number 565
week 9


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!
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* noted are in this week's podcast


COR FUHLER - STENGAM (CD by Potlatch) *
Z - MIKABE (CD by Transduction)
LITE - FILMLETS (CD by Transduction) *
SHUTTLE 358 - FRAME (CD by 12K)
PAUL BRADLEY - CHROMA (CD by Twenty Hertz) *
HEAL - STARTING BACK (CD by Sound On Probation) *
BETIKA - HALF LOVE (CD by Pawthorne)
AMON & NIMH - SATOR (CD by Eibon Records)
2000 SCHØEN - YOSHIWARA (CD by Kafue Systeme)
SUR LA MER - PRELUDE TO THE SEA (CDEP by Thirty Ghosts Records)
SYNOMORPH - RECORDED IN HELL (CD by Apocalyptic Radio) *
TOMAS KORBER & BERND SCHURER - 250904 (CDR by Balloon & Needle)
GOOSE - ISOBEL (3"CDR by Taalem)
SCOTT TAYLOR - SILVER (MP3 by Touch Radio) *


In another life I had many dealings with O Yuki Conjugate (and whose music I still listen to it this life), but even in life before that I was aware of them. It must be around twenty years ago, when I saw them playing live locally, and that made a big impression. Although seemingly coming from the underground noise music as I was interested in, O Yuki Conjugate played ambient music, taking the inspiration from both Eno and ethnic, and releasing some classic albums of the genre that is called ambient or ambient house: 'Peyote' and 'Equator'. There was perhaps a time that they could push for star status, but for whatever reason that didn't happen. The members were active in many side projects, such as A Small Good Thing (adding slide guitars), Sons Of Silence (more rhythm) and ALP (experimental soundscaping), but in the recent years not much was heard from all of this and now there is this come-back album (if we may call it like that), which comes in a great cover, a sort plastic transparent tile attached to the digipack. Stripped down to the three core members Andrew Hulme, Roger Horberry and new man Rob Jenkins, 'The Euphoria Of Disobedience' is not another classic landmark, which would hardly be possible, since the genre is explored very well and has had it defining moments (also through the previous O Yuki Conjugate albums). The instruments is a list of old and new gear, such as a modular synthesizer, a prophet 5, a minimoog but also something that is an ipod bass. O Yuki Conjugate play ambient music, still with a big A: watery colored sounds, sometimes without much shape, but throughout whatever it sounds like it's music that is so recognizable for them, even when the ethnic percussion is kept to a minimum here. Like the sun this morning shining through clouds, barely visible, so is the music of O Yuki Conjugate. It's audible of course, but it doesn't force it self upon the listener, nor is it too far away in the sense of aural wallpaper. It's, as said, not a classic album, but surely a most wellcome come back album. And hopefully to stay around for some time again. (FdW)
Address: http://www.oyukiconjugate.com

Music by Cor Fuhler has been reviewed before in these pages, but one has to know where to look. Fuhler has been a duo with Gert-Jan Prins under the name of The Flirts, of whom I once saw a brilliant concert, but also improvising with anybody in the Dutch improvisation scene, and beyond, such as with Mimeo. His main instrument is the piano, but "he seeks to take it musically beyond usual perceptions, specializing in sustained sounds with use of various string stimulators: 12 ebows, rotating threads, spinning disks". In addition Fuhler also plays an EMS synthi AKS, as well as building his own instruments, such as a violin with keys: the keyolin. On his new solo CD, he plays an 'acoustic grand piano, using ebows and super magnets. No overdubs, no electronics, no electronic treatment'. Which is something I read on the cover after I heard the CD. Fuhler could have fooled me. I recognized indeed the piano, and yes, there are long sustained overtones, but just as easily I could have thought there was electronic treatment in these subtle walls of droning and sustaining sounds, with sparse interception by the piano itself. So there are none. Wow! Along the lines of Alvin Lucier, but in a much more musical context. Whereas much of Lucier's work stays on the somewhat clinical and conceptual sides of things, Fuhler expands beyond it, and makes great, careful music. It hardly sounds like a disc of improvisation music, as one may expect from this label, but more a disc of composed music. Great stuff. (FdW)
Address: http://www.potlatch.fr

