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VITAL WEEKLY
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number 613
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week 6
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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
before submitting material please read this
carefully: http://www.vitalweekly.net/fga.html
Submitting material means you read this and approve of this.
* noted are in this week's podcast
C.C.C.C. - CHAOS IS THE COSMOS (CD by Cold
Spring)
SOUTH SATURN DELTA - EXPERIENCE THE CONCRETENESS (CD by Cold Spring)
TALVEKOIDIK - SILENT REFLECTIONS (CD by Brume Records)
THERMIDOR - 1929 (CD by Brume Records)
ANKITONER METAMARS (CD by G3G Records) *
MACHINEFABRIEK - RANONKEL (CD by Burning World Records) *
SILVIA FÄSSLER & BILLY ROISZ - SKYLLA (CD by Editions
Mego) *
OSSO EXOTICO & Z'EV (CD by Crouton Music) *
KYBERNAUGHTY - OBIEKT (CD by Flyco)
RASPUTEEN - DIE SEGNUNGEN DER NEUZEIT (CD by Bazooka Joe)
DAVOR MIKAN - TAUSCHUNG (CD by Cronica Electronica) *
I/O - POLYTONE (CD by Fratto9)
TANAKE - 3REE (CD by Fratto9)
ELSE JUSTEL - MATS (CD by Empreintes Digitales)
MARTIN LECLERC - HORIZONS DU SILENCE (CD by Empreintes Digitales)
PAUL BRADLEY & CRIA CUERVOS - MORAINES II (CD by Small Voices)
*
CRIA CUERVOS - IL XUNX (3"CDR by The Locus Of)
TROUM - SEN (2LP by Equation Records)
RLW - CONTOURS IMAGINAIRES (10" by Drone Records)
THE YELLOW MOON BAND - MAYBACH (7" by Static Caravan)
THE ACCIDENTAL - KNOCK KNOCK/BRAVE NEW WORLD (7" by Static
Caravan)
SMILE DOWN UPON US (3"CDR by Static Caravan)
FEDERICO BARABINO/CHARLES RICE GOFF III - METAMORFS (CDR by Taped
Rugs Production) *
TAUS - THE ORGAN OF CORTI (CDR by L'Innomable) *
DEADWOOD/RED NEEDLED SEA - SPLIT SERIES #3 (CDR by Dirty Demos)
SPOONO - SEA BREEZE (CDR by Dirty Demos) *
MACHINIST - BLACKBLOCK (CDR by Heilskabaal Records) *
BJERGA/IVERSEN - THE WORLD OF PRETEND IS A CAGE, NOT A COCOON
(CDR by Heilskabaal Records)
AHD + RAVEN - STRAIN THIN FEVERS (CDR by Sonora)
I/C/O/C - PARASITIC CONCUBINE (CDR by Sonora)
EYE - THE DRESDEN CODEX (CDR by Sonora)
JLIAT - NOW THAT'S WHAT I CALL NOISE VOL.11 (CDR by Larks Council
Of England)
PARMA DAY - NUSSBAUMS HEAND (2CDR/1DVDR by Tosom) *
JORIS J - OCHRANA BIRTH (3"CDR by Tosom)
SEBASTIAN ROUX - URBAN FIELD MUZICK (3"CDR by Field Muzick)
BIDIBOP - URBAN FIELD MUZICK (3"CDR by Field Muzick) *
GAS - GAS 0095 (MP3-album by Microscopics)
BAZTERRAK & VALVERDE & XEDH - SUBGRAVITY RADIO HANGOVER
(MP3 by Mastertoaster Recordings)
IZARZUGAZA & TUSURI & XEDH - BARNE HOTSA (MP3 by Idiosyncratics
Records)
BAZTERRAK & VALVERDE & XEDH & IZARZUGAZA - FREMDSPRACHEN
(MP3 by Clinical Archives)
C.C.C.C. - CHAOS IS THE COSMOS (CD by Cold
Spring)
SOUTH SATURN DELTA - EXPERIENCE THE CONCRETENESS (CD by Cold Spring)
A few weeks back, I had the pleasure of reviewing two folk-based
albums from British label Cold Spring Records. It was Von Thronstahl's
latest effort "Sacrificare" and the excellent compilation
"John Barleycorn Reborn". Now it's time for a radical
change in stylish expression from the impressively musically wide
spanning Cold Spring label. As you probably know Japan is the
place to be if you're searching for ear-shattering symphonies
of noise. Two new albums from Cold Spring present some of the
Japanese noise-legends. First album is by Mayuko Hino and husband
Hiroshi Hasegawa operating under the project C.C.C.C. (shortage
of "Cosmic Coincidence Control Center") with contributions
from Fumio Kosakai (Hijokaidan & Incapacitants) and Ryuichi
Nagakubo (Tangerine Dream Syndicate). Having been active since
1991, this album is their first release in more than ten years.
Previous effort was the "Flash"-album released back
in 1996. The C.C.C.C.-project is first of known (or rather notorious)
by the shocking live performances that earlier included onstage
striptease and the throwing of urine-filled plastic bags into
the audience. "Chaos Is The Cosmos" consists of one
single track running 40+ minutes. Despite its length there is
a great development in the piece. Main part of the noise creation
consists of guitar distortion and keyboard generated noise with
the addition of vocals from Mayuko's peaking with some hellish
screams of fright. A great album that definitely has been worth
the long wait! Second album is one hell of a joint venture. Three
of Japnoise-scene's true legends emerge under the name "South
Saturn Delta" to crush the brain of the listener with an
hour of ear-shattering harsh noise. Maso Yamazaki known as Masonna
is the composer. He is assisted by Hiroshi Hasegawa (a.k.a. Astro)
and C.C.C.C. both responsible for keyboard and voice inferno.
