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VITAL WEEKLY
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number 593
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week 38
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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
to your MP3 player and enjoy!
complete tracklist here: http://www.vitalweekly.net/podcast.html
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New broadcasts will be sent directly when uploaded.
PLEASE READ THIS. WE WILL NOT REVIEW MATERIAL OLDER THAN SIX MONTHS, SO PLEASE DON'T WASTE YOUR MONEY. NOT ONLY WILL WE NOT REVIEW IT, BUT WE WILL SELL THE MATERIAL TO A SECOND MAIL ORDER OUTLET. ALSO, DON'T SEND MORE THAN 3 (THREE) RELEASES AT ONCE. WE SIMPLY CAN'T HANDLE EVERYTHING ANYMORE. SAVE YOURSELVES THE FRUSTRATION... AND US!
TROUM - AIWS (CD by Transgredient Records)
*
BEEQUEEN - SELTENTURM: BEESIDES 1989-2000 (2xCD by Plinkity Plonk/Korm
Plastics)
DAN GEESIN - FATHEAD - (CD by Atik)
SUN - I'LL BE THE SAME (CD by Staubgold) *
THE MOUNT FUJI DOOMJAZZ CORPORATION - DOOMJAZZ FUTURE CORPSES
(CD by Ad Noiseam)
GHEDALIA TAZARTES - HYSTERIE OFF MUSIC (CD by Jardin Au Fou) *
SARALUNDEN & ANDREY KIRITCHENKO - THERE WAS NO END (CD by
Nexsound PQP) *
SARALUNDEN & BJORKAS & MJOS - DUBIOUS (CD by Nexsound
PQP)
TIM FEENEY & VIC RAWLINGS - IN SIX PARTS (CD by Sedimental)
BRENDAN MURRAY & SETH NEHIL - SILLAGE (CD by Sedimental) *
NORTHERN MACHINE - DARK TO DARK/DARK, TOO (2CD by HC3 Music) *
FURNITURE - TWILIGHT CHASES THE SUN (CD by Earsofa)
SYLVAN - WE ARE LYING TO YOU THROUGH SONG (CDR by Popular Records)
SHEPHERDS - LOCO HILLS (CD by Release The Bats)
NADJA - RADIANCE OF SHADOW (CD by Alien8 Recordings)
SUBVERSIVE ELEMENT - ROAD TRIP (CD by Psychosomatic Records)
GROSS & RIVIERE - MONO FACE (12", private release)
PHELAN SHEPPARD/NIANDRA LADIES - GAMES OF POSITION/CASINO LISBOA
(7" by Static Caravan)
FIRE IN THE HEAD - FITH ICON (CD by autarkeia)
SHAWN GREENLEE - NYSA (CD by Utech Records)
SHAWN GREENLEE - NYSA (3inch CDr by Iynges Recordings)
APOPHALLATION / EDIBLE COLOSTOMY BAG / SIST EN 343 / TJERE - 4
WAY SPLIT (CDR by Ronfrecods)
DADALA - CANDY FISH BARREL (CDR by Peripheral Music)
B'TONG - MICROSLEEP (CDR by Verato Project)
MYSTIFIED - MELLOW UTILITY (CDR by Ambolthue)
MOR MONSEN - LASTENFOUND (CDR by Ambolthue)
ORIGAMI TACET - IN LOW-FLUX (3"CDR by Ambolthue) *
SURFACE HOAR - THESE TERRIBLE DREAMS (CDR by Galloping Foxley
Recordings)
BLACK TO COMM (CDR by Eclipsis/Absurd)
TOXIC CHICKEN - LO FI (CDR by Esc Rec) *
SOUTIEN GORGE - VIZALLASJELENTES (3"CDR by Boltfish Recordings)
*
MACHINEFABRIEK - KOPLOOP (3"CDR by Machinefabriek) *
EMMANUEL MIEVILLE - EL BOOM (3"CDR by Universinternational)
*
LAPTOP QUARTET TWENTYTWENTYONE - FLOATING HIERACHIES/BEFORE AND
AFTER (MP3s by Mixthemixthemix) *
TROUM - AIWS (CD by Transgredient Records)
It's hard to believe, but apparently this is the first full-length
Troum album since 2003. I could have thought it was different.
But never question a press text, I guess. The pieces on this new
CD were recorded from 2002-2005 on Troum's own analogue equipment,
all live to four-eight track recorders, without the involvement
of computers. Troum, a duo (be it hard to believe), is best a
live band, even when working in the studio. Their instruments
are guitars, e-bow, bass, voices, accordion & flute, old vinyl.
