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VITAL WEEKLY
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number 596
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week 41
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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!
* noted are in this week's podcast
RICHARD FRANCIS - TOGETHER ALONE, TOGETHER
APART (CD by CMR) *
MOVE D - TONSPUREN 1-10 (CD by Bine Music)
GOLDMUND - TWO POINT DISCRIMINATION (CD by Western Vinyl) *
SHUTA HASUNUMA - OK BAMBOO (CD by Western Vinyl) *
RHYTHM (CD by Gruenrekorder)
MARCUS SCHMICKLER - ALTARS OF SCIENCE (CD by Mego)
POCAHAUNTED & ROBEDOOR - HUNTED GATHERING (2CD by Digitalis
Industries)
MARISKA BAARS & WOUTER VAN VELDHOVEN & RUTGER ZUYDERVELT
- ZEEG (2CD by Digitalis Industries) *
REFORMED FACTION - THE WAR AGAINST... (CD by Soleilmoon Recordings)
*
CONTINUUM - 2 (CD by Soleilmoon Recordings)
PLUMERAI - WITHOUT NUMBER (CD by Silber Media)
ORIGAMI ARKTIKA - TROLLEBOTN (CD by Silber Media) *
JULIA KENT - DELAY (CD by Important Records)
COLUMN ONE - FELDAUFNAHMEN 1 (CD by Auf Abwegen) *
ROEL MEELKOP - 5(ZWISCHEFALLE) (CD by Auf Abwegen)
ADAM PACIONE - FROM STILLS TO MOTION (CD by Infraction Records)
NORTHERN - DRAWN (CD by Infraction Records) *
MICHAELA MELIAN - LOS ANGELES (CD by Monika Enterprise)
PROJEKT67 - YOU GIVE ME MUSIC (CD by Reddog Products)
MODAN GARU - FOXHUNTING FOR YOUR ATTENTION (CD single by Moga
Records)
MARKUS REUTER & ROBERT RICH - ELEVEN QUESTIONS (CD by Unsung
Records)
JAN VAN DEN DOBBELSTEEN - COSMIC VOLUME 29 (LP by Cosmic Volume)
LEGENDARY PINK DOTS - ALCHEMICAL PLAYSCHOOL (double 10" by
Caciocavallo)
YASUSHI MIURA - MAGNITUDE NO.7 "MEEK" (CDR by Karidome)
(ETRE) - I CAN'T TAKE MY HEAD TO SEE HIGHER BECOUSE THE SKY IS
LANDING OVER MY NECK (CDR by Riz(h)ome Records)
BRIAN LABYCZ & JASON ROEBKE - DUO (CDR by Peira)
TIM BARNES & JASON ROEBKE & NATE WOOLEY - TRIO (CDR by
Peira) *
VASØK (CDR by Zang:Records) *
NUMUSIC COMPILATION 2007 (CD by Numusic Records)
OLAF HOCHHERTZ - PETS (CDR by Naiv Super) *
TIM BLECKMANN - RE-READING (CDR by Free SS) *
KAKOFUNK - FRUTAMENTAL (CDR by Free SS)
MUTANT APE - DRES (CDR by Produck)
COURTIS - 250107 (CDR by Produck)
ASHER - IN CAMERA (MP3 by Homophoni) *
RICHARD FRANCIS - TOGETHER ALONE, TOGETHER
APART (CD by CMR)
Despite still be young of age and nature, Richard Francis has
been active in the field of music since 1996. You may remember
his Eso Steel band and his CMR label which he uses these days
as a vehicle to release lathe cut records from the New Zealand
scene. But here he releases his own work on a CD. Since many years
Francis' work deals with field recordings and acoustic objects,
such as fabric, wood, plastic, 'self noise of home stereo amplifiers',
loudspeakers and record players. He writes that he is inspired
by 'a particular moment of sound heard in my surroundings, [I've]
come to call these brief sonic impressions 'sound moments', of
10-20 seconds in length where my attention is drawn to an interesting
combination and arrangement of sounds'. His music is not a recording
of these moments, but rather a 'cover' version using different
sounds. That is a nice way, but hard to check out. We didn't hear
these original sound moments. Three lengthy tracks here of not
too careful music. It seems to be based, at least from this perspective,
on a bunch of loops, which fade in and out in an irregular mode.
Continuos sustaining sounds of crackling sound, low sonic rumble
and debris flying around. Is it drone music? Well, perhaps it
is. Is it microsound? Indeed, it might be. But it's harsher, more
present, certainly in the first two tracks. It doesn't lull the
listener to sleep. Perhaps it's musique concrete? It is, but the
aspect of a continuous sounds built from loops may suggest otherwise.
I think this is the strong thing from this CD. It sounds familiar
but upon close inspection it's not easy to lump this into any
genre. A strong CD, that at just under thirty minutes, is perhaps
a bit short. Another piece would have been most welcome. (FdW)
Address: http://www.cmr.co.nz
MOVE D - TONSPUREN 1-10 (CD by Bine Music)
It seems like yesterday that we reviewed the '10/11 Live At Johanneskirche'
by Move D, a.k.a. David Moufang. But it was in Vital Weekly 580...