With his avant rock group Doctor Nerve, Nick Didkovsky settled his fame in the 80s and 90s. I keep dear memories to some of their concerts I visited in those days. I'm not sure this band still exists... Anyway, I'm happy to have a new change in learning what Didkovsky is up to.
Already in the days of Doctor Nerve Didkovsky was involved in computers, especially in the process of composing pieces. This is also the case for his new solo-album, although Didkovsky also plays an important role in the performance of most pieces on this CD. Didkovsky explains as follows: "These pieces are about the details of musical evolution that emerge from rule-based compositional systems. Using electric guitar, string quartet, electronics, and computer software, we explored territories held together by systems of agreements, forms specified in software, real-time musical choices, and notation." In five very different compositions Didkovsky works out his ideas and establishes himself as a new music composer. For the string quartet Didkovsky choose again to work with the Sirius String Quartet. About 2000 Doctor Nerve and this quartet worked together in the 'Ereia'-project, a large work in three movements composed by Didkovsky. The CD opens with 'She closes her Sister with heavy bones' for electric guitar and string quartet. A stirring piece of music with a great melody and pastoral atmosphere. Near the end a noisy but controlled guitar solo sets in that seamlessly continues in the next piece, 'Machinecore' for electric guitar and computer that gradually because noisier and louder, and develops into the counterpart of the first piece. A great track with rough edges that of all pieces on this CD is the close to rock. The title piece is again for string quartet, talk boxes and harmonizer pedals. Now great drones of organic sounds fill the air. A talk box is a device "which sends the sound of each instrument through a plastic tube and into the player's mouth. There, the sound of the instrument is altered by the shape of the mouth as the players quietly voice vowels specified in the score." 'What sleep Herd' is for string quartet and computer, 'Just a voice that bothered him' for string quartet only. 'What sheep Herd' is a hypnotizing and slowly moving minimal composition à la Tony Conrad, and the longest piece on this CD. A work that slowly expands its grip on your ears and mind, but in the end the least interesting composition to my ears. 'Just a voice that bothered him' is again a very pastoral and even spiritual piece of music if you want. Music with emotion and depth. So it is a very funny contrast to read in the liner notes on this (and most of the other pieces) where Didkovsky explains technical aspects only. A wondrous guy he is! (DM)
Address: <http://www.pogus.com>www.pogus.com

Z - MIKABE (CD by Transduction)
LITE - FILMLETS (CD by Transduction)
Out of the ashes of the japanese punk band There Is A Light That Never Goes Out arose a band with a much shorter name: Z. In 2002 the brothers Jun (drums) and Ayumu Nemoto (voice, saxes, flute) plus Kei Uozo disbanded their punk band, wanting to shift their focus on jazz. For their new adventure they attracted bass player Takahiro Yamada and off they went. With 'Mikabe' we now have the result of this transformation in our hands. Apparently they are more close to rock then to jazz. Their mix results in some kind of free rock. Sounding direct and primal. No doubt an interesting territory as this CD proves. The performance is very dynamic and expressive like in the opening track 'Gohyaku Manyen', and I was expecting great things for the next 50 minutes. But then disappointment sets in. In the second track 'Mugen' I was throughout all 9 minutes waiting for 'it' to happen, but it never did. In the meanwhile I was condemned listening to extremely irritating and boring sax playing. In the following piece 'Zushiki Man' one of the saxplayers speaks with a much more individual and interesting voice over a very straight rock tapestry. Also the ecstatic singing and screaming really adds something. The most successful track if you ask me, together with the opening track. Then again we are about 9 minutes on the way in a much too long and mediocre piece, called 'Ikusa', although it leads to a nice climax in the end. In fact the same is the case in the next track 'Netsumonogatari'. Needlessly they take too much time to built up the piece, which is no problem if it was leading somewhere.
A totally different piece of cake is Lite. Also formed in 2003 this all instrumental quartet from Tokyo has different plans for you. Members are Nobuyuki Takeda (guitar), Kozo Kusumoto (guitar), Jun Izawa (bass) and Akinori Yamamoto (drums). All four them are very skillful musicians. No punk background here I suppose. Where shall I start? One of the things that first caught my attention is the sound production of this CD. Very well recorded, but also in a unusual was, hard to identify. Then it is great dual guitar playing that strikes me. Not to forget the drummer, who is absolutely fantastic! Yes, they do a very well-crafted job, showing great interplay and impressive technical skills. Some tracks - 'Human Gift' and 'On a Gloomy Evening' - have an almost beefheartesque madness and intensity. Other pieces like 'Dead Leaf' are much more laid back. They do a great performance of multi-layered rock, bringing back memories of old progrock, without becoming a retro-band. To locate them more precisely it is fair to add that they operate in post-rock and mathrock territories. Implying that all of their pieces are very well-constructed of intelligently interwoven patterns. But nonetheless their excellence and complex playing, in most of their compositions occur moments were it is all a bit to arbitrary and stereotype. Where I wish they would show more of their own face that they without doubt have! But don't understand me wrong, this is a great album of a very promising group (DM)!
Address: <http://www.transductionrrecords.com/