And oh, sound effects. Lots of those are involved in the music
of Troum, but they never stand in the way of the end result. Spacious
head music. Loud at times, quiet when necessary, but there is
a certain roughness about the band, which is an element I really
like. Even when things are quiet, they never really are quiet.
'Neheh' is just an example of some sparse organ like loops, feeding
through some delay and bouncing gentle forward, but with a certain
grittiness. Highly atmospheric even when experienced without the
help of any chemicals or other illegal substances and the best
but perhaps more frightful experience when played in the dark
and with the headphones tied to your head. You are bound to play
it again, if not only because it might be too scary to leave the
room... Of all things experimental, ambient and industrial (Menche,
Zoviet*France, Lustmord), Troum can easily stand the test and
be the best of the lot. (FdW)
Address: http://www.dronerecords.de
BEEQUEEN - SELTENTURM: BEESIDES 1989-2000
(2xCD by Plinkity Plonk/Korm Plastics)
Nijmegen's duo Beequeen (Frans de Waard and Freek Kinkelaar) release
a compilation of 23 various works recorded since 1989. Certainly
one of the more notable experimental outfits of the last two decades,
this collection numbingly sets a certain tone (or atones) both
to the past and future. There's a delicate balance of low chords
breaking into dark ambient space ("Does He Do As If He Is")
from their 1994 recording 'Split'. You're in the dark, someone
is casting a vague echo while slowly bowing a cello, you see a
faint light. There is this sense of passing figures, black on
black shadowy movements hinted at in your peripheral view. At
points queasy, others like your spinning in a Spanish villa for
just a dazzling moment ("Fond II"). They firmly use
the guise of industrialisms to build the droning layers of works
like "Land Above Us" which has both a sense of open
continuum and repeat cycle that can, for many, become unnerving.
Though, they do so with a certain grace that kind of rounds the
corners of chaos. The final stage of production, so to speak.
And the point is clear, these two men have built a passionate
body of work that is at once striking for its qualities emulating
the codec of film, secondly they have used that motif to concoct
music which is out of the personal body, told from the vantage
point of the other. And third, it takes you some place you may
have not dared, distinctively told with a fusion of pace, timing,
fore/background. Then there are these themes of meditation, observation,
then realization. When you sample tracks like "Brasillian
Fond" (1989), you are just barely eavesdropping by way of
the slight incorporated field recordings. Part mysterious travelogue,
part staging for how you might compose music to send to navigate
the hole in the ozone and then into the deep universe to cultivate
answers to its questions. The work of Beequeen simply trips the
mind. (TJ Norris)
Address: http://www.kormplastics.nl
DAN GEESIN - FATHEAD - (CD by Atik)
Dan Geesin is an englishman living and working in Amsterdam as
a multidisciplinary artist. He paints, writes, films, etc. 'Fathead'
is his fourth cd, released on his own Atik label, preceded by
'Cars, Bikes, Walking' (1998) , 'Driving' (2000) and 'Green (2005).
All music and texts written by Geesin himself. Also the performance
is done solely by him, playing windorgan and several percussive
objects. But his real instrument is his voice. He sings and performs
with a pleasant voice. He tells stories based on observations
of daily life, and gives room to tragic and comic aspects of life,
circled around small events. The cd counts 20 songs and spoken
poems and interludes that prove that Geesin is capable of writing
catchy songs. He has a good feeling for writing songs that refuse
to leave your mind. Repeatedly I find myself whistling some of
them, like 'Electric Rolstoel Speedway', 'I don't want' or 'Hills
called the Downs'. And that is something! Melancholy is the dominating
spirit, evoked by the harmonium and his voice that reminded me
of Ivor Cutler or Robert Wyatt in a way. But may be it is better
to say that everything on this cd sounds very, very english. 20
songs drenched in melancholy may be too much of it, but it really
is a lovely cd, from a talented singer-songwriter. (DM)
Address: http://www.geesin.nl/
SUN - I'LL BE THE SAME (CD by Staubgold)
It's been a while, actually a long while since the release of
the first Sun record (Vital Weekly 372). To refresh your mind:
Sun i s a duo of Oren Ambarchi and Chris Townend. Oren is of course
a well-known musician, drone meister and gifted improviser and
Townend is a musician and producer from Australia. In their mutual
project Sun they display their love of popmusic, but it's not
exactly MTV friendly music. Sun plays alternative rock music.