Bine Music unearths another Moufang work from the archive here:
a recording of Move D at the second Sonic Arts festival in Erlangen,
early 2003, where the guiding theme was 'Sound and Reality'. Moufang
uses field recordings, ten different ones, which he sets to music,
using his laptop and real instruments, such guitar, pedal steel
and slit drum. The field recordings bit is of course about 'reality',
and Moufang knows his rain and train sounds, which he sets to
his music. And that didn't change much: deep space synthesizers,
jazzy keyboard lines, a jumpy rhythm and an acid style bass line.
As such there is not much difference between this release and
the previous one on Bine Music by him, save of course for the
addition of field recordings. It's nice flowing and floating ambient
music, armchair techno, traveling music for ipods (be sure to
use a good high resolution convertor) and it's actually quite
alright. (FdW)
Address: http://www.binemusic.de
GOLDMUND - TWO POINT DISCRIMINATION (CD
by Western Vinyl)
SHUTA HASUNUMA - OK BAMBOO (CD by Western Vinyl)
My first encounter with Keith Kenniff's project Goldmund, whose
'Two Point Discrimination' is his third release. His music fits
the 2007 tradition of playing the piano. In a twist of difference
he just uses a piano and no electronics, but he does something
interesting. In stead of having a microphone pick up his playing,
he places various microphones at various points close the piano:
near the hammers, the strings and the pedals, as well as probably
an overall microphone. It adds a rather unusual texture to the
recordings. Kenniff mixes his pieces in various way, sometimes
allowing one microphone, then another one. Eleven short pieces
(total time is about twenty four minutes) of this kind of pieces,
which aren't exactly Erik Satie or Claude Debussy, but more joyous
and uptempo, yet also quite atmospherical. Minimal music influences
with arpeggio's and also Feldman like with loosely played tunes.
Quite a nice release indeed, an easily one of the better piano
works of this year.
Hasunuma self-titled debut was reviewed in Vital Weekly 539 and
he too has discovered the piano, or perhaps he just returns to
it. Hasunuma takes the piano way further in the digital terrain,
more than Goldmund, but also more than many others who came to
Vital Weekly with their 86 keys. Hasunuma takes the piano apart,
builds it up, twists it around, and change it, and also adds guitar
and vocals. Glitch music of the highest order, and much of what
I had to say on his first release, counts here too, perhaps not
so much influenced by Mathieu anymore, but surely a lot of music
on Spekk, Noble or a band like Flim. Music from an already long
tradition, but surely Hasunuma is one of the better players in
the field. It's not too soft, ambient, but rather angular and
at times even unsettling. Fennesz and The Books are also obvious
points of reference. Quite a complete work this one. (FdW)
Address: http://www.westernvinyl.com
RHYTHM (CD by Gruenrekorder)
A much ignored feature in the area of field recordings is that
of rhythm. You tape sounds outside and there is hardly a sense
of continuity or even rhythm, at least not in a musical sense.
Germany's Gruenrekorder thought about this and asked various known
and unknown field recordists to capture the environment with the
idea of rhythm. It is best shown here by Peter Cusack from London
with a recording at the Jaguars car manufacturing plant: machine
drone at it's best. Also Eric La Casa has a slight rhythmic field
piece of metallic banging. Unfortunately that's it. The rhythmic
sense of the other pieces is low, and sometimes even non-existent.
It's not that they aren't great field recordings, because they
surely are so, but they don't always have something in common
with rhythm. Maybe it's just hard to find pure rhythm in sync
in nature, and this is just a decent compilation of field recordings.
Included are the usual posse of Dale Lloyd, Roland Etzin, Jez
Riley French, Takahiro Kawaguchi, Takefumi Naoshima, Sawako, Lasse-marc
Riek and Walter Tilgner, because the two aforementioned ones.
Nice, but a bit beyond the concept. (FdW)
Address: http://www.gruenrekorder.de
MARCUS SCHMICKLER - ALTARS OF SCIENCE (CD
by Mego)
One of the things I like about Marcus Schmickler is his sheer
variety in music styles. Wether it's rock with Pluramon, serious
composing for a choir, improvisation or pure electronic works,
he can do all seemingly without too much trouble. The luck of
being classical trained probably. This new CD is actually a DVD:
there is a portion that can be played on any audio CD player and
on the DVD part the same piece for multi-channel set-up. That
I don't have, so I have to do with the stereo version. Apparently
it's his first electronic work since 1998, when he released 'Sator
Rotas', and 'Altars Of Science' is a serious computer music work.
Schmickler takes the form of 'old' serious electronic music, but
then no longer analogue synthesizers or oscillators, but computerized
sounds. Things pop up, take shape, disappear. Most of the times
in a somewhat loud and noise based territory. We should not forget
that Schmickler is also a member of Mimeo, so a bit of noise is
well-spend on him. Sometimes buzzing like insects, but usually
totally abstract. A strong work I think, taking this kind of music
away from the acousmatic counterparts that is part of the serious
work, and as such a work that truly stands out from the rest.