SHUTTLE 358 - FRAME (CD by 12K)
The Moskitoo release is no less than a big surprise. It's a daring move for 12K, I must say. Moskitoo is one Sanae Yamasaki from Sapporo in the northern part of Japan and she is a painter and a musician. She plays guitar, metallophone, organ, synthesizers and sings. Especially the latter feature is a rarity we hardly see on 12K. In a way one could have imagined this to be on Happy, the 12K for strange popmusic, but Moskitoo is more like 12K music. Soft, quiet synthesizer sounds, strange processings of the the acoustic instruments, beats that are rather scattered than poly rhythmic and the whispering vocals of Sanae herself. Rather than compositions of a certain length, she plays popmusic of a highly introspective kind. Whilst I must admit I am not always a big fan of vocals like this, I think it's quite a daring move of 12K to go into the field of popmusic, even when it's more abstract than what the radio would tell and which of this nature is quite popular in Japan. In terms of 'steps forward', 'innovation' and 'changing directions' the most important release by 12K in some time, and quite a good one too!
First time around I missed out reviewing Shuttle 358s 'Frame' release. Behind Shuttle is Dan Abrams, who releases also as Optimal and under his own name. 'Frame' was released in 2000 and is still a good sign of that time. Abrams uses clicks, glitches, skipping beats and textural processed hiss to generate his music. Per track things move only slowly with changes that seem to occur only a minimal level. Even when Abrams uses rhythms this is nowhere near dance music or anything such. The main thing is to create an ambience, a blank, empty ambience that is. Music like that on Frame set the tone for much microsound like music from the years to follow. If that particular part of history went unnoticed by you, this is your change to pick up on it. Good to see back in print. (FdW)
Address: http://www.12k.com

Fjellestad is a musician and filmmaker from Los Angeles. He studied composition and improvisation with George Lewis, a.o. So we may expect something of him. He has already several CDs out, and cooperated with many other artists. It gave him the reputation of an 'innovative musician'.
From early age, he had a fascination for
synthesizers, and with this new album he is trying to explore and revive these old memories using Moog synthesizers, Theremin and some other gadgets. Without caring much about structure and form, Fjellestad gives all the room to the sounds of these old analogue synthesizers and what have you. So it leaves us without any sense of direction or focus. In the enclosed press sheet this CD is referred to early krautrock experiments and even Sun Ra. Both references make sense, but Sun Ra did a lot more then Fjellestad is offering here in my view. I'm familiar with the love of the pure sound of an (old) instrument or whatever, and from this angle I must admit that this CD has some nice moments. But alas, as a whole it is lacking vision.
"A Mountain is a Mammal" is an improvised battle between percussionists Marco Fernandes (percussion, phonography) and Mike Pride (percussion, glockenspiel, electronics, voice). Three improvisations that were recorded on november 5th, at the Funhouse Studios in Brooklyn, New York. Fernandes has a long history in the San Diego area as an improvisor, producer, etc. He runs the Accretions label, that was established some twenty years ago. No wonder his name is on many records from this label. Mike Pride is a young percussionist and vocalist from Southern Maine. A very busy musician, as he has several bands going on, and he has played on some 50 CDs. Both gentlemen met by accident, while they were both on tour. Both they experienced chemistry in their collaborations that followed, and so they decided to record a CD. The first two improvisations are percussion-dominated. Great dialogues using an extensive vocabulary! Although this kind of improvisation could easily been practiced 30 years ago, this doesn't matter when it is done musically inspired as is the case with Fernandes and Pride. Very enjoyable and satisfying music when you give attention to it. The third piece has electronics, voice and phonography in the forefront. A great abstract sound poem. Yes, without doubt it was a good idea from Fernandes and Pride for working together. Proving that improvised is still very much alive if it is the work of inspired and intuitive musicians. (DM)
Address: http://www.accretions.com