Guitars, bass, drums and vocals - especially the vocals make things
poplike, but it's the weakest link in this popmusic. Maybe it's
because I like female vocals better, or voices that have a lot
of weight, but the thin voices of Sun, held back, parlando, is
not (or in similar cases by others), never well spend on me. But
the music is quite nice: melancholic lines on the guitar, swirling
drums, a wide open sound. This is again personal music, a bit
sad, a bit down. The surprise we encountered in 2003 is gone here
a bit, but 'I'll Be The Same' is a nice and worthy follow up to
the debut album, and with Ambarchi in Melbourne and Townend in
Tasmania, it's no doubt going to take another four years before
numero three will arrive. (FdW)
Address: http://www.staubgold.com
THE MOUNT FUJI DOOMJAZZ CORPORATION - DOOMJAZZ
FUTURE CORPSES (CD by Ad Noiseam)
People knowing the quality standard of Berlin-based label Ad Noiseam,
probably wasn't astonished by the fact that an album from Ad Noiseam
was honored with the "Awards of distinction" at this
years issue of the well-acclaimed festival, Ars Electronica -
Festival for Technology, Art and Society. It was the latest album
"Grist" by American artist Aaron Spectre under his ultra-energetic
and hyper-aggressive project Drumcorps (reviewed a year ago in
Vital Weekly issue #548). Present album by project with the very
strange name, The Mount Fuji Doomjazz Corporation, is another
proof of the high standard level of the Ad Noiseam label, yet
the album also has to be some of the most bizarre released from
the German label. Taste the title of the album "Doomjazz
Future Corpses". The phrase "Doomjazz" characterizes
the expression of the album very well. "The Mount Fuji Doomjazz
Corporation" is the collaboration between Giedon Kiers and
Jason Kohnen, the latter known for his furious breakcore-project
Bong Ra. The joint venture project was originally called "The
Kilimanjaro Darkjazz Ensemble" and had its debut release
last year on Mike Paradina's ( a.k.a. <http://www.discogs.com/artist/%C2%B5-Ziq>
µ-Ziq ) label Planet Mu. The expression of "Doomjazz
future corpses" stand as a sharp contrast to Jason Kohnen
solo-project Bong Ra. Where Bong Ra focus on full throttle energy
on his albums, Mount Fuji Doomjazz Corporation operates in heavy
and slowly moving textures. Rhythms are non-existing in the universe
and the many sound layers floats very slowly in between each other
in an ultra-heavy doom-like manner. Musically the album serves
as a mixture of avant-garde jazz and dark drone ambient resulting
in a superb otherworldly atmosphere. The expression takes its
starting point in acoustic sound spheres where heavy grinding
guitar-drones, weeping cello and sinister saxophone lines dominates.
Imagine a mixture between ambient-composer and tuba-player Tom
Heasley's horn-based dark ambient on "Where the earth meets
the sky" (Hypnos, 2000) and doom metal/ambient maestros in
Sunn o))) and their extended, trance-like drones built up around
low-end guitar and bass feedback. Thus the atmospheres of "Doomjazz
future corpses" nicely balance between dark and slow jazz-inspired
ambient and grinding brutal drones of crushing bass and guitars-riffs.
There is an apocalyptic feeling on the album, reminiscent of the
album "Inde$troy" (Manic Ears Records, 1989) by Industrial/dark
ambient-project Saw Throat ( a.k.a. Sore Throat). "Doomjazz
future corpses" is a beautiful work of gloomy brutalism and
I advice every listener of free jazz, doom metal and dark ambient
to check out. Excellent work! (NM)
Address: http://www.adnoiseam.net/
GHEDALIA TAZARTES - HYSTERIE OFF MUSIC (CD
by Jardin Au Fou)
After ten years of no releases, Ghedalia Tazartes came back with
'5 Rimbaud/1 Verlaine' last year (see Vital Weekly 547) which
was well received here. Tazartes is a man who sings, plays keyboards
of all kind (synthesizers and samplers) and drum computers. Yet
it's not easy to classify his music, which I think is exactly
the point he is trying to make here. 'Hysterie Off Music' is a
nice play with words, coming hysteria and history. Tracks are
called 'Soul 1', 'Soul 2', etc or 'Country 1', 'Country 2' etc
- each of those five pieces, and then one piece called 'Jazz'
and one called 'Bonus'. Likewise it's not easy to say anything
decent about this. Sometimes the pathos which Tazartes employs
to sing is not spend on me at all, and the same can be said of
the somewhat loaded samples, but there is something fascinating
about this release also. Just because it sounds so far away from
what we know and love, makes this an interesting outsider work.