Powerfull, at times even noise like, but moving about without
staying in static territory. An example of how these things should
sound for noise heads, serious composers and improvisers. Listen
and learn. (FdW)
Address: http://www.editions,ego.com
POCAHAUNTED & ROBEDOOR - HUNTED GATHERING
(2CD by Digitalis Industries)
MARISKA BAARS & WOUTER VAN VELDHOVEN & RUTGER ZUYDERVELT
- ZEEG (2CD by Digitalis Industries)
Two releases from the world of drones, but with two different
outcomes. Pocahaunted and Robedoor are both bands from Los Angeles,
who share both a split and collaboration together. Robedoor has
four pieces, Pocahaunted three and then there is a collaboration
between both bands. The drones applied by these two bands are
best be classified as space rock. There is a guitar that is in
distortion mode, crying in the background, and on top there is
a jamming free guitar, strumming away nicely and vocals that bring
a long howl, certainly in the case of Pocahaunted. Robedoor stays
a bit more close to the idea of drone music, with sustained sounds
in long and spacious curves that move about in a slow manner.
Drone rock or rock drone which ever side of the medal you like
to approach this from that has a solid basis in New Zealand, but
apparently it can be played elsewhere too. Nice, but not exactly
new.
The other release is announced as 'the best that the Dutch underground
has to offer'. Well, ok. Of course the name Rutger Zuydervelt,
also known as Machinefabriek, is known here of course (or otherwise
you didn't read it very well in the last two years). Mariska Baars
is someone with whom he has collaborated in the past already,
and by herself she works as Soccer Committee, where she is, me
think, like Oren Ambarchi with vocals. Wouter van Veldhoven is
the unknown one, but I saw a concert by him a while ago which
was great: tape loops, modular synth and a music box, playing
careful glitchy music. They all know eachother quite well, and
on July 15th of this year they recorded 'Zeeg' together in a live
setting. Vocals aren't present, or at least we don't know about
it. This too is drone music, but of all totally different kind.
More spacious, but also more open, with the tinkling of guitars,
that seem to float weightless in space, careful crackles courtesy
of Van Veldhoven, and everything else that they use is looped
around, changes shape and volume, and meanders about in a slow
and peaceful manner. Nothing heavy weight, such as the Pocahaunted/Robedoor
discs, but more light of hearth and tone. Hard to believe that
this is 'just' a live recording, but let's believe they are not
lying to us. A highly successful collaboration this one, and bringing
the comet career of Zuydervelt a step further. (FdW)
Address: http://www.digitalisindustries.com
REFORMED FACTION - THE WAR AGAINST... (CD
by Soleilmoon Recordings)
CONTINUUM - 2 (CD by Soleilmoon Recordings)
These two new releases on Soleilmoon Recordings both deal with
the notion of collaboration. In the world of Vital Weekly we don't
see as many bands as we see solo projects, so the collaboration
is the step in between: solo musicians playing with others, and
sometimes on such a steady basis that we can see them as a band,
which is the case here for both of them. Behind Reformed Faction
we find two former Zoviet*France members, Robin Storey (better
known as Rapoon) and Mark Spybey (better known as Dead Voices
On Air, Propeller and member of Download and Sofortkontakt!).
While watching Werner Herzog movies, drinking red wine they spend
hours of improvising together during a weekend, taking the material
to the stage and ultimately compiling 'The War Against...'. If
you are familiar with the vast output that these two made under
their various guises, you probably noted the similarities between
all those projects: atmospheric music. Be it ambient influenced,
be it rhythmical, there is always a great sense of atmosphere
about their music and 'The War Against...' is not different. All
of the ingredients are present: the ambience, the rhythm, vague
tribal rhythms, low resolution samples and an extended use of
delay and reverb. Quite if not highly enjoyable music, if nothing
new under this extended horizon. That's alright, as musical innovation
is not their concern; to play a great atmospheric tune is very
much theirs.