PAUL BRADLEY - CHROMA (CD by Twenty Hertz)
The big question for this year is: drone music where to now? Much of what is possible in drone music has been done a lot and many musicians in this field have an extensive discography. One of these persons is Paul Bradley, who released a few on his own label, Twenty Hertz, and his recent releases, such as 'pastandpresentcollide' (see Vital Weekly 553) and 'Memorias Extranjeras' (see Vital Weekly 523) showed he knows the way out, and make small but essential changes in the world of drone music. But as such I am quite surprised by his new release 'Chroma', which holds seven tracks of ambient music with the capital a. It's exactly the same music which was heard on the releases by Hypnos ten or more years ago. Surely Bradley moves out of the deep and dark black holes of his previous works, but doesn't move into any new field to say the least. I must admit I am rather disappointed by this release, however beautiful it sounds. Spacious, weightless, but very much out of world that I heard well before. (FdW)
Address: http://www.twentyhertz.co.uk

HEAL - STARTING BACK (CD by Sound On Probation)
Seven years it took for Laurent Perrier to come up with a new CD as Heal (see Vital Weekly 227). Not lazyness, far from it, as he has been busy with many new projects (under his own name, but also as Zonk't), which are usually released on his own Sound On Probation label. The first release as Heal, 'Extension' had laidback techno dub songs with a big role for the voice. On 'Starting Back' this is however no longer the case. The music has changed to hip hop like beat, jazzy keyboard lines and lots of crazy synthesizer bits. Perrier samples whatever he can find, such as organs, trumpets, orchestral bits and comes up with fifteen (to which I can immediately say: a bit too much) tracks of high energy music. A bit poppy, a bit jazzy, dubby but throughout highly enjoyable. As said, perhaps a bit long, whereas ten tracks would have made the same big impact, this is simply a very fine techno inspired release that has to offer a lot more. (FdW)
Address: http://www.soundonprobation.com

BETIKA - HALF LOVE (CD by Pawthorne)
There is of course more music that is of no concern to the experimental pages of Vital Weekly, but every once in a while there is something received from the other world(s) and Betika is it for this week. A trio of singer/songwriter Dave Purse, singer/multi-instrumentalist Carolyn Evans and guitarist Chris Reed, who work together for a long time, but since 2004 as Betika, which actually five more members as well as guest violinists from the Bournemouth Symphony Orchestra. And they play popmusic, diversing with male and female vocals, gentle music, but without a hit single, as far as my knowledge of the x factor goes. Sweet, a bit adult stuff. A bit hard to say wether they are great or just ordinary. Read another magazine I'd say. I liked it when I played and forgot about it when it was over.
Also highly unrelated music for the likes of Vital Weekly is the music by Kelli Shay Hicks, who plays guitar and autoharp and sings. 'Buck Again' is the follow up the short EP 'Bucked', also on Carbon Records. That one sounded recorded out on streets (but were in fact 'abandoned urban spaces'), which gave the songs a rather strange feeling. Hicks' songs are melancholically, with a strong sense of a singer songwriter. Perhaps it's because she's currently based in Nashville, that there is a faint trace of country and western, but Hicks plays a much more integer and desolate piece of music. It's great stuff, and surely something that I would play again (providing I have the time). Less pop related than Betika, but equally an odd ball for Vital Weekly. (FdW)
Address: http://www.betika.co.uk
Address: http://www.carbonrecords.com