The album titled "Experience the concreteness" consists
of four live recordings from the period 2003-2005, recorded at
various locations in Japan. That Masonna is the brainman behind
"Saturn South Delta" becomes quite clear during this
noise trip with quite a few elements turning the memories back
to Masonna's album "Frequency LSD" (Alien8 Recordings,
1997) with the excellent trippy noise passages based on ongoing
repetitive noise loops. The frequent use of drumwork and guitar-noise
gives associations to early krautrock or Japanese psychedelia
in the style of Acid Mothers Temple. Two excellent noise-albums
that proves that there is plenty of explosives in the underground
of Japanese culture to let Japan defend its title as the true
kingdom of Harsh Noise. (NM)
Address: http://www.coldspring.co.uk
TALVEKOIDIK - SILENT REFLECTIONS (CD by
Brume Records)
THERMIDOR - 1929 (CD by Brume Records)
Brume Records is a French label covering a wide spectrum of experimental
electronic music including dark ambient, power noise and everything
in-between. The label established back in 2000 has a great release-catalogue
with albums from interesting acts such as Flint Glass, Oil 10
and others. The two present releases is a good example of the
quality standard of the label. First album comes from German musician
Kai Christian Hahnewald, also known as the founding member of
the S.K.E.T.-project that has had a couple of releases on German
Power Noise label Hands Productions. The new project by Kai is
called Talvekoidik. "Talvekoidik" is the Estonian word
for a foggy, winter-like atmosphere. Apparently not an accidental
choice of name, with an expression that blends atmospheric orchestral-based
IDM with harsh Industrial-based rhythm textures and gloomy ambience.
The result is impressive and definitely quite unique. Especially
the inclusion of folk music expressions from a number of cultural
traditions makes it unusual. Favorite track on the album is the
awesome track titled "Rough Baltic Shore" consisting
of atmospheric ambientscapes mixed up with various ancient folk
sounds from flute to sack-pipes assisted by great rhythm structures
below. Awesome track and a very intense album. Similarly intense,
yet remarkably darker is the solo-project "Thermidor"
by Portuguese artist J. Olivier. Similar to the aforementioned
album by Talvekoidik, the debut album of Thermidor titled "1929"
has some associations back to the musical culture of the historical
past, but where Talvekoidik was folk-inspired, Thermidor is more
orchestral based and more pompous in expression. Another sharp
contrast to the Talvekoidik-project is the complete lack of rhythm
textures on "1929". The album is ambient music of the
dark kind entirely based on gloomy and melancholic ambience built
on solemn electronic soundscapes, distant voice and vocals, buzzing
noise drones and with momentarily occurrences of acoustic sounds
of piano and clanging bells. "1929" is a dark and sinister
trip back to the early days of 20th century. Very intense! (NM)
Address: http://www.brumerecords.com
ANKITONER METAMARS (CD by G3G Records)
If the word 'crooning' means the same for you as it does for me,
then the word 'crooner electronica' might be as alien for the
both of us. Ankitoner Metamars is Anki Toner (of Superelvis) and
Javier Pinango (of Cerdos, Mil Dolores Peguenos, Destroy Mercedes,
Druhb), both of them and their other bands unknown to me. Seven
songs of crooner electronica on their album. They play electronic
keyboards, heavy loops of rhythm, in a noise rock vein, and the
vocals do not always croon, but its sung rather flat. Loud but
flat. Like crooning, I guess. I was thinking of Scott Walker,
of Suicide, of Philip Quehenberger - but Ankitoner Metamars certainly
have something of their own. The songs are rather long, but at
the same time also something hypnotic in these lengthy songs.
Take for instance the opening of 'My Name Is', with some scraped
violin, fading into spooky organ sounds, and the voice crooning
'my name is not, my name was what your name will be', while a
heavy rhythm bangs away. Is it strange that the cover Leonard
Cohen's 'Hallellujah'? Not at all. It fits just perfect. Lydia
Lunch is starred on one track. Perfect nightmare music on this
strangely compelling album. (FdW)
Address: http://www.g33grecords.com
MACHINEFABRIEK - RANONKEL (CD by Burning
World Records)
As a sort of (sick?) joke I was thinking one could open a music
store called 'M' - obviously 'M' for 'music', but also for Merzbow,
Muslimgauze and Machinefabriek - three acts that have been or
still are very active on the release front. Just sell bands whose
names start with a 'm'. Machinefabriek is the youngest of these
three working musicians (although of course one of them is no
longer making music) and after some searching, a search we all
witnessed via his stream of 3"CDR releases, Rutger has found
his sound, also already for some time. The six pieces on 'Ranonkel'
(which seems like a Dutch word, and probably is, but I have no
idea what it means) could all be pieces that we heard before on
the 3"CDR format, but they have reached a more matured form
in the versions presented here. Using guitar, effects, vinyl and
laptop, Rutger Zuydervelt creates highly atmospheric pieces of
music, like he always does. His previous effort, the soundtracks
to films for the Rotterdam Film Festival, wasn't so much of my
liking but on 'Ranonkel' he more than makes up. These are strong
pieces again, varied in approach, although all centered around
the notion of dark atmospheric music, each of them has their own
approach. I wasn't too pleased with the use of reverb in the opening
'Trouringh' but in the following 'Stofstuktoon', hints of melody
arise from the mass of sound and is a great piece. A very fine
work, again! (FdW)
Address: http://www.burningworldrecords.com
SILVIA FÄSSLER & BILLY ROISZ -
SKYLLA (CD by Editions Mego)
Maybe you encountered the name Billy Roisz before? That might
very well be possible, as he is part of Efzeg, the Viennese group
in which he started as the man of the visuals, but also started
playing music. Here, on his first release with Silvia Fässler
(who has 'various curatorial roles' in the Viennese subculture',
which is all the information we get thrown), Roisz plays computer
and turntable, no doubt in this order, judging by the music. Fässler
plays computer, electronics and guitar, also no doubt in this
order. The computer seems for both the most important instrument.