When I wrote "Curious what the next volume will bring"
when reviewing the first volume of Continuum (see Vital Weekly
469), I must admit that I sort of expected more of the same, expecting
developments to go slow. But of course I couldn't know that metal
is new keyword in the experimental noise scene (think Nadja, KTL,
Jazkamer), and that Dirk Serries' guitar project Fear Falls Burning
would take of like a rocket and Steven Wilson's main project is
a rock band (albeit not a metal one). Dirk played with Nadja,
so perhaps that inspired him (or them) to make the second volume
of their collaborative Continuum project more about guitars. Heavy
guitars. Certainly in 'Construct IV" registers are all open
including drums, but things are a bit more open than with Nadja,
whereas in 'Construct V' things are more below the surface but
building in strong tension. Distorted guitars are strong and present
here, but held back. The final piece here is the least one. Things
howl around, but apparently for no reason. Slow metal. These three
new pieces certainly break away from the previous CD in a major
way, which is of course a great thing. In an odd way, Serries
and Wilson combine ambient music with metal music, which if you
read this sounds like the most illogical possible (next to metal
reggae), but hearing is believing. A major leap forward and making
me curious to the third installment. That will be two years from
now, see how the world will be changed by then. (FdW)
Address: http://www.soleilmoon.com
PLUMERAI - WITHOUT NUMBER (CD by Silber
Media)
ORIGAMI ARKTIKA - TROLLEBOTN (CD by Silber Media)
Just like the previous batch I received from Silber Media, this
has one release that is totally the alley of Vital Weekly and
one that is far out. To start with the latter, Plumerai is a band
from Boston, consisting of Elizabeth Ezell (vocals), Martin Newman
(guitars), James Newman (bass) and Todd Richards (drums). Silber
describes this as a cross-over between PJ Harvey, Portishead,
The Cure, The Cranes, Radiohead and Gogol Bordello; is that outside
the wide territory usually covered here or not? Ezell's voice
is indeed like Portishead, Harvey but also Bjork like. As far
as the music goes, and overseeing my limited knowledge of all
the references mentioned, I must say I thought it was all quite
enjoyable. Plumerai play emotional rock music, even when I don't
understand what all the lyrics are about, but I'm sure it's all
emotional stuff (sensing from the way they are sung), the music
is tight, and, hurray, there is also a sense of experimentalism,
allowing other instruments to be part of it, like keyboards and
accordion. It would all make more sense to me if I was hearing
this twenty-five years ago, but even in this day and age I quite
like it.
From the extended family tree of Origami, the one
that is called Origami Arktika is in my eyes the one that is musically
the most accessible one. No laptops, no noise, no harshness. Origami
Arktika is a kind of big band including members from Kobi, Del,
Motorpsycho, Salvatore and founding member Tore Boe. They play
a wide variety of instruments, such as guitars, drums, organ,
bass but also strange objects. Trollebotn is a remote area in
Norway, with their own strong traditions. Somewhere in the booklet
there is a picture of a shed. Perhaps the recording studio? The
music evolves around the voice of Rune Flaten, who recites rather
than sings the lyrics. They are of course in Norwegian. Origami
Arktika apparently improvises freely around those lyrics. Slow
and intimate music this is, and it's great, but but but - it starts
sounding the same after a while. That is the great weakness of
this album. I couldn't help thinking after the fifth song, alright,
I get your drift. Maybe it's best to play this in a few parts
anyway... But some of it at a time is truly beautiful. (FdW)
Address: http://www.silbermedia.com
JULIA KENT - DELAY (CD by Important Records)
Probably best known for her cello playing with Anthony and the
Johnsons and Angels of Light, as well as her membership of Apocalyptica,
Canadian-born Julia Kent has finally released her first solo album.
Delay was recorded between endless touring and traveling and it
shows. Inspired by long waits at airports, Kent creates her private
world in the midst of the usual chaos and disorientation. Consisting
purely of multi-tracked cello and found sounds, the tracks on
this album are like an oasis in that micro-cosmos called the airport,
in a sense following Eno's concept of Music for Airports. Each
track on this album is interspersed with short interludes of environmental
sounds recorded at a specific airport (such as Idlewild, Malpensa
and Schiphol), which gives the track its name. This concept works
wonderfully well. Kent manages to give each airport its own atmosphere,
ranging from hectic and chaotic to an almost pastoral calm. As
a total, the mood of this album reminds me much of Daniel Figgis'
brilliant 1994 CD Skipper. Delay is a great album in an already
great music tradition of albums inspired by airports. I'll be
traveling to Finland soon and I'm looking forward to play Delay
as a peaceful musical haven in a chaotic world. Delay? You'd almost
wish for one. (FK)
Address: http://www.importantrecords.com
COLUMN ONE - FELDAUFNAHMEN 1 (CD by Auf
Abwegen)
ROEL MEELKOP - 5(ZWISCHEFALLE) (CD by Auf Abwegen)
Both of these recordings deal with field recordings, but the outcome
is totally different. Over the years Column One has been a group
that loved electricity - to connect their synthesizers, samplers,
computer or whatever. Their music was strongly rhythmic and there
was always a media edge to the music. Nothing so on 'Feldaufnahmen
1', the first in what is going to be a series of pure field recordings
(as that is what the title means actually). Column One member
robert Schalinski went out in East Germany to the Polenztal and
recorded twelve different sound events. For whatever obscure reason
they are titled in French, but the title leaves nothing to guess:
'The Insects', 'The Forest/The Dog', 'Water/Insects'. We hear
dogs, children, rocks, all in a pure form. Very easy? Yes, very
easy, but as someone who likes sounds, I must admit I pretty fascinated
by these recordings. Simple and pure, phonography in it's purest
form. I am not sure what the hardcore fans of Column One will
think about this, but I thought this absolute break with the past
is a great move and the result is likewise.
Roel Meelkop is also a guy who loves the field recordings, but
for him it's never the end goal. He takes his recordings home,
puts them on his computer and starts treating them until it's
very hard, if not impossible to recognize what they are about.