Not caring about what is hip and wot not, but strictly caring
about what he finds fascinating, interesting or such like. That
is something I like more about this, then perhaps the actual content
of the release. (FdW)
Address: http://www.jardinaufou.com
SARALUNDEN & ANDREY KIRITCHENKO - THERE
WAS NO END (CD by Nexsound PQP)
SARALUNDEN & BJORKAS & MJOS - DUBIOUS (CD by Nexsound
PQP)
Might of course be just me not knowing much, but the name Sara
Lunden is new to me. She plays synthesizer, vocals, guitar and
recorder and composes songs. How she recorded this album with
Andrey Kiritchenko (objects, drums, field recordings, programming,
electronics and editing) I don't know. Did they sat together and
made or did Kiritchenko add his part later? In any case, that
is not of real importance, the music counts. A lot. Lunden's voice
is alike Portishead and other trip hop like artists, but the music
is not like that all. Melodic and melodramatic glitch pop music.
There are elements to be recognized from the abstract clicks 'n
cuts music, but the overall emphasizes lies on popmusic. Maybe
the voice is a bit too much like the triphoppers of this world,
but throughout I must admit I thought this was a highly enjoyable
release. Careful, vulnerable popmusic with a great modern touch.
On the same label, Nexsound PQP (pronounce pickup), more Saralunden,
together with Kyrre Bjorkas, her erstwhile lover and Jagga Jassist
bass player Andreas Mjos. Bjorkas has a dark voice that matches
the lighter tone of Sara Lunden quite well. The music is bass
heavy, although many other instruments are also used. It sounds
however less 'modern' as her collaboration with Kiritchenko and
more like older trip hop with jazz like influences, which is not
bad at all, but less surprising. Five great tracks however. (FdW)
Address: http://www.nexsound.org
TIM FEENEY & VIC RAWLINGS - IN SIX PARTS
(CD by Sedimental)
BRENDAN MURRAY & SETH NEHIL - SILLAGE (CD by Sedimental)
For me the name of percussionist Tim Feeney is new, although I
read he has collaborated with people such as James Coleman, Howard
Stelzer, Jack Wright, ONDA and Christine Sharif Sehnaoui, so his
credits are ok, as far as I'm concerned. Here he teams up with
Vic Rawlings, who has expanded his cello over the years with an
array of electronic devices. Almost two years ago they made this
recording together, which took some time to release. But here
it is, and it's music that requires ones full attention, otherwise
you'll be lost in it. The advise should be: don't play this if
you intend to do something else than listening. When full concentration
is there, one will be exposed to a series of scratching, bowing,
hitting, feedback and short circuiting that move along various
paths, pieces, moods and textures. Highly improvised music as
one can expect, but played with extraordinarily ease and skill.
Great.
Both Seth Nehil and Brendan Murray have a vast catalogue behind
their names of both solo works and collaborative ones. Together
they have worked since 2003, when they played a set together at
the Intransitive festival and then later some more in New York.
Much of what they did together is at the basis of this disc. They
have a strong interest in both field recordings and computer processings
thereof. It's hard to tell from these eight pieces what is what,
but it seems obvious that things work alongside eachother. Especially
Murray's work in this field is great (and much underrated). Controlled
atmospheric electric charges, contact microphones scratching the
surface and plug ins constantly rework what is on hand, and the
result is a densely knitted field of work. Perhaps obvious work
in the field of microsound, phonography and such like, but this
is a great recording, as far as I'm concerned. (FdW)
Address: http://www.sedimental.com
NORTHERN MACHINE - DARK TO DARK/DARK, TOO
(2CD by HC3 Music)
It's been a while since reviewing 'Staalhertz' by Northern Machine,
a duo of Pat Gillis and Bill Warford (see Vital Weekly 399), and
much has passed under the bridge. The earlier sound of Muslimgauze,
O Yuki Conjugate, Internal Fusion is gone here and replaced by
a sound that is more interesting, that of the underworld of drone
music. Long, swirling tracks of tightly knitted waves of modular
synthesizer sounds, in an endless freefall from the sky. As such
not always with a very compositional structure but that is perhaps
not the point of such atmospheric music. Put on and let go. The
'Dark To Dark' disc has nine pieces but more or less form one
long flow. 'Dark, Too', the second disc, is subtitled 'studio
recordings of live set favorites' and things here are a teeny
bit more rhythmic, but still in a mechanical way, and not in the
pseudo ethnic terrain of yesteryear. Together this is a nice bunch
of music, progressing strongly from the previous release. Well
worth checking out by anyone who likes dark and atmospheric music.
