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VITAL WEEKLY
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number 625
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week 18
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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
CHOP SHOP - OXIDE (CD by 23Five Incorporated)
*
GUY GELEM - WORKS (CD by Split Femur Recordings) *
THE HALFTERS - 60 JAHRE D-MARK (CD by Whatness) *
VINCENT BERGERON - PHILOSOPHIE FANTASMAGORIQUE (CD by Critiques
Disques)
COLORLIST - LISTS (CD by Off/Still)
MAJA S.K. RATKJE - RIVER MOUTH ECHOES (CD by Tzadik) *
SVARTBAG (CD by Rump Recordings) *
BRIAN LAVELLE - SUPERNATURALIST (CD by EE Tapes) *
TAPE - MILIEU (2LP by Minority Records)
RAYMOND DIJKSTRA - DE GEDACHTE (LP by Le Souffleur)
RAYMOND DIJKSTRA - DE GELOFTE (LP by Le Souffleur)
RP COLLIER - DECONSTRUCTION OF TWILIGHT (CDR, self-released) *
THEE VIRGINAL BRIDES RE/COLLECTION (CDr by walnut + locust)
QUIET AMERICAN - TURNS IN THE SOUTH (2CDR, private release) *
ELEKTRICITEIT = ONZE HOBBY - IK HOOR DE MUZIEK NIET (CDR by Heilskabaal
Records) *
LUPUS GOLEM - PERSUADED BY THE MAN WHO ATE THE PHOENIX (CDR by
Twilight Luggage) *
KALLSUP - ABOVE THE MOUNTAINS (MP3 by Twilight Luggage) *
TORSTEIN WJIIK - FOGGY FOREST (MP3 by Twilight Luggage)
UBEBOET - PRAETER (3"CDR by Con-V) *
M. SWIEZYNSKI - FILMS 2007 (DVD-R, private release)
ROBERTAS KUNDROTAS & GINTAS K - SEPTYNI TILTAI PASAULIO CENTRE
(MP3 by Zeromoon) *
CHOP SHOP - OXIDE (CD by 23Five Incorporated)
This filled me with much pleasure, as I never expected this. Towards
the end of the 80s and in the early 90s, when we were still firm
industrial music lovers, Chop Shop was one of our heroes. Not
because he was so incredible loud, but his loudspeaker installations
looked raw and sounded good. No, actually they sounded 'rusty',
as well as a rusty look. Through his speaker installations Chop
Shop, the one man band of Scott Konzelmann fed a blend of decayed
sounds, taken from all sorts of machinery, sonic residue taped
on cheap cassette tape or reel to reel tape machines. Much more
serious in his approach than the average noise maker, Konzelmann
was already more a visual artist than a musician. I have no idea
why he 'left' the scene, or why we didn't hear his name that much
in the last ten years, but it's good to hear 'Oxide'. Salvaged
from old, damaged tapes, which caused 'flaking, static, dropouts
and print through'. If you never saw or heard a cassette or a
reel tape - and in these digital days that is probably a lot of
people - it's hard to understand what static or dropouts are.
Listening to 'Oxide' is a like being transported back in time,
to the era of cassettes, hiss, when the music dropped a bit due
to an imperfection of the cassette tape. Konzelmann takes all
of these sounds, of pure hiss, of loud machine noise, of decay,
of erosion and creates his 'Oxide' piece with it. He deliberately
leaves in the 'unwanted' breaks, the mistakes and the faults,
but his piece is, at least for me who heard pretty much everything
of his 'old' music, a true delight. Great to see this on CD and
becoming more easy to access, but surely its time to out some
of the older releases and have a nostalgic evening of humming
noise. (FdW)
Address: http://www.23five.org
GUY GELEM - WORKS (CD by Split Femur Recordings)
This is the first release for Guy Gelem, who is a player of the
guitar and the cello, which he plays along with the ticking of
beats and perhaps a bit of synthesizers. I must admit I have rather
mixed feelings about this record. On one hand there is the all
too familiar beats from the world of IDM, think Expanding Records
and Highpoint Lowlife, and that is the downside of this album:
that is all very predictable. But there is also the side of the
instruments, the guitar and the cello. They have something interesting
to tell. Dramatic, melodic stuff, atmospheric and joyful. When
the beats are absent, such as in 'Birth' this leads to quite nice
music, but with the beats things are a tad too known ground for
me. It's pleasant music, well recorded, well played but not much
news under the sun. But it's the sun that shines so nice today
and sitting back, relaxing, this is entirely great music to have
on. (FdW)
Address: http://www.splitfemurrecordings.com
THE HALFTERS - 60 JAHRE D-MARK (CD by Whatness)
Ruediger-Christian (vocals, guitar), Moabit Klos (vocals, small
drum, cymbal) and Don Aqua (vocals, big drum) is the somewhat
unusual line up of The Halfters. I couldn't find much information
on them, and what I found sounded more like visual artists doing
music - not an uncommon thing for releases on Whatness. I must
say that 'outsider' seems right in place here. The Halfters can't
really play. Their acoustic guitar, drums and multitude of vocals
are used to play short, naive songs which sounds partly neue Deutsche
Welle like partly no wave inspired, but then all acoustic. Eighteen
songs in the time span of thirty-four minutes. It was all quite
nice, but I must admit that after twenty minutes I also got their
art-prank music point. Not bad, but perhaps a bit too willfully
ignorance around this one. Too thought out to be truly outside,
just a bit too clever. (FdW)
Address: http://www.whatness.de
VINCENT BERGERON - PHILOSOPHIE FANTASMAGORIQUE
(CD by Critiques Disques)
Listening to the first track 'Philosophie Fantasmagogique', which
has Bergeron singing solo without any instrumentation, I seriously
asked myself: would I halt if I met Bergeron singing on the street.