His previous work, at least quite a few of them, had a number,
like '9 (Holes In The Head)', '5 (Ambiences'), '7 (Perceptions')
and so on, and usually it referred to the number of tracks on
the CD. Not so in this case. 'Zwischenfalle' is not really a German
word, but it sounds so. To spoil a bit of the fun: there are four
lengthy pieces here and five short ones, so make up your mind
what a zwischenfall could be. Meelkop is in usual fine shape here,
and as such this album brings nothing new for him. His material
hoovers at the low volume end of the musical spectrum, out which
things can suddenly rise, even explode, but then it breaks as
suddenly as the explosion started in order to start an entirely
new life as something else. The collage method, which is not always
very subtle, certainly if one has the tendency to play this loud
because of all the soft passages. Like I said, Meelkop is in good
form here, but then he usually is (and my perception may be clouded,
I readily admit that). Not a big surprise, but a fine work anyway.
(FdW)
Address: http://www.aufabwegen.com
ADAM PACIONE - FROM STILLS TO MOTION (CD
by Infraction Records)
NORTHERN - DRAWN (CD by Infraction Records)
These two new releases on Infraction Records show not only the
label's love for ambient music, but in true minimalist action,
there are subtle differences to be spotted, and even a degree
in appreciation can be made. Pacione's work so far has been released
on Elevator Bath (see a review of 'Sisyphus' in Vital Weekly 497)
and here comes on Infraction Records. It seems to me that the
guitar is a prime instrument for Pacione and that there is a little
bit of field recordings involved, but a massive amount of sound
effects. Slowly moving, this is heartland drone music. Peaceful,
moving, vast landscape, all the cliché's from the music
come to mind, but it's a great album. More Stars Of The Lid/Ultrasound
than Mirror or Ora, I think, but these are subtle differences.
Nothing new under the still beautiful sun, this one.
Speaking about differences, there are as said differences between
Pacione and Northern, the collaboration of two brother, Davin
and Kevin Chong from Canada. Their debut CD 'Drawn' may start
very much along the lines of Pacione, the difference is in the
slightest rhythmic particles that hoover about these recordings.
Stretched out fields of sound, immense tapestries of clouds, fields
of hay - that's the Pacione link, but below surface there is the
ur-beat, the heart rhythm, the ticking of a clock that makes this
very very vaguely connected to minimal techno (and I mean very
very vaguely) of Chain Reaction at their very very most laidback
sense. Like a simple delay ticking. 'Drawn' sounds perhaps more
12K than Infraction, but then Infraction didn't exactly settle
for one specific form of ambient music, and that's why it's such
an interesting label and these two releases proof their fine taste
in that music. Both aren't 'new', 'hot' but great subtle, atmospheric
music releases. (FdW)
Address: http://www.infractionrecords.com
MICHAELA MELIAN - LOS ANGELES (CD by Monika
Enterprise)
The debut album of Michaele Melian is from two years ago, and
named after the small German village Baden-baden, the follow up
to a slightly bigger city, 'Los Angeles'. I didn't hear Baden-baden,
but I understand from the press text that it's shift away from
the previous record. Melian is a multi-media artist and bass player
from FSK, a band I also don't know. As a solo musician Melian
plays music that is inspired by techno but she takes it to an
entirely new ground. Take for instance the opening piece, 'Locke-Pistole-Kreuz',
with it's looped piano motif, a bit of guitar and a very subtle
rhythm pattern kicking in. I believe this where we should place
the shift between the first and second CD. Apparently the first
one dwelt more on rhythm than this album. There is a strong sense
of melancholy on this album, with minor keys being played throughout,
subtle string parts, drones and organs. When things become minimal
here I was reminded of Stephan Mathieu, with a similar sensibility,
but a piece like 'Stift' is much more Beatles like, with pizzicato
violin and a semi-middle eastern cello pattern, against a 4/4
beat. 'Convention' is almost like a jazz tune. In these pieces
she sounds a bit like Gas, with that subdued beat in the background.
Quite a nice and varied CD this one, to which I may only object
that some pieces are a bit too long for what they are. The most
curious piece is at the end, a cover of Roxy Music's Manifesto
song, and the only vocal piece around here. (FdW)
Address: http://www.monika-enterprise.de
PROJEKT67 - YOU GIVE ME MUSIC (CD by Reddog
Products)
The number 67 is the name Projekt67 is not some magickal one that
I never heard of, but it's simply the year in which Simon van
Weelden was born. He is one half of the band, playing all the
instruments, while Erna Berendsen sings. The project part of the
name refers to the fact they use guestplayers. They hail from
Groningen, up north in The Netherlands and have been together
as Projekt67 since 2003. 'You Give Me Music' is their second release.
Just like the Lycia releases that I reviewed recently this is
music that is a bit far away for the average Vital Weekly digest.
Berendsen's vocals reminded me at times of Portishead, the guitars
at the prog rock best, somebody compared it to Pink Floyd even
(which is of course erm, well also not my thing). But the combination
of folk (vocals), rock and a bit of experimentalism makes this,
at least for alternative rock standards quite a daring album;
no doubt the the bigger alternative channels will applaud this.