(FdW)
Address: http://www.northernmachinemusic.com
FURNITURE - TWILIGHT CHASES THE SUN (CD
by Earsofa)
SYLVAN - WE ARE LYING TO YOU THROUGH SONG (CDR by Popular Records)
SHEPHERDS - LOCO HILLS (CD by Release The Bats)
NADJA - RADIANCE OF SHADOW (CD by Alien8 Recordings)
SUBVERSIVE ELEMENT - ROAD TRIP (CD by Psychosomatic Records)
This is the small corner with a big questionmark. Bands that may
not directly fit Vital Weekly, but who served the duty of sending
a promo. Furniture is a four piece band of vocals, synths, beats,
guitar, synth, bass and drums and their CD was recorded some time
ago, and may be or may not be just released. According to their
myspace page they are from Maleysia and they play emotronic. Well,
that's something we can vouch for. Voices that sound remote, held
together, guitars that burst out, spacious rhythms. Actually not
bad for a few tracks, but not in the least bit my tea or coffee
for very long.
Sylvan is also a four piece, from the Dublin area, who recorded
their debut with Steve Albini. Their latest (and third) album
was recorded earlier this year with Mick of Adebisi Shank. They
have a traditional line up, but the outcome is less traditional.
They find their music between Part Chimp (which I don't know)
and The Ex, which I love. Raw, energetic punk rock inspired music,
but slower than the usual punk and with changes in tempo that
are radical. That and the voice of Paul make them indeed sound
like The Ex, which is not bad at all. Musically far away from
the usual Vital Weekly lot, but if you are a bit more adventurous
than you should check this out.
Shepherds then. 'It is the sound of unknown terrain', says Release
The Bats, but why am I thinking 'post-rock' when I hear this?
Also a four piece, also conventional instruments, but like all
things 'post' of course no vocals. Four very lengthy cold cuts
of instrumental jamming around, which is something nice, but perhaps
not entirely to listen to on CD. Perhaps more fun to do yourself.
Of this un-Vital lot the one that did least for me. It was nice,
but all a bit pointless at the same time. Vaguely atmospheric
music.
Obviously you might it odd that I place Nadja in this corner too,
since half of Nadja is the well respected - at least by Vital
Weekly - Aidan Baker. But the story is perhaps known, his band
Nadja plays metal drone music, or drone doom, or doom metal drone,
or well, you get my drift. 'Radiance Of Shadows' is their latest
offering and it only seemed weeks ago that we reviewed 'Touched'
(Vital Weekly 577) and much of what was said back then, can be
repeated here: "It's grinds, shakes and rumbles in a slow
mood, with an endless wall of guitars and slow stomping rhythm
patterns. Not unlike Earth or Sunn 0))), but like their previous
'Truth Becomes Death' (see Vital Weekly 495) this is a bit too
blurry for me. Occasionally fine, this weight heavy stoner rock,
but as a whole not too well spend on me." This new one, with
three tracks spanning an hour worth of new material is alike that.
But it's still that corner of music that doesn't exactly fit Vital
Weekly.
Most fitting the schematics of Vital Weekly would no doubt be
Subversive Element, the project of sax player Jim Goetsch, who
started out playing jazz, until electronics won him over. He travels
the empty roads of Arizona, Utah and New Mexico (be on the look
out for Steve Fosset!) and decided to create music for these journeys.
'Abstract electronics, beats and bass hit the highway', is how
Subversive Element announces this. It may depend on your definition
of subversion, but this music is hardly subversive by the weekly
standard. Dub inspired rhythms, tablas (yuck, it reminded me of
Muslimgauze), and indeed some sort of electronics that may pass
for 'abstract'. It's actually quite nice and entertaining, slow
dub music but unfortunately there isn't too much difference among
the various pieces, and the pieces are quite long (between six
and eight minutes). Of course I am not on some highway, but at
home, so who am I to judge? Half the tracks today, the rest tomorrow
- that seems like a good division.
(FdW)
Address: http://www.myspace.com/earsofa
Address: http://www.myspace.com/sylvan1
Address: http://www.releasethebats.com
Address: http://www.alien8recordings.com
Address: http://www.psyrecords.com
GROSS & RIVIERE - MONO FACE (12",
private release)
Ever since I got the 'Nikki' 7" by John Duncan and Chris
& Cosey, I am fascinated by the possibilities of split channel
records, so on your right speaker you have musician A and on the
left B. You can decide to play them separate, or together. Here
we have one Arnaud Riviere who plays 'nanalog synth' and on the
left there is Jean-Phillippe Gross with 'when you go to swimming
pool please throw away your guitar and remove your shoes?'. It's
a ten minute, 45rpm, one sided record of unrelentness noise. Loud,
heavy, feedback spitting in your face. I must say that it's hard
to think of this in terms of split channels and perhaps in terms
of true noise not the most surprising record, but the power, speed
and concise ness of this makes it up quite nice. Other side has
the information silkscreened on the vinyl, to top it off. (FdW)
Address: http://1is0.free.fr
PHELAN SHEPPARD/NIANDRA LADIES - GAMES OF
POSITION/CASINO LISBOA (7" by Static Caravan)
What did i say about myspace and meeting people, I mean, meeting
friends? I can't remember, but Phelan Sheppard (which is a duo
from London, with Keiron Phelan and David Sheppard) met through
myspace Niandra Ladies, from Italy-France and who had an album
on the Leaf. The latter plays ambient soundscapes whereas the
first add guitars, woodwind, strings and piano, and all together
now they create music that has really no head or tail. Smooth
music, a bit like softcore jazz, lounge cocktail like, which no
doubt would do well when sipping that cocktail in your chaisse
lounge and a sigaret in the other hand (in which bar is that still
possible?), but on a thursday morning with loads of rain, I can
only dream of going away to somewhere more sunny. I'll upload
this through myownspace and report from a sunny area of the world.