Asking is answering this question: No. I probably wouldn't. Bergeron
has a very characteristic voice, but this autodidact from Canada
is not a great singer. His singing is often more close to speaking
then anything else. But everything changes from the second piece
'Je m'imagninais...' In this and all the other songs that follow,
Bergeron supplies his vocals with a very bizarre and unheard 'background'
of electro-acoustic sounds and music. Background into brackets,
because he opens new dimensions with his curiously assembled music.
Brilliantly done. He uses many different soundsamples for this
music. Often you recognize concrete instruments, other elements
are from electronic origin or recordings treated beyond recognition.
I,m totally impressed by the carpet he weaves in with plunderphonic
approach. Very original collage work, producing in an highly imaginative
music that is totally fascinating. I would qualify his compositions
as songs in the end. And for some reason I associate them with
the world of opera and musical. The eccentric Bergeron creates
energetic and dramatic music and textures, little psycho-dramas.
He sings in french most of time, sometimes a mixture of french
and english. I couldn't make much of it, but the texts are an
important element for Bergeron: "Philosophie Fantasmagorique
was composed with an imaginary movie in mind. It includes a 47
pages movie script about an artist realizing is state of being
in a confusing world. All the lyrics were inspired by the movie
script story, but don't always directly relate to it. The sentences
wrote themselves in an hybrid form of English and French. I got
used to this new musicality. This language approach is not a political
statement - but it is if you want it that way. This project is
only something that I hope suggests new ways to explore and a
relief for someone who don't feel understood in this world (that's
why I love songs so much)." Although exploding with ideas
and fantasy, in another way his compositions work a bit one-dimensional
in the end and it becomes a bit of just pushing buttons. But it
is impossible not to be impressed by this often hilarious music,
that is compelling and very listenable. Bergeron is a true original
talent, of a kind that is seldomly met. Watch this guy! (DM)
Address: http://www.critiquesdisques.com
COLORLIST - LISTS (CD by Off/Still)
This one whirls very pleasantly into your room. A true surprise.
We are talking here of a quartet from Chicago who surface with
a very nice CD. The nucleus of this group is made up by Charles
Rumback (drums, marimba, guitars) and Charles Gorzcynski (saxophones,
harmonium, synth) accompanied by Brian Bullard and Matthew Gagnon,
and several other guests playing cellos, guitars, bass clarinet,
etc. For me, with a background in a Canterbury music, this music
clearly relates to the world of Hugh Hopper, Robert Wyatt, Terry
Riley, etc. In a postrock way they explore in their sonic excursions
a music that shows many faces: ambient , jazz, rock. The music
is carefully put together. Most tracks move on in a slow pace,
paying attention to atmosphere and mood. This is very intuitive
and meditative music. Modest but very self-consciouss and effective.
The pieces have well-balanced arrangements and they are beautifully
colored. Nicely textured. Electronics and the other instruments
are interwoven organically. This album grows after each listening.
Very well done. (DM)
Address: http://www.still.org/
MAJA S.K. RATKJE - RIVER MOUTH ECHOES (CD
by Tzadik)
Surprises are always more than welcome. Maja Ratkje on Tzadik?
Yes, that is a surprise. But Ratkje offering a score to 'real'
musicians, who play violins, accordion, alto saxophone and double
bass? That is a real surprise. But you start with 'Ox', which
is a pretty noise related piece. More surprises and confusion.