And this is on Editions Mego, so we are not spared for noise.
Things bounce off towards all corners of the room, in a quick
cut up style. Guitar and turntable are used, but merely to generate
sound; the building blocks for this computerized form of noise.
Eleven tracks ranging from seventeen second to eight plus minutes,
this captures the feel of noise, or punk even, but with a strong
sense of improvisation. Moving in between those parameters, this
is quite a nice release, simply because it's not tied to a certain
genre, but takes the best of all, and make something of their
own in a crude as well as gentle way. (FdW)
Address: http://www.editionsmego.com
OSSO EXOTICO & Z'EV (CD by Crouton Music)
Curious. Just curious. A collaboration between Z'EV, legendary
player of percussion and tape-manipulator (among many qualities)
and the Portuguese trio of Osso Exotico (Andre Maranha, David
Maranha and Patricia Machas), the little chamber orchestra of
all things minimalist? Maybe it's less of a mystery than it seems.
This release lacks any information besides artist names and label's
website (unless some insert is missing), so we have to be guessing
(again). Unlike some of his previous collaborations I think it's
not the result of some postal exchange of sound material, but
the actual playing together of these four musicians. When you
hear it than the unlikeliness of the recording seems to vanish
- this is music that actually sounds like it belongs together.
The drones of Osso Exotico, tight, layered, minimalist fits actually
very well with Z'EV tribalesque percussion work here. It's a jam,
that seems a sure thing. No editing or overdubbing has been used
here, which is a pity, since as a whole thing it is somewhat too
loosely played. Certainly when the four players are 'searching'
for a sound. Once the ball gets rolling, it rolls, it makes ripples
becoming waves, waves becoming thunder storm. It's in these moments
when the true power of the music comes alive. A tribal version
of LaMonte Young, the grittiness of Tony Conrad on a multiple
instruments and the psychedelic power that is found in more of
the recent Osso Exotico recordings. Despite a few flaws in the
recording, and the fact that it sounds a bit muffled, this is
a very nice work. Get them in a proper studio and let them work
on it more extensively. (FdW)
Address: http://www.croutonmusic.com
KYBERNAUGHTY - OBIEKT (CD by Flyco)
Another off spring label from legendary German labels Ant-Zen
Recordings and Hymen Records, Flyco-label is despite the rather
limited release catalogue a label with almost ten years behind
its back. First album released on the label was the debut of this
German artist known as Kybernaughty. Originally known as Kybernaut,
he had his debut release back in 1998 with the LP titled "Stalker".
Now almost ten years later, Kybernaughty has finally released
his follow-up to "The Stalker". With a running time
slightly more than 30 minutes, the album titled "Obiekt"
is an over-the-top intense ride into a sonic universe best comparable
to the core-reaction in a nuclear power station. The rhythm texture
on the album somehow reminds me of the complex jungle-patterns
of British Jungle pioneer T-Power's classic album "The self
evident truth of an intuitive mind", but where there was
a kind of emotional warmth in T-Power's masterwork of 1994, "Obiekt"
is a work of icy technological breakcore-science. And this quite
cynic expression is what makes the album fascinating. Even though
there are no elements of traditional harsh noise, the rhythmic
structures itself are so extreme that it creates the same experience
of sonic extremity as Merzbow or likewise Japanoisists. An excellent
moment on the album is the bizarre track "Bars" sounding
like a strange cocktail of old-school electro and distorted Power
Noise - a quite unique beast. There are a few relatively downbeat
moments on the album, for instance the strange track titled "Rakkyouzon".
Otherwise the rhythms are ultra-fast peaking with the closing
track "Hardkraut" that puts an end to this album in
the most thinkable violent way. Very interesting album from "Kybernaughty".
(NM)
Address: http://www.myspace.com/kybernaughty
RASPUTEEN - DIE SEGNUNGEN DER NEUZEIT (CD
by Bazooka Joe)
Being an offspring-label to German legendary experimental electronics-labels,
Ant-Zen Recordings and Hymen Records, Bazooka Joe conceptually
focuses on minimalist retro-oriented synt-pop. Apart from this
project called Rasputeen, the "Bazooka Joe"-label has
also released albums by the expressional similar project called
The Rorschach Garden. As is the case with The Rorschach garden,
the style of Rasputeen is catchy and original. Behind the Rasputeen-project,
we have a joint venture between the two artists Kurt Feltz and
Heinz Gietz. Present album titled "Die Segnungen Der Neuzeit"
is the third full length from Rasputeen. There is a nice retrospective
line in the project pointing back to the heydays of early minimalist
electro-pop and industrial culture. Throughout the album associations
back to legends such as DAF, SPK, Einstüerzende Neubauten
and Suicide shines through, even though Rasputeen does it in its
own way with a blend of synth-sequence sounds of the 80's, cool
electro-beats and vocals sounding like a mixture of Blixa Bargeld
(Einstürzende Neubauten) and Alan Vega (Suicide). The expression
has a humorous and ironic touch giving the music a cool edgy approach
to 80's electro-pop. Everyone interested in this growing wave
of retro-oriented synth-pop that seems to flourish these years
definitely has to check out this new album from Rasputeen as well
as earlier releases from the Bazooka Joe-label. German electro-minimalism
at its best! (NM)
Address: <http://www.bazooka-joe.com
DAVOR MIKAN - TAUSCHUNG (CD by Cronica Electronica)
From Vienna comes one Davor Mikan, of whom I
never heard, 'where he creates music about failure, beauty, lust
and delusion in the context of psychoacoustic effects and in a
personal sense (self-delusion)', as it is said on the blurb. He
is using generative graphic tools together with granular synthesis
to transform sound. Whatever that may mean, even when I think
he uses sound software to transform work generated with software
that is in general used for design. Which is not a new thing,
as some programs do allow you to open a text or image file and
then it will 'read' as music. Judging by the same what harsh,
crude and loud music Mikan produces on 'Täuschung' this is
the case here (unless he uses the 'pencil' in the audio software
program to re-draw sound curves, which might give a similar effect).