(FdW)
Address: http://www.staticcaravan.org
FIRE IN THE HEAD - FITH ICON (CD by autarkeia)
SHAWN GREENLEE - NYSA (CD by Utech Records)
SHAWN GREENLEE - NYSA (3inch CDr by Iynges Recordings)
APOPHALLATION / EDIBLE COLOSTOMY BAG / SIST EN 343 / TJERE - 4
WAY SPLIT (CDR by Ronfrecods)
By way of a topography - something I've recently become interested
in - let me try to describe not just these four works but in doing
so map out an aesthetic-musica and locate them within it. Imagine
then a simple valley and hill, there are in such a model two places
of equilibrium, one at the valley bottom one at the top of the
hill. Though both are points of equilibrium one is stable the
other not. The base represents the world of abstract noise, of
click, blip, sine waves, etc. from which music is built - as we
move up the hill. The top of the hill marks the destination of
sound art - an unstable subjectivity of visceral noise such as
the likes of merzbow. Moving up from cool abstractionism, melodic
structures and romantic inventions we reach the 'other' noise.
All music, sound art, can be located within this topology, the
two equllibria marking terminations. Just as a sine wave is totally
simple & perfect, enclosing a transcendental number, and capable
of forming all other waves so the viscerality of harsh noise itself
cannot be bettered, we only descend from its Nietzschean heights
into tonality and meaning. Fifth Icon seems to be moving from
this point into what I would call a morbid religiosity of romanticism
with its expiational screaming. offering some critique of religion
which of course plays the same game - atop the mountain there
is no god or dialectic. The blurb re NYSA gives us "The sound
for drunken states on mythic mountains." but I would place
it at the lowest point of our topography, not that I'm being pejorative,
its use of discernable devices and experimental electronica is
the hall mark of interesting abstractionism whose ontology is
given apriori, and this is true of the 3inch also - a very competent
work - I'd consider it structured in a way that doesn't imply
any danger yet still offers a definite presence as a work...
Whereas in the 4 way split (IMO) Apophallation at times manages
some breathtaking mountaineering - certainly on the first track.
and in parts on tracks 3 and 4, but never quite makes the summit,
but which I mean never quite makes incomprehensibility, Edible
Colostomy Bag is just too much the romantic - the name is a giveaway,
Sist En 343 is heading towards the gebärmutter-vertrauen
of mico sound, Tjere also has to mess around with Keith Emerson?
In that they fall - literally- never having climbed quite to the
top - by dint of experimentalism into the valley that is the beauty
and the tyranny of mathematics. (jliat)
Address: http://www.autarkeia.org
Address: http:// www. utechrecords.com
Address: http:// www.iynges.com
Address: http:// www.ronfrecords.com
DADALA - CANDY FISH BARREL (CDR by Peripheral
Music)
Behind Dadala is one R Dunlap, who has been underground and musician
since 1985, but active since 2004 as Dadala, in which he 'exclusively
works with existing recordings contributed by others and from
his own archives. The audio material is combined, remixed, arranged,
rearranged and modified'. His previous five release as Dadala
were all MP3 albums, but this 'Candy Fish Barrel' is released
on a CDR by Peripheral Music. This CDR was made with the online
of Johann Meier, who plays piano and synthesizer and creator of
electronic sound collages and Micheal Chocholak, who has a long
track history in electronic, even when his name doesn't pop up
in Vital Weekly. Thus far the technical side of this release.