AMON & NIMH - SATOR (CD by Eibon Records)
It's not easy to figure what is what on this CD. But my best guess is that this is a collaboration between Amon and Nimh and that the title is 'Sator'. I believe both are projects from Italy and both deal with the darker than dark music. Atmospheric, deep and ambient are the keywords to 'Sator'. The means to achieve this is a bunch of synthesizers, e-bow guitar, ring modulator, samplers, effects, field recordings and such like: the usual bunch. Andrea Marutti, Giuseppe Verticchio and Daniela Gheradi (the latter on three tracks only) play five lengthy of such deep music, which is perhaps a track too many, but on the other hand: you can play this on end on a dark night in a dark room, and time will not pass. Music for private rituals, as there is a magickal undercurrent in this music that no doubt the lovers of the genre will like when performing such rituals at home (whatever the are of course). To me, a lover of more drone music, I think this is quite alright, not outstanding brilliant, but quite nice. (FdW)
Address: http://www.eibonrecords.com

2000 SCHØEN - YOSHIWARA (CD by Kafue Systeme)
Three new releases from German label KAFUE Systeme have seen the light of the day. And it is quite different expressive styles that are represented on the albums. The album titled " travel to eternity" is the third shot from the artist Alien Skull Paint. The two previous albums were out on the Genetic Music label. " travel to eternity" opens with a few tracks of minimal electro added some English vocals with German accent (reminiscent of the vocals of Kraftwerk's Florian Schneider). As the album progresses the music moves into other expressional spheres. The track titled "The beginning of the end" seems like the turning point: A beautiful track of melancholia added some excellent guitar works that helps opening the gates for more goth-punk oriented expressions. From the electro-style that first of all sounded similar to early Gary Numan/Tubeway Army and Kraftwerk, the last third part of the album more similarity with Joy Division, especially thanks to guitars of Oliver Castens as well as the dark vocals not too far away from Joy Division's vocalist Ian Curtis. Great work! "Maximum hate" - the latest album from Missratener Sohn - is quite another beast. All signs of traditional music instruments are totally annihilated by the cynic electronics of this German project leaded by Dennis Schnaithmann. The sounds transmitted from the black machinery of Missratener Sohn is overwhelming and does not leave much sign of happiness into the dark hour of "Maximum hate". Drones of distorted electronics swirls inside repetitive rhythm-textures and evil processed vocals sounding like of satan himself. Greatest moments appear in the minimalist power noise track "Totes herz" and the atmospheric yet extremely sinister masterwork "Nightmare killer". Listeners of the Ant-Zen-label's harsh power noise- repertoire as well as of legendary German project "Wumpscut" will love this trip into sonic darkness on "Maximum hate". Another radical change in expression comes with the third release from Kafue Systeme titled "Yoshiwara". "Yoshiwara" is also the name of a prostitute area of the 17 th century's Tokyo just like it was the name of the nightclub in Fritz Lang's movie "Metropolis" (1927) where the main character Maria worked as an exotic dancer. This very interesting album by German composer 1000Schøen could well be the soundtrack for a 21 st century's edition of the Fritz Lang's legendary futuristic movie. Taking its starting point in the world of ambience the intense work circulates in sonic worlds of buzzing noise drones and otherworldly spheres of melodic beauty. Thus being both dramatic and harmonic in expression the album changes between short tracks and long conceptual tracks with the third track (all tracks are untitled!) clocking 26+ minutes. "Yoshiwara" is a remarkable work of experimental ambient. With these three very different albums, Kafue Systeme, demonstrates its wide approach to electronic sound, and the musical quality is in all three cases impressively high! (NM)
Address: http://hometown.aol.de/kafuesys/

SUR LA MER - PRELUDE TO THE SEA (CDEP by Thirty Ghosts Records)
US label Thirty Ghosts records are somewhat specialized in what is
known as post-rock. Here the present the work of Atsu Nagayama, who plays most of the instruments herself, but gets help from people like Dino, Julie Lui (of Rex and Tortoise), Jason Dermott, Kim Ambriz (Rabbit Rabbit) and Fred Erskine (June of '44 and Hoover). The four tracks here are a taster for a full length coming soon, but I am afraid, I have enough by these four tracks. Sur La Mer plays post-rock in a very traditional sense, with a strong
emphasis on the trumpet and violin. Otherwise it still post-rocks like it's 1996. It's not bad at all, and Nagayama knows how to play an instrument or two, but it all sounds a bit tired. Very much from the department: been there, seen it all. (FdW)
Address: http://www.thirtyghostsrecords.com