Thirty one tracks, spanning just over thirty seven minutes means
that we are dealing with short pieces here. Very short but partly
loud pieces. I don't recall such a noise based release on Cronica,
which I think is a good move. Noise, certainly when it's done
well, is the new main thing. Be it the crude, Merzbowian blasts
of noise, the lo-fi noise of New America, the end of soft glitch
seems imminent. See last week's Josh Russell's release and this
week it's Mikan. Maybe the pieces could move away from the sketch
like character and grow into something more composed like, but
otherwise this is a most promising start. (FdW)
Address: http://www.cronicaelectronica.org
I/O - POLYTONE (CD by Fratto9)
TANAKE - 3REE (CD by Fratto9)
Two Italian groups are presented here on the Fratto9 label, a
small independent also from Italy. I/O, formed in 2002, make no
secret of it that they are followers of Can. So no surprise that
they have performed with Damo Suzuki. It is a quartet made up
by Luca Mauri (guitar), Paolo Romano (double bass), Paolo Benzoni
(drums) and Andrea Reali (voice and electronics), presenting with
'Polytone' their second release. The guitarstyle reminds of the
playing of Michael Karoli. The non-verbal singing is another similarity
with Can. By repeating rhythmic patterns they create a hypnotizing
atmosphere, the guitar playing simple riffs above it, and the
drummer trying to keep it going and together. In each track they
fulfill this same ritual of minimalistic rock. In some of the
tracks the magic happens, like in the second track. Because of
this stripped down approach it is important that during the piece
gradually a tension is built up that leaves you no escapade as
a listener. But that didn't happen with me while listening to
I/O. Although it must be said that this is a good band with potential.
Like Can they used no overdubs. Everything was recorded live in
the studio in order to capture as much as possible of the created
atmosphere. By the way, the mastering was done by Giuseppe Ielasi.
Tanake is about something else. It is as trio: Martino Acciaro
(drums, typewriter, noise), Maurizio Bosa (bass, Am Fm waves),
Roberto Acciaro (guitar, trombone, Am Fm waves). In 11 tracks
they try to visualize their version of free rock. Their music
arises from endless improvisation I suppose. As they are experienced
in this, they choose to record their CD live, using no overdubs.
In several pieces they worked out there ideas satisfactory, like
in 'Dustin soup'. Other pieces however remain on an experimental
level and fail to impress. Acciaro plays some great trombone in
'Ingredienti per 3 persone'. And I would love to hear more of
it. But in most tracks however we hear him on guitar. Throughout
it is the drummer where most ideas come from. In a piece like
'Utilita...', they prove that also in introvert pieces they can
built interesting structures. No doubt that I/O and Tanake are
two interesting bands of good musicians, not convincing in all
aspects, but I hope they will find more of a own voice. (DM)
Address: http://www.fratto9/
ELSE JUSTEL - MATS (CD by Empreintes Digitales)
MARTIN LECLERC - HORIZONS DU SILENCE (CD by Empreintes Digitales)
Music released by Empreintes Digitales is music that seems to
be made according to a matrix or certain schematics. Or so it
seems. Of course it's never easy to be fully original, but with
the composers/performers on Empreintes Digitales it seems that
they use the same software, both editing/processing and the input
is usually one or more instruments. I must admit I never heard
of Elsa Justel or Martin Leclerc, and yes, there are differences
between the two, be it, however, minor. Leclerc seems to me the
one who incorporates more musical elements in his musique concrete,
whereas Justel is more opts for concrete sounds. The running of
the tap, naked and unprocessed, is a nice gesture in her work.
She sort of breaks with the self-seriousness that is part of so
many of the releases on Empreintes Digitales. Throughout I think
both releases have certainly nice moments, but it's all way too
long. It seems as if the music is put on repeat or self-generating
new bits of music. Maybe there is a world out there which I just
fail to see? (FdW)
Address: http://www.electrocd.com
PAUL BRADLEY & CRIA CUERVOS - MORAINES
II (CD by Small Voices)
CRIA CUERVOS - IL XUNX (3"CDR by The Locus Of)
About two years ago we reviewed 'Morainos', a collaboration between
Paul Bradley and Eugenio Maggi, aka Cria Cuervos from Italy (see
Vital 516). Since they have been working on 'Moraines II', or
rather re-working the first one. Such can be the world of drone
music. One drone - endless possibilities. The original recordings
have been used, highly processed field recordings that is, and
together they created quite a dark album of drone music. Rather
than moving about in one single drone, this new piece moves along
various paths, clearly divided into separate parts, each with
it's own build up and changes, before moving to the next piece.