But I think it's all a bit too retro for my taste, harking back
to the old ideas of psychedelic music, without adding necessarily
many insights. It's an alright work nevertheless, which I enjoyed
hearing, but I am not sure if I'd play this again. (FdW)
Address: http://www.projekt67.com
MODAN GARU - FOXHUNTING FOR YOUR ATTENTION
(CD single by Moga Records)
In Norwegian's Helge Olav Øksendal's work popmusic is never
far away, but you know it might not be easy to reach for the top
of the pop. But with his trio Modan Garu, he might aim for a position
up there. Yes, the top 40. But then they should press more than
500 7"s and, costs are no problem, probably 500 promo CD
singles. Modan Garu is besides Øksendal, Tore Renberg and
Elisabeth Røise and they take their influences from both
Kraftwerk and Duran Duran. Quick uptempo song this 'Foxhunting
For Your Attention' with fat, analogue retro synthesizers and
sing along qualities. The song is short, but there is also a highly
danceable remix by one Rosenberg. Great song, top 40 quality indeed.
Cheesy popmusic. (FdW)
Address: http://www.modangaru.no
MARKUS REUTER & ROBERT RICH - ELEVEN
QUESTIONS (CD by Unsung Records)
Perhaps the name Robert Rich is not very often in Vital Weekly,
but you may recognize the name as one of the masters of ambient
music. Markus Reuter by comparison is perhaps a less easy to place
name, but he is a member of Centrozoon, a band whose music I never
liked. Rich and Reuter spent a week together to record this album,
which apparently dwells more on acoustic and electro-acoustic
instruments, such as lap steel, touch guitar, piano, acoustic
guitar and flutes than synthesizers. The press text rambles about
the 'instant hookiness' of the pieces, but I am pretty sure they
mean a wholly different kind of hookiness than I do. These tunes
are not catchy poptunes, but in some cases nice flowing ambient
pieces and in some cases tedious psychedelic music. It works best
in the same what more abstract pieces, and less in those pieces
which emphasize e-bow guitars. It may seem to be recorded with
acoustic and electro-acoustic instruments, but there is a sturdy
amount of sound processing going on here. Perhaps even a bit too
much at times. Throughout it's a pleasant late evening album of
shorter ambient works that provides a nice, melodic background
music while sipping a glass of wine. Nice but hardly surprising.
(FdW)
Address: http://www.unsung-records.com
JAN VAN DEN DOBBELSTEEN - COSMIC VOLUME
29 (LP by Cosmic Volume)
Late 2005 I attended a very nice evening at Extrapool. Not the
usual laptop posse, or improvisers, but three more or less conceptual
performances about music. Goodiepal's whistling act, Toktek playing
'canvas' (with attached oscillators, which were connected by cables
and looked like painting) and Jan van den Dobbelsteen who presented
the project 'Esrever Tnatsni' (read as 'Instant Reverse') in which
he recut 93 7"s, which he played on a turntable which played
backwards and from inside outwards. A strange but nice evening
of three different ways of working with sound, out of the ordinary.
Van den Dobbelsteen presents his work here on this record (packed
in a beautiful gatefold sleeve): a random selection of these 7"s.
It's an interesting concept, but one could wonder if a whole LP
is necessary to document it. Especially side one sounds like reversed
music, and nothing much else. In that sense the second side is
more musical interesting. Here things sound reversed too, but
they also sound interesting, more like a radioplay with elements
of sound collage. Rain, instruments, hiss: almost in a narrative
way. That is quite nice. Maybe one can wonder if a concept should
be heard or even documented, but especially the second side proofs
me wrong. (FdW)
Address: http://www.iae.nl/users/jada
LEGENDARY PINK DOTS - ALCHEMICAL PLAYSCHOOL
(double 10" by Caciocavallo)
Perhaps the press text says it all: "The audio content, however,
is identical to the CD edition, so no one should feel compelled
to purchase this record unless they love vinyl as much as we do!".
I like vinyl, but overlooking my castle, I realize I don't have
enough space for vinyl, so when it comes to preferring one or
the other, I opt for the CD version. But both the CD version and
the double 10" version look great. The stone soap box versus
the handmade paper ("deluxe silkscreened gatefold folder
mae of recycled sugarcane fiber, with a full color poster, and
each record is stored in its own hand-made marigold flower petal-infused,
plastic lines sleeve" mind you). As for the music, not different
than before, we return to Vital Weekly 529, when Freek Kinkelaar
wrote (wrongly credited to me actually): "Alchemical Playschool
is an altogether different beast. It comes packed in a beautiful
trident-carved soapstone box that weighs a ton. Here the Dots-core
of Edward Kaspel and Phil Knight rework environmental sound-material
recorded in India (by Charles Powne of Soleilmoon records, the
original recordings are available on CD as Indian Soundscapes).
In doing so the Dots create a beautiful dreamscape. The four long
tracks (parts one to four) evoke scenes of the East with street
sounds, crowd noises, voices and field recordings drifting in
and out. At times the results are pastoral and on other occasions
downright hectic - just as you'd imagine India to sound like.