What to think of the music? That I thought, even after a repeated
playing, is a difficult question, since what did I hear? Sometimes
chaotic patterns of synthesizer, a lot of wrongly used sound effects,
piano and wind instrument doodling, a somewhat uneasy marriage
between electronic and acoustic instruments, pieces that went
on for too long, especially the final two epic pieces, but also
a nice collage like piece in the title piece with the use of various
objects, voices and field recordings. I must admit I have mixed
feelings about this release, as I only liked parts of it, and
sometimes even only parts inside songs. Hard to classify this
into a genre - and that is perhaps the good thing. (FdW)
Address: http://www.peripheralmusic.org
B'TONG - MICROSLEEP (CDR by Verato Project)
Chris Sigdell, one half of the now split t duo NID (see also Vital
Weekly 585), has already released a couple of releases as B'tong,
in which he showed an interest in playing the atmospheric card
in music and continues where we left him off with 'Polar:is' (see
Vital Weekly 522). Metallic percussive sounds, drenched in a lot
reverb, spiced with some extra delay, and some rumbling of analogue
synthesizers as we go on this journey. A less subtle version of
the early Thomas Köner (when he played the gong, anyone remember
that), but certainly a release in which B'Tong shows a development
from his previous. Things sound more worked out, there is more
variation among the separate pieces, and while it doesn't sound
too new or strange, this is actually quite a nice release in the
field or ambient, drone and isolationist music. (FdW)
Address: http://www.verato-project.de
MYSTIFIED - MELLOW UTILITY (CDR by Ambolthue)
MOR MONSEN - LASTENFOUND (CDR by Ambolthue)
ORIGAMI TACET - IN LOW-FLUX (3"CDR by Ambolthue)
More from Mystified, who are a mysterious lot (or just one, who
knows), who are getting more and more busy with new releases.
Here is another one on Norway's Ambolthue label. It's always a
bit hard to say when stuff was recorded and how new releases should
be placed on a time line of development, but this new Mystiefied
moves (unfortunately) away from the previous proto techno rhythms
and stays along the ambient industrial lines of the releases that
I heard which came earlier. Minimal soundscapes, built around
samples and synthesizers, with throughout not much development,
but which are throughout very pleasant to hear. Nothing exciting
new, but certainly well entertaining, this more noisy version
of Zoviet*France, but it would be nice to see them explore the
techno side a bit more.
Behind Mor Monsen is one Peter Monsen, but the choose the surname
Mor after some Norwegian cake. He played with Biologisk Helt Feil,
a Norwegian freak band, but also with André Borgen, Anders
Gjerde and Martin Furan and he classifies his music as noise,
which is what he does here. His music is indeed quite crude and
loud, recorded with lowest means, cut together in a collage like
way, which is a kinda nice approach for a change, but altogether
it's not much of interest. Too basic in appareance with just not
enough new ideas.
The most interesting new release on Ambolthue is the one from
Origami Tacet, a duo of Micheal F. Duch on violin and 'hum' and
Tore H. Boe on acoustic laptop and hiss. The acoustic laptop is
a wooden box with objects, which Boe plays like a laptop. This
is a duet of improvised music of scratchy and squeky violin sounds
combined with moments of silence, the hiss and hum part I assume.
Quite a nice work, that could have been a bit more intense I assume,
but nevertheless makes up an interesting work of sound versus
silence. (FdW)
Address: http://www.ambolthue.com
SURFACE HOAR - THESE TERRIBLE DREAMS (CDR
by Galloping Foxley Recordings)
No info or website on Surface Hoar, which is a great pity me thinks.
First of all because I'd love to know more, but also because the
music is actually quite nice. It's hard to say what it is that
they do, it could include tape manipulations, analogue synthesizers
and sound effects, but then who am I to tell. The release starts
out with a deep end bass sound, which later on in further tracks
starts sweeping around, with insect like synths and other obscure
field recordings of animal sounds. In 'Swarm Or Die!', they commit
everything straight to tape, says the cover, and things are bit
more louder, or even noisier here, which seems the logical conclusion
of things getting intense and louder throughout the release. Quite
a nice, if not highly obscure release. (FdW)
Address: surfacehoarmusic@yahoo.com
BLACK TO COMM (CDR by Eclipsis/Absurd)
Eclipsis Records is a small label that are mainly interested in
releasing music for occasions of their children. Here Black To
Comm play music to celebrate the birth of a newborn daughter.
Might be a bit of a surprise, me thinks, as what I heard so far
from Black To Comm doesn't seem exactly child friendly. But in
this case, he plays a twenty-four minute piece of music that fits
the Black To Comm darker, subtle sampled music, as well as creating
enough headspace for a child to think about - 'now what sort of
animal/car/ghost do you think that could be'. Divided in an invisible
way into an organ opening piece, followed by an excursion on guitar.