Some clear field recordings punctuate the music, such as rain
sounds, birds and footsteps. Perhaps nothing new, but the minor
changes, such as the various parts approach, make this however
quite a nice disc. Plus more treatments arrive through the work
of Andrew Liles, who was given all the material and made a remix
(a phrase we should not use for the first track). Liles has a
distinct sound (well, as far as I know, as his output is vast
and incomplete here) that is somewhat close to the more eerie
Nurse With Wound sound. Here via the reverse sound approach, like
a single wave washing ashore and a metallic drone rumble make
up a creepy soundtrack to a perfect nightmare. Sounds arise from
previous, and make this a more singleminded piece. Quite a nice
one at that.
Cria Cuervos also just released a solo 3"CDR, so its interesting
to compare it with his work with Bradley. The music here is more
experimental, more loud and, dare we say it, more industrial.
Cuervos scrapes the barrel of metal and picks up the sound to
give it some additional treatment, by adding a bit of reverb here
and there. Over the course of the piece things develop in a rather
minimal manner - it seems as if sounds are stretched out and more
space is added between them. Later on these empty spaces are filled
with what could be field recordings. Quite interesting, since
this piece moves out of the known drone field and crosses the
field of noise and industrial on one hand and microsound on the
other - certainly in the second part of the piece. (FdW)
Address: http://www.smallvoices.it
Address: http://www.thelocusof.freeuk.com
TROUM - SEN (2LP by Equation Records)
To grasp some of the success of Troum, or their predecessors Maeror
Tri, one only needs to realize that by now they have the opportunity
to pick out anything from their backcatalogue and re-issue in
what ever format they prefer. The limited edition live recording
Troum made at VPRO Radio 'De Avonden' was released as 'Mort Aux
Vaches' by Staalplaat, so hey why not re-issue it on vinyl (which
I expect to be the preferred format by these boys)? In three versions:
a double picture disc, on white and black vinyl and one edition
on clear vinyl. A collectors nightmare, but as said, these boys
have fans. Remastered of course to send better (or perhaps, sound
right on vinyl). Of course the one piece that was the CD (and
thus the live recording) had to be cut into four parts to fit
on vinyl, which is a pity, since the continuous playing works
better. 'Sen' was a piece Troum had been playing right before
this recording in Poland and is among the first works they ever
played when arising from the ashes of Maeror Tri. Now, almost
a decade later, it still sounds as fresh as back then. Slow drones,
hypnotic rhythms, swirling organ like sounds, all in mesmerizing
colors. Their means were and still are relatively simple, but
they know how to play their instruments (accordion, gas tanks,
sound effects, guitar, gong, melodica, to mention a few) to full
effect. Their ambient is always full on present, the 'industrial'
version of ambient (even when the word industrial is entirely
inappropiate here). Dream music for those who are awake. The four
sides are cleverly cut and one has the idea there are four pieces.
Nice. It's easy to see why they are still one of the best around
and why their previous output will be in print for years to come.
Textbook stuff. Listen and learn. (FdW)
Address: http://www.chronoglide.com/equation.html
RLW - CONTOURS IMAGINAIRES (10" by
Drone Records)
Drone Records, best known for a long line of drone 7"s, started
already a while ago with a new series: Substantia Innominata,
in which artists deal with the unknown, in whatever way they feel
('unnameable, unspeakable etc). For someone who likes his imagination
go wild, Drone Records made a fine decision in choosing RLW to
be part of the series. On the cover it says 'built from a few
seconds of piano and vocals. Everything else: imagination'. Quite
right. Good music is like a good movie: you create images that
might not be what they seem to be. And musique concrete, since
this is what is primarily the concern of RLW, is always a good
way of imaging. You hear music, which could be voice, which could
be piano, but then it could also be something else. Deceiving
music. That is what RLW does best. In none of the three pieces
it's easy to determine what the original sound is, or how it was
treated. No doubt inside the bits and bytes these days (unlike
the good old days of four track and reel to reel, where RLW learned
the trick of the trade) things are transformed to such an extent
that your imagination is free to run wild. It makes a movie in
your head. For me an abstract movie, of squares and circles, using
only a few colors and they spiral around, bounce off screen and
back in. And no doubt it might be something entirely different
for someone else. A great record. One that leaves more space to
guess than some of the work RLW has recorded in the past, usually
with others. His solo work goes out to no man's land more, which
is great. (FdW)
Address: http://www.substantia-innominata.de
THE YELLOW MOON BAND - MAYBACH (7"
by Static Caravan)
THE ACCIDENTAL - KNOCK KNOCK/BRAVE NEW WORLD (7" by Static
Caravan)
SMILE DOWN UPON US (3"CDR by Static Caravan)
The three faces of Static Caravan here. They are a great pop label,
most likely the best pop label around, I think. Lots of cute 7"s,
great design and some great music. The first one is a 7"
by The Yellow Moon Band. For a moment I thought I died and was
shipped back to the past (who said we can't reincarnate to the
past?). I woke up in the mid-seventies. Fleetwood Mac are on the
radio, and all those bands which names would elude me in 2008
(but I always liked the Mac), and The Yellow Moon Band offer nothing
but a great west coast rock imitation. Great solo on 'Focussed'.
If you like solo's, that is. 'Maybach' hammers nicely away in
a nice prog-rock sense of the word. Great record to be filed under
'utter retro'.
But I'm not dead. And it's not 1975, but 2008, says Static Caravan
with their second new release by The Accidental, the duo of Stephen
Cracknell and Sam Genders. The latter also works as Tunng, and
as such he is responsible for the mix of 'Brave New World', built
around bouncing vocal sample, with nice bass lines and likewise
bouncing beats. Benge remixed the other side has a down beat bass,
great vocals, both male and female and tribal rhythms. Slow, moody,
atmospheric. A great dark popsong. Great 7".