Part Four, with its beautiful voice sample and washes of sound,
forms the highlight of this fascinating album. Alchemical Playschool
is welcome proof that the Dots are still willing and able to create
exiting experimental music." Quite right there. At 250 copies
a certified pre-programmed collectors item. (FdW)
Address: http://www.soleilmoon.com
YASUSHI MIURA - MAGNITUDE NO.7 "MEEK"
(CDR by Karidome)
This CDR is the follow up to the CD 'Eternal Clash' from 2006
and it's by one Yasushi Miura, who on both the previous and this
one proofs to be the true laptop artist. No river is too deep
or mountain high, he slabs it on his laptop and messes things
about until they do not sound like anything we know. Chopping
things up in a heavy way, cutting them down to the smallest particles
which form small beats, which hop around in a spastic manner,
most of the time. Hectic, nervous, crazy, breakcore like, this
is an unsettling release, that is best played very loud in a dark
club. I don't see many dancers for it, but lots of people nod
their heads to the music. Nice, but a bit too immature for the
old man that I am. Gameboy music for the 21st millenium. (FdW)
Address: http://emodirak.web.infoseek.co.jp
(ETRE) - I CAN'T TAKE MY HEAD TO SEE HIGHER
BECOUSE THE SKY IS LANDING OVER MY NECK (CDR by Riz(h)ome Records)
Some time ago, we reviewed 'A Post-Fordist Paradise In The Strike
Of Events' by (etre) (see Vital Weekly 527) the project of Salvatore
Borelli, who now returns with a limited edition CDR with a horrible
spelling mistake in the title (yeah, I know I am not pervect either),
with two lengthy pieces dedicated to Angnus MacLise and Jackson
Pollock. In the text that comes along I read about a second release
that should be in between this and the previous, 'Voices Stomp
Flames For Requiem Times' and that the whole thing is a 'trilogy
of the voice'. On one side there are the normal instruments such
as lap steel, guitar, esraj, zither, shruti box and kalimba and
on the other side we find the laptop to the processing. And of
course the field recordings, from various Italian cities. It's
an interesting work, these two pieces, but I must admit I thought
both pieces were also a bit unfocussed. Lots of field recordings
of people talking on streets and pubs (it seems), computer processing
and such like but to what end? What is the structure behind these
pieces? Or is it like a Pollock painting - many layers of sounds
smeared on the hard disc? Music wise there is still the high and
mighty influence of say Fennesz, but it's unfortunately not the
best copy of the master around. (FdW)
Address: http://www.freeglitch.com,
BRIAN LABYCZ & JASON ROEBKE - DUO (CDR
by Peira)
TIM BARNES & JASON ROEBKE & NATE WOOLEY - TRIO (CDR by
Peira)
A new label from Chicago is Peira. They seem to be focussing on
improvised music, judging by their first two releases. Nice packaging
(printed sleeves) to start with. From the five artists that play
the music on these first two releases I just recognized the names
of percussionist Tim Barnes and trumpeter Nate Wooley. Brian Labycz
plays electronics and koto and Jason Roebke plays double bass.
Labycz is an improviser with Vadim Sprikut as LSD and cuartor
of the Myopic Improvised Music series. Roebke has played with
Tigersmilk (which includes Rob Mazurek), Art Union Humanscape
and has played with various jazz bands. On their collaborative
CDR they play highly demanding improvised music which lasts for
quite some time, and a certain tiredness leapt in here. There
is perhaps only as much as a person can take. Great improvised
music but a bit too much.
The other release, obviously called 'Trio' is by Barnes, Wooley
and Jason Roebke. Like with the other this is a head dive deep
into the world of improvised music. Right from the start we aren't
left alone, but there is always sound to guide us. What seems
to be acoustic rumbling at the start of loosely disjointed sounds,
will gradually grow into something electric sounding. I have no
idea how or what they are doing there to generate these sounds,
but it surely sounds great. It expands the original sound, makes
it richer, but also more chaotic and nervous. Both of these releases
are in the same alley, of free improvisation, of loud onkyo, or
soft noise (whichever suits you), but both are demanding releases.
Put these on and play them, might not do them justices at all.
Sit down and concentrate and a new world will open for you. (FdW)
Address: http://www.peira.net
VASØK (CDR by Zang:Records)
NUMUSIC COMPILATION 2007 (CD by Numusic Records)
Strange folks, those lads at Zang:Records. They can release super
serious music by someone like Pal Asle Pettersen, but then they
also release Vasøk, a.k.a. Vasilij Malcev from St. Petersburg
but based in Stavanger, where Zang:Records is located. He tells
us, through his music, that he likes his music to be minimal and
danceable. Whatever he chops up to get a rhythm, it surely grooves
about. The influences range from early Noto, Pan Sonic and Goem,
but everything is spiced with a healthy amount of techno influence,
without loosing the eye for experimentalism. A pretty varied release
this one that in mixing various influences is quite a genius.