It must be said that I like the opening part better, which sounded
more coherent and spacious. Not tested on the young ones around
here this time, but it has the parental blessing. (FdW)
Address: http://www.void.gr/absurd
TOXIC CHICKEN - LO FI (CDR by Esc Rec)
Something of an allround artist, this Toxic Chicken, who is a
musician, producer, video artist, DJ and dancer/performer. He
plays his music on his computer while dancing around in a spastic,
anarchistic manner. Despite many gigs 'Lo Fi' is his first release,
which, based on the stories of spastic anarchistic performances
is kind of normal. Computer voices, nice melodies, a bit of angular
elektro rhythms, this is more an entertaining release than say
something shocking. Short tracks that breath the good, raw and
untamed energy of elektro punk. What can one say? Play this loud
at home, on your walkman, while vacuum cleaning, while dancing,
while traveling. Music that you can feel good with. Nice stuff.
(FdW)
Address: http://www.escrec.com
SOUTIEN GORGE - VIZALLASJELENTES (3"CDR
by Boltfish Recordings)
Usually I can start a review of something on Boltfish by stating
I know nothing about the artist in question, but in the case of
Soutien Gorge, I actually know that it's a duo of Andras 'Banyek'
Hargitai and Robert Potys, who released 'L'Etoiles Souriantes'
on Bitlab Records (see Vital Weekly 504). Back in the day I already
noted that they play music along the lines of releases of "Static
Caravan, Expanding Records or Highpoint Lowlife operate: melodic
electronics, with (semi-) melancholic keyboards, a bit of acoustic
guitars , which are processed a little and IDM rhythms",
and as such nothing much changed in those almost two years. The
five tracks still work along those lines and make throughout a
pleasant listening of twenty some minutes. Nothing new under this
sun, but soon we can use the name Boltfish to name check when
writing about this kind of music. (FdW)
Address: http://www.boltfish.co.uk
MACHINEFABRIEK - KOPLOOP (3"CDR by
Machinefabriek)
And of course there is Machinefabriek, who in this week's contribution
to world of music works with soundsources supplied by Greg Haines
(cello) and Anne Bakker (violin), whereas Zuydervelt himself plays
guitar, banjo, organ, laptop, memorecorders and effects. The piece
is separated in two parts, flowing into eachother. First there
is ten minutes of careful strumming long sustaining sounds. Here
all instruments are hard to decipher, even when there are subtle
waves above the rest. In the second part, things are more recognizable
and each instrument, especially the violin and cello play melodic
bits that are more there upfront in the mix and things almost
turn semi-classical there for change. Nice, subtle music, especially
the second part of the piece which provides a new alley for Machinefabriek.
One of the finer moments among the already fine moments. (FdW)
Address: http://www.machinefabriek.nu
EMMANUEL MIEVILLE - EL BOOM (3"CDR
by Universinternational)
The previous works by Emmanuel Mieville were in the realms of
electro-acoustic music, which is not strange for a former student
of Philippe Mion and Jacques Lejeune, here on his latest 'El Boom'
release however, he goes out in the field to do some recording.
The field being insects in Costa Rica where he tapes insect sounds
along with the sounds of a fence being hit with a piece of metal.
Those are the two basic ingredients of the piece, but there is
also some sort of motor like sounds and maybe even processings
which give the piece a strange kind of menace. A subtle treat
is lingering below the surface here. Quite an intense piece of
soundscaping that works nice as well as a musical piece by itself.
(FdW)
Address: http://ui.universinternational.org/
LAPTOP QUARTET TWENTYTWENTYONE - FLOATING
HIERACHIES/BEFORE AND AFTER (MP3s by Mixthemixthemix)
A string quartet is usually two violins (first and second), one
viola and one cello, so a laptop quartet has a first and second
violin (played by Lina Lapelyte and Antoni Dombrovskij), a viola
laptop (Vilius Siaulys) and Arturas Bumsteinas on the bass laptop.
As perhaps known The Laptop Quartet Twentytwentyone play graphic
scores of classical composers. Here they have two new recordings
to be downloaded for free. 'Floating Hierarchies' by Herbert Brun
was recorded at the Holland Festival in June and is a beautiful
piece of improvised cracks, hiss, electronics, bass beeps which
all wave a nice field of dense sound. 'Before And After' by Antanas
Dombrovskij uses samples by Bumsteinas (who is the leader of the
quartet), but unfortunately I can't be all positive about this
piece. It's started out with electro-acoustic samples but too
soon explodes into a heavy noise piece which dropped dead right
away, leaving the listener with a headache and no tension. But
pick up a copy of Bumsteinas 'Stockhausen's Cocktail Bar Menu',
where 'Studie II' is translated to make cocktails and things will
be alright, especially if you try them all (more headache the
day after). This booklet can be had from Bumsteinas' site. (FdW)
Address: http://www.mixthemixthemix.com
Address: http://www.bumstein.com