Not much information on Smile Down Upon Us, which is announced
as a CD release on the website. Perhaps a 3"CDR, of which
Static Caravan is also an advocate (all in a cunning ploy to annoy
those who listen to music on their 'computer'). Smile Down Upon
Us represent the folk element in the catalogue of Static Caravan.
Sweet female vocals, flutes, percussion, acoustic guitar - the
whole works are used here. In the third track the elph sounds
a bit like Björk, which is perhaps an too obvious reference,
but throughout this was highly enjoyable. (FdW)
Address: http://www.staticcaravan.org
FEDERICO BARABINO/CHARLES RICE GOFF III
- METAMORFS (CDR by Taped Rugs Production)
Charles Rice Goff III has been around for ages, at least in what
can easily be tagged as underground. Here he takes control of
work recorded by the unknown, at least to me, Argentinean guitar
player Federico Barabino. His improvisations are called Expresiones.
He sent seven to Goff and in return Goff thought of seven different
ways to rework/remix/recycle them. This ranges from recording
them to cassette and re-record them as they spun on a turntable,
converting to midi files, looping it through a digital mixer and
adding some of his own sounds: all to create metamorfs. The approach
taken by Goff make this a highly varied disc, that however makes
much sense. Some of these pieces may be too long, such as 'Zapatos
De Patos' and 'Four By Ten', which could have been easily trimmed
in half, but the electronic manipulations of the short 'Escuchame'
and 'Fuerte Suerte' proof that a concise approach works best.
The prize winning piece is the creepy and intense 'Be Like A Chair'
however. The guitar has been processed beyond recognition and
crawls like a beast around. (FdW)
Address: http://www.geocities.com/padukem
TAUS - THE ORGAN OF CORTI (CDR by L'Innomable)
No instruments are mentioned on the cover of 'The Organ Of Corti'
by Taus, the duo of Tim Blechmann and Klaus Filip. But me thinks
that it's a duo of laptops, no input mixers and perhaps a turntable.
That's about what I could detect on their release as sound sources.
Things peep, scratch and hum for about fifty one minutes, but
that may sound a bit unfair. Taus do a very fine job I'd say.
They built up their pieces from just a few sounds, but let them
develop in a natural manner, give them space and they grow. Then
they take back sound, close in the space and it seems that the
music is disappearing again. When almost silent, they start again.
Taus easily takes minutes to let theme's explore, but then the
result is a great one. Music that you should hear rather loud;
loud in the loudest parts, but then the softest parts also become
audible. The music will wash over the a warm flow of water. Rather
than full concentration, it's best to enjoy this with eyes closed,
headphone and on repeat. (FdW)
Address: http://www.linnomable.com/
DEADWOOD/RED NEEDLED SEA - SPLIT SERIES
#3 (CDR by Dirty Demos)
SPOONO - SEA BREEZE (CDR by Dirty Demos)
Maybe there is a world wide alliance going on to call things 'Split
Series'? Following last week's 'Split Series #5' on Tib prod,
here is 'Split Series #3' on Dirty Demos, and although one can't
be sure, I don't think they are related. Not in music that is.
Whereas the two from last week played improvised music, here Deadwood
and Red Needled Sea operate from the drone music end. Deadwood
has a minimalist pattern that repeats itself with irregular intervals,
in a sort of Oval manner when they turned more ambient and less
rhythmic. Towards the end things get a bit distorted. Red Needled
Sea hoovers nicely on the bottom of the sea with a low rumble
bass sound.
From standing on the bottom we hear a hovercraft
passing. The piece stays on the same level throughout, but has
quite an intense feel to it. Scary ambient.
The other new release on Dirty Demos is by Spoono, being on Jack
Allett. He opens with 'Bagpipe Song', and, sure it may include
bagpipes, but they are not easy to detect in the barrage of noise
and drone. It's a heavy piece, but it flies about, sparkling,
furious and it's nice. On 'Fuck It, It's Broken Again', I think
he means the guitar that sounds about. It's also loud, but more
improvised sounding. A bit incoherent this one. The noise of guitar
and drums (courtesy of Ben Pruess) sound more better. A slow menacing
piece of music. The final piece moves into feedback land again,
and here, oddly enough, it could a bagpipe. The first and last
piece were my favorites, as they sound the most coherent. (FdW)
Address: http://www.dirtydemos.co.uk
MACHINIST - BLACKBLOCK (CDR by Heilskabaal
Records)
BJERGA/IVERSEN - THE WORLD OF PRETEND IS A CAGE, NOT A COCOON
(CDR by Heilskabaal Records)
The name Machinist may suggest something industrial, mechanical,
something alien (as in 'not human') perhaps, and the three long
pieces by Zeno van den Broek, the man behind Machinist is alike
that, yet it has a certain quality that makes it very human. Machinist
is inspired by the art of Richard Serra and Anselm Kiefer, the
beauty of decay, rust, earth, brown and grey. In the opening piece
Machinist plays a very dark ambient tune which is along the lines
of Lustmord, in a very cinematographic way. The desolated and
empty industrial park at night with strong suspense. Soundsources
are hard to trace down. The second piece seems to be drums and
guitars and is quite a rock like piece, not at all like the first
or the third piece. More Skullflower inspired drones than anything
ambient industrial. 'Blackblock' ends with a piece that is a combination
of the two previous ones. Slow rumbling percussive bang on a can
against a darkened wall of alien machines trying to conquer the
world. The rhythm here is the most mechanical. Quite a strong
release, and the length of the pieces might be considered long,
but this music needs that kind of development, and Machinist makes
all the right moves only a human make to create some interesting
shapes and moves. Very nice indeed. The right noise!