The people behind Zang:Records are also responsible for compiling
a CD that was released as part of the Numusic festival in Stavanger,
Norway in early september. The CD doesn't showcase all the artists
but a selection that is representative for the festival. It has
local artists such as Hoh, Bjerga/Iversen, Modan Garu (see also
elsewhere), QRT but also Felix Kubin, Daedelus, Trencher, Eiko
and such like. Not the most well-known that played the festival,
but throughout a most enjoyable compilation. (FdW)
Address: http://www.zang.no
OLAF HOCHHERTZ - PETS (CDR by Naiv Super)
In 2004 Olaf Hochherz was thrown out of the music university of
Essen, Germany, but that very day he also met someone from Naiv
Super, who offered a release of his music, even when it took three
years to come to a release of only twenty-three minutes in length.
He plays music on a laptop, using programs he built himself. It
starts out in a rather noisy vein, with lots of crackles and static,
but suddenly there is a female voice to be heard here, and things
soften out. From then on until the end piece 'Celine' things are
more interesting. Highly academic, even when Hochhertz didn't
finish his school. Computermusic of software running amok, but
with a lot of dynamics. The tides between loud and soft. I have
no idea to what extent this was improvised or composed, but it
surely sounds great. A bit like the recent Joe Gilmore CD on Cut.
Quite an intelligent release, even when not entirely new as such.
(FdW)
Address: http://www.naivsuper.de
TIM BLECKMANN - RE-READING (CDR by Free
SS)
KAKOFUNK - FRUTAMENTAL (CDR by Free SS)
One thing I do when I put on something that has a Mattin connection
is check the volume of my speakers. Low? Right, let's play it.
Mattin curates here a 'free software series, for the promotion
of works realized using free software'. Vienna's Tim Bleckmann
uses PD, which stands for Pure Data, and to the best of my knowledge,
it's a kinda like a max/msp, but solely for the pc. His recording
may be a live recording, but it's not that noise related as I
expected. A single forty something minute composition/improvisation
that I think is based on either processing the field recording
of rain, or some internal crackling of the computer, which gets
layered and layered, until a dense mass of sound arrives. Slowly
towards the end things are thorn down and taken apart. It's a
great work. I could imagine this being a bit long for a concert,
but for home entertainment this is a really nice work.
Kakofunk come from the 'workers area of Bilbao' is something different.
There are no less than twenty-six tracks here in over an hour.
He uses 'gnu/linux o.s.' and the pieces are studio and live ones.
There are elements of noise, clicks and cuts, field recordings,
all fed through the computer and it's possibilities. 'You can
feel a sense of freedom which scorns genre divisions and narrow
understandings of what electronic music can be', Mattin writes,
but it's exactly the sort of diversity that Kakofunk offers that
I don't like. Maybe it's because none of the ideas seems to be
worked out a lot, they for most remain ideas and sketches. Perhaps
it would be an idea for Kakofunk to opt for lesser genres and
work out better what he wants. (FdW)
Address: http://www.freesoftwareseries.org
MUTANT APE - DRES (CDR by Produck)
COURTIS - 250107 (CDR by Produck)
Normally I would leave such releases as these two to Jliat, but
I must say I like them. A lathe cut is a sort of record made out
of plastic which are cut by Peter King in New Zealand. A CD is
in principle also a piece of plastic. Produck from Germany sent
a bunch of prerecorded CDRs to King and had him add some grooves
to the CDR, so you can play both of these CDRs on your turntable.
That is in my book a great idea. In both cases there is soft,
scratchy noise which has not much to do with the music. On the
CDR part, things can't be long. Mutant Ape has only one track
of earbitten noise. Harsh, distorted, but short and to the point.
Anla Courtis may perhaps come closer to the grooves of his record
part of this. The title refers to the date when he gave a concert
in Curmbox in Frankfurt. It's not the best recording in the world,
it may even be taped with a cassette recorder and a handheld microphone
in quite some distance, as far as I'm concerned. Courtis improvises
on his guitar in freeform, and feeds the result through a bunch
of sound effects, but it's not enough to keep any tension or attention
alive here. More one for the die hard fans, I think or indeed
those who love to collect a strange object. (FdW)
Address: http://www.produck.tk
ASHER - IN CAMERA (MP3 by Homophoni)
So far, Asher Thal-nir has surprised the world with by now a long
line of MP3 and CDR releases, which all show his love for hiss,
static, low volume and field recordings. This work is no different.
Perhaps inspired by Christoph Heemann/Timo van Luyck's new project,
or the Joy Division clone of the early 80s? I don't know, but
I don't think so. This new work seems to dwell even more heavily
on many layers of hiss and static, but with outside sounds leaking
through. Cars passing? Scratching the surface? There is however
a marginal new feature in this music, that of stop/play. Things
drop out and come back in, which add a subtle and settling element
to the music. Like pasted together of old reel to reel tapes.
Strange piece this 'In Camera', like an odd-ball in his catalogue,
but, if a bit long, quite a nice one. It's about time he releases
a real CD, me thinks. (FdW)
Address: http://www.homophoni.com