watch for the future. (FdW)
Address: http://www.gmby.net
SCOTT TAYLOR - FIVE DREAMS FOR SLEEPERS
(CDR by Con.V)
CON-VPILATION (MP3/CDR by Con.V)
Only recently Scott Taylor was featured in Vital Weekly (issue
537) with his beautiful collaboration with Srmeixner, but otherwise
he takes his time to put out music. His previous release 'Castaway'
was reviewed in Vital Weekly 457. It might have its reason, and
perhaps it lies in the fact that he wants the best possible result,
and it is needed that he endless shapes his music. Music that
is largely, if not all, based on field recordings. Recordings
that are at times recognizable, such as water (rain, sea) and
sometimes not at all. All of these recordings are fed into the
computer and processed accordingly. It is possible to place Taylor
along people like Francisco Lopez, Richard Chartier or Roel Meelkop,
but there are some important differences. Whereas Taylor's music
is not loud at all, it is also never silent, below the threshold,
like the others sometimes do. Also Taylor is not afraid of adding
musical elements to his music. 'Something Simple For The Organ
Grinder' is a somewhat bizarre title for a lovely playing on an
organ, a gorgeous little melody. This is what truly sets him apart
from his counterparts and brings him closer to Stephan Mathieu,
but without the minimalism. Great work all together and something
more exciting than the usual microsounding artists.
On the same label, in a different format though, a compilation
of artists which have releases on Con-V or will have soon, and
it's pretty much a showcase of talent in the world of microsound.
Some names we have come across before, such as Tomas Korber, Esther
Venrooy, Vitor Joaquim, Sabine Vogel or Fhievel. Not super well-known,
but each having at least an album under his or her arm. For some
strange reason I expected this to be all silent and crackling
noise like, but it's not. In fact not at all. For the seventy-some
minutes are as a varied as you can expect from such compilations.
There is somewhat louder vocal explorations of Joaquim, the improvisations
of Erratic & Lina, the Ron L. Hubbard spoken word in Venrooy's
piece, the onkyo of Margarida Garcia or the sheer silence of Fhievel
- that too is of course present in a compilation like this. It
all ends with a rather non-microsound piece of guitar music, almost
in a western mood, with a nice slide to it. There are indeed many
new artists to be discovered. (FdW)
Address: http://www.con-v.org
MY FUN - IDYLL EP (MP3 by Test Tube)
More field recordings put to music here by My Fun (see also Vital
Weekly 471 and 504), also known as Justin Hardison. It's a bit
of an odd name, My Fun, as it implies different music than what
he offers. On the 'Idyll EP' he moves away from his previous sound,
the more rhythmic kind of microsound, Fennesz influenced crackle
music into a more organized, organic based microsound, entirely
culled from field recordings. Recordings of voices from the ether,
children playing outside and such like are used here, and are
set against a backdrop of waving sound, that sound like palm trees
in the wind. No use of classical music, this moves into a more
abstract kind of music that is highly minimal, quite narrative
and throughout quite good. All without creating something that
is highly new or original, but throughout executed with great
care and skill. Ambient glitch of the highest order - and that
is fine on a dark sunday afternoon. (FdW)
Address: http://testtube.monocromatica.com/
BRANDON LABELLE - BACKGROUND NOISE (Book
by Continuum Books)
Reading books about music is my next favorite thing, besides listening
to music. In the recent weeks I read 'The Dirt' (on Mötley
Crue), 'The Story Of Crass' and 'Torn Apart - The Life Of Ian
Curtis' - but my opinions on those will surely not be of interest
to the reader (although I can state that after 'The Dirt', which
I thought was a hilarious book, I didn't want to hear any Crue),
but I also read 'Background Noise' by Brandon LaBelle. I must
admit I read it in various phases, unlike the others. The reason
was that much of what LaBelle tells is common ground for me. Wether
it's about Jeph Jerman, John Cage, Xenakis or Achim Wollscheid.
LaBelle divides his book in chapters on field recordings, installations,
contact microphone music, fluxus and such like, placing them in
a historical context in a well understandable language. It may
perhaps not include all hot news, but no doubt for a younger generation
I am sure it will be a good introduction. (FdW)
Address: http://www.continuumbooks.com
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