In that piece Ratkje processes the alto-saxophone playing, along
with what seems to be sine waves. The ensembles comes in action
'River Mouth Echoes', the title piece and 'Waves 11B' which is
an orchestral piece. I must admit that I am no lover of semi-serious
(well, real serious of course) modern classical music, as it works
on my nerves too much. It's surely interesting to hear, because
it is written by someone whom we know from a totally different
line of work, but in it self these two pieces didn't do much for
me. It would have been interesting to see a total translation
of Ratkje's noise work for these instruments. The remaining four
pieces, 'Ox' included display this better. Here the combination
of 'real' instruments with the electronic processing of Ratkje
delivers some intense music - even when things are 'soft' such
as in 'Sinus Seduction (Moods Two)', the oldest of the pieces
in this collection and with 'Ox' and the dreamy, poetic 'Wintergarden'
the best from this collection. (FdW)
Address: http://www.tzadik.com
SVARTBAG (CD by Rump Recordings)
Although Svartbag was mentioned once in Vital Weekly, in 2003,
it was in a concert announcement, but this trio exists longer,
since 1996. Yet this is the first release on CD. Svartbag hail
from Denmark and play guitars and drums. Loud guitars and drums
that is. Minimal too. The five pieces all dwell around the idea
of 'minimal' and 'drone' - welcome to spacerock land. The guitars
are fed through looping devices, which allows the band to built
and built their tracks until the reach a jubilee climax, in which
it stays and plays around. It's Velvet Underground (less vocals)
meets LaMonte Young meets krautrock meet E.A.R. - forty years
of drone rock minimalism comes by on this disc, and as such nothing
new but hey, what the hell? This is great, ecstatic music, reminding
me of the good ol Vocokesh and F/i. Pounding drums, heavy guitars
that keep ringing in your ears, all placed around with great care
and style, making a fine album. Perhaps an odd ball for Vital
Weekly, but that might be what attracts me to this heavy lot.
Great late night hazy listening music. (FdW)
Address: http://www.rump.nu
BRIAN LAVELLE - SUPERNATURALIST (CD by EE
Tapes)
There was a time when Brian Lavelle was more active than he is
these days. In fact I can't remember putting on a CD by him in
quite some time. Perhaps it's wrong, but I always lumped Lavelle
in with "one of the laptop guys", but listening to 'Supernatural'
I think this might not be the right approach. Lavelle uses electronics,
field recordings, synthesizer, piano and bass guitar for four
lengthy cuts of ambient music. Surely there is some sort of sound
processing going which one could classify as 'laptop' inspired,
but that is only really a small part of Lavelle's music. Take
one of the longest pieces here, 'Citadel', which has a firm cemented
foundation of drone synthesizers and (perhaps processed) piano
arpeggio on top. Field recordings - wind perhaps - take care of
the rest. Much more ambient than glitchy microsound. On 'The Bright
Day Is Done' bird twitter take care of that. Lavelle cleverly
avoids the path in the forest that says 'new age' and follows
the path that says 'dark ambient' - it also a path that can be
easily found in the forest of all mood music, but it's dimly light
course is one that we follow much more readily that than the lighter
and brighter (and duller) new age one. Slow music, out of time,
beyond space, simply floating weightless around. Great, maybe
not so surprising, ambient music. Perfect rainy day music; start
at twilight preferably. (FdW)
Address: http://www.eetapes.be
TAPE - MILIEU (2LP by Minority Records)
Let me state that I am not a purist when it comes to the format.
I like vinyl, I like CDs, and, for popmusic only, MP3s, so as
far as that I am happy with 'Milieu' by Tape on CD, as reviewed
back in Vital Weekly 399: "The first CD by Tape was reviewed
in Vital Weekly 350 and that CD was received well (even when I
didn't write that review). Tape is a trio of the brother Berthling
(Johan and Andreas) and Tomas Hallonsten. They play a wide variety
of instruments from banjo to computer to harmonium to piano to
field recordings. Slow and peaceful melodies played on acoustic
guitar and steel guitar, while the recordings of domestic sounds
hoover somewhere in the back. They list a number of influences,
but of all those, I see Gastr Del Sol fit best, alongside with
Jim O'Rourke's solo work. Eight sketch like pieces of music, intimate
yet powerful. Such diverse elements and yet such a coherent CD.