It has ben quiet from the Norwegian shores, Bjerga/Iversen, for
reasons I am not aware of. Maybe the ran out of labels to release
their, after having explored every CDR label in the world? Heilskabaal
Records is still a young label and they release a Bjerga/Iversen
recording from January 2006, which is a most remarkable one. Much
of the previous work, and no doubt this one too, has been recorded
through improvisation, but whereas some of the earlier stuff could
be a hit and miss affair, not unlikely to wander off in the realms
of noise, this new one is throughout mostly a quieter affair,
of carefully bundled electronics, in a rather soft mood. Things
remain careful, but full of tension. Rather short with five pieces
at twenty-six minutes, but no doubt one of the very best releases
by them! (FdW)
Address: http://www.heilskabaal.net
AHD + RAVEN - STRAIN THIN FEVERS (CDR by
Sonora)
I/C/O/C - PARASITIC CONCUBINE (CDR by Sonora)
EYE - THE DRESDEN CODEX (CDR by Sonora)
On a Puerto Rican label three works which inhabit the New World
and the world of industrial/ sampled/electronic / electroacoustic
sound. I/C/O/C (Input/Cable/Output/Cable) (as is described on
myspace) mixes noise(feedback distortion) against a clear beat.
The noise is certainly harsh but surely the placing of a rhythm
here re-introduces the concept of teleology- and so music not
noise (admitted on the myspace site). Its trying to say something
even if its as hysterically neo-surreal as Guido Flichman's Argentina
(AKA EYE) explanation of his "music" as sounding like
your mother having sexual intercourse with a dead horse from mars.-
or industrial noise - in the sense of factory sounds echoy field
recordings etc. - even more trance like on the AHD & Raven
Cd. Programme music? Noise to be noise lies outside morality (as
I have said) and ethics and aesthetics are one and the same -
the condemnation of noise as being bad in all senses of the word
is from a noise point of view besides the point - morality is
something that noise transcends, these three CDs are still on
the bridge passing over - or else in danger of being leap-frogged
by a devil. (jliat)
Address: http://www.sonoradisc.com
JLIAT - NOW THAT'S WHAT I CALL NOISE VOL.11
(CDR by Larks Council Of England)
Which is no big deal, it's like real life. Software running amok,
some effect pedals. Not ebut here in the context of noise. Tht
is ncil Of England he releases a purposedesigneR with a rip off
cover of 'Abbea good, but simple safter that he sta q. I ueight
tracks of exactly three minutes anse is whd thirty nine secoweeks
have peard volume one of this series, and it's about time for
numbr Sofning amok, some thenes, as opposed to the soft ones)
and things explode, eight times. Oh Superman. Ace Of Spades. Jliat's
own 'Now That's What I Call Noise', now up the ninth volume, is
certainly not a masterpiece either. Noise. Noise. So i've been
making these short tracks for soon a year and have recorded already
up to volume 20. And oh I did ever tell you in all those eleven
volumes that the covers are always pastiches of well-known rock
records? Perhaps I should mention that too?
Address: http://www.jliat.com
PARMA DAY - NUSSBAUMS HEAND (2CDR/1DVDR
by Tosom)
JORIS J - OCHRANA BIRTH (3"CDR by Tosom)
The two CDR and one DVDR set by Tosom proofs some difficulty for
me. It's based on stories by one VernomLLP, music by Parma Day
and video by Mädchen June. To start with the latter: the
video 'Nussbaums Hand' contains three films, or perhaps one film
in three parts - it's not entirely clear. Presented are images
from cities, desolate areas contained therein, which are cut with
what seems to me imaginary of older films, to suggest some intriguing
story about misery or failure. Its again not very clear how the
story/stories work, but they leave something to suggest which
is nice. Although tension is suggested it is not always really
present, I thought, but the music, provided by Parma Day works
well. Cold, isolated electronic music, with the same feeling of
isolation. Parma Day is also responsible for the music on the
two CDRs that are part of the package, which only very partially
overlap the music for the films. Parma Day take their inspiration
from bleak industrial landscapes, translate them through a bunch
of electronics and sound effects to create an eerie effect. Sometimes
vast and loud, sometimes like crawling insects and sometimes like
corrupt computer data. Maybe the full package is a bit too much
of semi-depressed music to swallow all at once (certainly the
best musical bits could have fitted on one CDR), but throughout
it's a nice darkened affair.
Tosom also brings us one Joris J from Berlin. So far he has released
privately a CDR, a split release with N.Strahl.N. and now 'Ochrana
Birth'. His music is a mixture of various positions in the world
of experimental music. Partly he takes his inspiration from musique
concrete, party microsound and partly noise, which three way division
is clearly shown in the three tracks on this release. The first
is centered around the treatment of guitar sounds; a treatment
mostly done inside the computer and works in a linear fashion.
The second piece 'Versorgungsbehörden Meldet Kriegsgewinnler'
is a micro-drone piece of shifting layers of sounds, whilst the
final piece Joris J (an alias fro Martin Schilling) moves into
the Merzbow land of noise. It's the weakest piece of the three.
The other two are quite nice and in my humble opinion should be
roads to explore. (FdW)
Address: http://www.tosom.de
SEBASTIAN ROUX - URBAN FIELD MUZICK (3"CDR
by Field Muzick)
BIDIBOP - URBAN FIELD MUZICK (3"CDR by Field Muzick)
The name Urban Field Muzick doesn't leave much to guess, I thought
when listening to the first of these two. Sebastian Roux is someone
whom we known for his releases on 12K and Carpark and is someone
who uses field recordings a lot, but usually highly micro processed.