The old Norwegian word for Priestess is Gydja, and it's also the name chosen by Abby Helasdottir, who, despite her Icelandic name, is from New Zealand. Working in design and performance, there is much music, which has been self-released. Apparently the music is based on field recordings which are merging with electro-acoustic and experimental techniques, although I am a bit sure that it's mainly the use of computers here that processes the field recordings. As this is on Mystery Sea, a label with a well-defined genre of sub-aquatic music to release, this is quite easily to place along the various releases that have been greeted on this label. Deep sea and deep space, which might very well be the same thing here. Large amount of reverb on objects dangling in the wind. Long and slow decaying attacks on whatever obscured information. It's good and solid music, but also a bit on the safe side. There is nothing happening that we didn't hear before, not on Mystery Sea or anywhere else. One for the true fans for the genre, and who likes to explore a new name. (FdW)
Address: http://www.mysterysea.net


SYNOMORPH - RECORDED IN HELL (CD by Apocalyptic Radio)
Track one of 'Recorded in Hell' has been hijacked by the 1960s marimba
liberation front but soon the disk is retaken by the constellation of sites and links across Germany, and Kirkel might be hell, which drift in and out of industrial landscapes and pleasant camping sites on the French border. Dark black html and 404 errors, and then a dull beat. "complete nihilism is the necessary consequence of the ideas entertained hitherto" in extreme noise. But we do not have this here - here we live in an incomplete nihilism, extreme positions are succeeded by moderate ones, nature is moral, where it should be immoral, values appear - landscapes and camping sites again, and lure the listener away from the most paralyzing idea, but though we need to think this thought in its most terrible form, here is only the age of decay, declining vitality and a superabundance of bungled experiments, which maybe is a problem for Synomorph but also for the "found objects" in TZII's part of the CDr split - a fear of what would otherwise be a Dionysian affirmation of the world as it is, this music needs amor fati. something finally approached in Flutwacht's contribution, but notably only in the "live" track is the terrible weight of noise and the fear of its endless repetition realized - this is the greatest weight, sensuality and cruelty, productive and destructive force as continual creation, the will to power
and nothing besides - and that's what I call noise. (jliat)
Address http://www.apocalyptic-radio.de

Unfortunately and regrettable Greg Headley is not a common name, even when he has released a couple of things in the last few years. For his new release he moves away from his guitar and treatments and composes his pieces. He found the structure for his pieces in the ancient playwright Aeschylus and Pauline Reage's 'Story Of O'. 'There Comes A Violent Love' has four parts. They consist of piano, organ and flute sounds and are meditative in approach. Headley plays some nice tunes, and is in no way similar to his previous release. This radical break with his previous work, which was good, but this is even better. Serious music by a serious guy.
The fifth piece on this release is 'Pulse', dedicated to the performance artist of many extreme things Marina Abramovic and is a duet for two synthesizers, based, just as much of Abramovic's work on repetition and duration. Long sustaining sounds with a highly ambient character, this is not extreme music, but one that requires nothing else than patience to let it capture you. I think it's a truly beautiful piece, slowly evolving, slowly changing. Very nice. His best release so far. (FdW)
Address: http://www.28angles.com

The Elvis Coffee label is no longer, 'Pendulum' is the last release. But there is no reason to be sad, since the same people founded a new label, Quiet World. There is also a fanzine called Wonderful Wooden Reasons, which reminded me of the old Vital, when we knew what paper looked like. Psychic Space Invasion is basically Ian Holloway playing with friends, and it's indeed psychic and space like music. 'Pendulum' continues the work that started with the previous release 'All God's Children Space', except that now we are dealing with six tracks. Like the previous, Psychic Space Invasion loves the drone music. Still it's hard to say what it is that is done here. It might be a synthesizer or a simple organ, fed through a delay and/or some reverb, but it makes pretty strong music. There is a strange sense of rhythm going on (perhaps they are using the old casio SK-1 samplers), that indeed tick like the pendulum at my grandmother's house once did. Trance inducing music for sure. Rather simple made, but with great effect. A proof that expensive equipment is not always leading to good results. A good idea counts too! (FdW)
Address: http://www.quietworld.co.uk/