Here he presents them in a clean, direct way. One piece that is
originally a sound installation and all the sounds were recorded
during Roux's holidays in the last three years. It's a bit like
watching someone's holiday snaps: you get an idea, never the real
picture. Roux collages his sounds together (recordings from Bandol,
Bruxelles, London, Luxembourg, Lyon, Nice, Samoens and the mountains
(oops, non urban) around Santarcangelo, Vevey and a train), but
it hardly makes any sense to the outsider. Not really a big problem,
as he creates a nice piece with all his sounds, which is best
enjoyed through headphones. Nice, but not spectacular.
I never heard of Bidipop, which is one Vincent Nicolas, who was
part of Un Automne A Lob-Nor, a post rock band. When the band
split up he started solo as Bidipop. His field recordings are
definitely urban: recorded in Manhattan. He recorded human activity
that included music. It's a bit hard to tell wether the music
is played in those places by Nicolas himself, but for some reason
I think it is. Or perhaps he added a bit of sound afterwards.
In either case, he plays three pieces of music, which are more
compositions by themselves than Roux's work. I for myself like
this more than Roux, simply because it seems to have more effort
put it. Perhaps a bit long these pieces, but certainly quite enjoyable.
'Ace Train Songs' even has a nice hook to it! (FdW)
Address: http://www.fieldmuzick.net
GAS - GAS 0095 (MP3-album by Microscopics)
Anyone interested in drone-based ambient should check out the
music channel "Drone zone", which is part of SOMA radio
station transmitting from San Francisco. It was in "Drone
zone" I was introduced to this British project called Gas.
I was so amazed by the particular track titled "Microscopics"
played in the "Drone Zone"-channel that I just had hear
some more from this "Gas"-project. The result was the
reception of present mp3-album titled Gas 0095 (a.k.a. "High
Skies"). Mat Jarvis (alias Gas) has already had quite a few
releases on the highly respected Em:t Records label. The "Gas
0095"-album was originally released on Em:t Records back
in 1995 in a CD-edition. The album was never advertised and quickly
sold on word of mouth alone. The album was encoded in 3D by the
huge and hugely expensive Roland Sound Space RSS 3D sound imaging
system. Now it has been re-issued in a superb sound quality by
Mat Jarvis's own online-exclusive label Microscopics. And the
album certainly deserves a royal treatment! There was a time where
you had to find the real pearls in the shelves of the records
stores and where the Internet was first of all the place where
upcoming artists could promote their music with the hope of getting
signed at a label for a "proper" CD-release. These days
seems to end these years. Now the real music treasure might only
be released online via Internet. The excellent re-issue of "Gas
0095" is a very good example on that development. I regard
"Gas 0095" as a landmark within the ambient-based IDM-scene
up there with the heavyweights of the UK-born ambient/IDM-scene
alongside benchmarks from the Warp Records label. Especially the
two lengthy tracks "Microscopic" and "Tellurium"
are stunning works of art. The expression on these two pieces
has common grounds with some of the famous artists of the British
ambient/IDM-scene, even though Gas creates its very own sound
worlds. Take the earliest days of Warp Records, circa the period
of Black Dog and legendary Warp compilation-series "Artificial
Intelligence" (I + II) and stir it up with atmospheric wanderings
that suggest virtual galactic discovery similar to Global Comminations
and more rhythm-structured chillout moments from Future Sound
Of London's "Lifeforms". The result is excellent. For
people interested in conceptual sound art, a very interesting
fact about the album is the track titled "Timestretch".
"Timestretch" is a four-minute track, which has been
compressed into one second of audio. For anyone interested in
electronic space music "Gas 0095" is an absolutely amazing
release created back in the heydays of British Ambient/IDM-scene
and now re-issued into a true sonic beauty. Essential! (NM)
Address: http://www.microscopics.co.uk
BAZTERRAK & VALVERDE & XEDH - SUBGRAVITY
RADIO HANGOVER (MP3 by Mastertoaster Recordings)
IZARZUGAZA & TUSURI & XEDH - BARNE HOTSA (MP3 by Idiosyncratics
Records)
BAZTERRAK & VALVERDE & XEDH & IZARZUGAZA - FREMDSPRACHEN
(MP3 by Clinical Archives)
The world of MP3 is a good way of getting to known new music,
but also a way of getting rid of your live recordings. Xedh has
had a couple of MP3 releases by just himself, but in recent times
his MP3 releases are all sorts of live recordings he made with
fellow Basque musicians in a rather improvising manner. The first
has Xedh together with Bazterrak (a.k.a. Enrike Hurtado on laptop
and self-made software) and Carlos Valverde on guitar in a rather
crude piece of silence meeting noise. Crackles, un-grounded electricity,
hints towards rhythm (techno even), but it never gets off the
ground, beyond the idea.
The second one with Tüsüri (laptop) and Edorta Izarzugaza
on guitar sounds much more interesting. A carefully built up piece
of electronics, static noise, slowly going in a crescendo mode
which collapses when things get loud (very short) and then it
takes gear back until the end. A very nice piece.
Xedh teams up with Bazterrak, Izarzugaza and Valverde on the third
release (all three on different MP3 outlets) and some switch has
been made in instruments: now its mixer, effects, electronics,
laptop, self-made software, analogue devices, feedback, synthesizers
and loops. That may seem like a lot of toys to generate noise,
but this quartet keeps things under control for quite some time,
but you feel noise lurking around the corner and it's kept like
that until the very end. Not a bad piece either. (FdW)
Address: http://mastertoastermusic.blogspot.com
Address: http://www.idiosyncratics.net/
Address: http://clinicalarchives.blogspot.com