TOMAS KORBER & BERND SCHURER - 250904 (CDR by Balloon & Needle)
Slowly the world of experimental of music is no longer limited to a few western countries and Japan. Balloon & Needle is a small label from Seoul in South Korea, but for their first release they have some Westerns to play the music. Wether that is a pity or that maybe Korean music will come later, I simply don't know. Tomas Korber, who usually plays guitar and electronics but he restricts to electronics and Bernd Schurer who plays computer played a gig in a squat in Zürich in 2004. Apart from the opening which is really loud, the remainder seventeen minutes are very quiet, with lots of careful feedback/sine waves sounds and crackles of a contact microphone. Everything is of course improvised, but in the usual delicate manner. Sounds fade in and fade out, moving through various textures and spaces. It's a powerful piece that requires intense listening. It's like what both do usually, but still fine. (FdW)
Address: http://www.balloonneedle.com

GOOSE - ISOBEL (3"CDR by Taalem)
In the ongoing struggle Taalem usually release three 3" CDR at the same time, and just like Drone Records, they know how to make a good selection between well-known and lesser/unknown artists. Like Goose, which is a project of Brett Lunceford, who plays noise as Stolen Light and releases christmas compilations under the name of Zaftig Research. As Goose he plays drone music, but on 'Isobel' he also plays percussion. There is the usual wind and rain recordings (from the hurricane with the same name to be precise) to which he plays percussion. Unfortunately it's not too well recorded and the magickal undertone is not well spend on me.
Years and years ago, Christian Renou was known as Brume, but already since six or so years he works under his name, and changed his sound a little bit. As Brume the sound collage was his main interest, but under his own name, he seems to have developed a love of sustaining and droning sounds. 'Gone With The Wound', in two parts is no different. Elements of collating sounds are still there, but throughout the pieces, the long journey is the central theme. Still quite powerful stuff. Part one is loud and clear present, whilst the second part uses more covered up sounds.
Music by Alessandra Tedeschi, also known as Netherworld, has been reviewed before in Vital Weekly (514 and 551) and here one piece is presented to further showcases his love of reverb, gongs, percussion, synthesizers and field recordings. I must admit I am not really a big fan of this music, it's like with Goose: the magikal undercurrent that runs through this is just not very well spend on.
On Taalem's side label, Kokeshidisk we find a collection of Toy Bizarre pieces from the years 1996 to 2000. Toy Bizarre, since long the name used by Cedric Peyronnet, has worked inside electronics and field recordings since the time when nobody knew what microsound is. Transforming field recording using analogue synthesizers and sound effects, later on moving to the use of computers. Toy Bizarre started in a time when releasing music on cassette was still a good alternative, so many of these pieces are no longer available. This collection has eight of these pieces, in a non-chronological order, more from the 1997 area than the year 2000. It's a very nice collection of pieces that show that he was ahead of his time, in using silence and minimalist approaches, but also in using drone like material as well as acoustic sources. If you are a fan, this will update your collection, and if you are not a fan yet, it's time that you became one.
Address: http://www.taalem.com
Address: http://kokeshidisk.free.fr

SCOTT TAYLOR - SILVER (MP3 by Touch Radio)
Touch exists for twenty five years and that was already celebrated with a lovely compilation, but here Scott Taylor celebrates on his own with a twenty-five minute piece (obvious length with an obvious title). The basis of the piece was five different twenty-five minutes recordings of a malfunctioning prophet 5 synthesizer, later completed with a bunch of field recordings. It's a work like Scott Taylor normally would present: a strong mixture of electronic sounds, combined with (un-) processed field recordings. Bird and insect sounds from the rainforest, set against a wall of drones. Taylor's music is never 'quiet' or 'microsound' per se: it's actually quite loud with a lot happening in the high end of the sound spectrum. 'Silver' is a pretty strong release, which could have easily been released on a CDR. (FdW)
Address: http://www.touchradio.org.uk/





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Fisting Your Ears With My Noise

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