Maybe what Tape does is not new (see Gastr Del Sol, even when
Tape is full on acoustic), but it's of great beauty. It combines
experiment and song structures, it combines structured composition
and improvisation. Less is more is the adagio of this CD. And
of course on Hapna, one of the very few labels that is still worth
collecting." It's still a review to stand by. In the meantime
Tape produced more music, had a remix CD, and toured quite extensively,
always displaying their qualities in a soft, pop tone with enough
experimental edges. On this 2LP you'll find the original 'Milieu'
album plus four tracks that were produced around the same time,
but were not released on tape. The addition of some vinyl crackles
make this altogether even more charming I think - this album is
pressed on yellow vinyl, which looks great, but may not sound
as the best around. It's a most welcome re-issue, which looks
great as a record of course, but it's the timeless music that
really makes the difference. (FdW)
Address: http://www.minorityrecords.com
RAYMOND DIJKSTRA - DE GEDACHTE (LP by Le
Souffleur)
RAYMOND DIJKSTRA - DE GELOFTE (LP by Le Souffleur)
Of course I don't like using swear words, but I do use them, usually
English ones. 'Fucking Hell' is what escaped my mouth when I opened
the latest box by Le Souffleur, the label that almost entirely
releases the music of its owner Raymond Dijkstra. Two identical
carton boxes (which were, oddly enough, called 'cassettes' in
the days of classical music) of which the top lid has red velvet
with gold print. Inside a thin piece of paper with the same information
and design. One record is called 'De Gedachte' ('the thought')
and one is 'De Gelofte' ('the vow'). That's about as far as details
go these two records. Like with his previous works, there is a
strong similarity between these two new records, and with the
previous releases, but there is an important difference too. Dijkstra
moves glass over glass, while a sort of harmonium plays sparse
notes. That is the same as before, but the harmonium playing seems
to be lesser than on the previous records. It places an accent
and nothing much else. The glass-on-glass is also more sparse
and there is a total lack of sound effects - before it was an
old 'space echo' machine, here it's entirely gone. I must say
that these perhaps minor changes sound like 'nothing' to you,
but for me it marks some essential differences. This is almost
total acoustic music, of carefully scraping, scratching and touching
of surfaces. Like before there are great similarities between
the two records now available, but I don't think, in an Organum
twist or turn, Dijkstra is playing the same piece twice, like
a strict repeat. More over, I think he actually does play the
same piece twice, but that he executes the two pieces in slightly
different ways - just as a classical piece of music is never the
same thing twice. Panta Rhei is what moves Dijkstra - everything
flows. His music is like a river. It seems the same, but it never
really is. Another two, great pieces of vinyl, and a very consistent
oeuvre is built here. (FdW)
Address: http://www.le-souffleur.nl
RP COLLIER - DECONSTRUCTION OF TWILIGHT
(CDR, self-released)
A pretty big gap between the previous 'Map Of The Sky' (see Vital
Weekly 495) and this new one 'Deconstruction Of Twilight'. On
the first one he played guitars, thumb piano's and toy synthesizers,
here it's entirely reduced to 'ambient guitar' playing. Collier
plays notes, quiet and peaceful, mostly one by one. Much of what
I said before, counts here as well. Not very unique, and creating
music for the sake of creating music that he probably likes to
hear. I stuck this one, and even played it on repeat. It was nice,
not great, but it provided a good background for whatever I was
doing around the house. No great listening concentration was required.
and this is indeed quite alright ambient music: aural wallpaper.
(FdW)
Address: http://www.cdbaby.com/rpcollier2
THEE VIRGINAL BRIDES RE/COLLECTION (CDr
by walnut + locust)
Back in the 70s the Glide of the Mini Moog gave a characteristic
sound which now dates it to a distinct period of time. Rec/collection
does much the same, though the period is difficult to pin down
it's certainly set towards the end of the last century at times
industrial, yet at others more structure rhythmically and compositionally.
The usual drone/noise with spoken texts of some kind of religious
incident and O.T. readings. T.V.B. "started in May 2006.
A new experiment in droning electronics - the brainchild of AlBéRiCk,
Andy and Oren" but nothing new - only nostalgia. So lets
propose a watershed, a revolution, something new to make noise
about - for industrial is dead! I visited my home town of Birmingham
last weekend which at one time like many cities in northern Europe
had its share of old disused factories- but they are gone - replaced
with apartment developments, wine bars and bistros, secure gated
car parking and video entry phones, along what was once the old
disused canals young professionals sit in cafés drinking
Belgian beer or latte, or jog along the towpath- the old post
sorting office is a shopping arcade - Hugo Boss and Harvey Nics..
so perhaps industrial music like its landscapes is a thing of
a nostalgic past? (jliat)
Address www.myspace.com/theevirginalbrides
QUIET AMERICAN - TURNS IN THE SOUTH (2CDR,
private release)
Under the guise of Quiet American, Aaron Ximm releases music that
is largely built from field recordings, with just a little bit
of sound processing or the addition of other sounds. His field
recordings are made during trips he makes into Asia, an area of
the world I haven't seen or heard myself. Ximm's music are like
'soundwalks', in which he walks through a city and tapes whatever
he hears. Some pieces are looped such as the call and response
in 'Prelude: Tamil Nadu'. It's a very hypnotic piece of music,
trance like, but subtly changing all the time. The call and response
go on for some time, cars pass, people talk, more cars pass along
and then we arrive in the middle of the city with some pop music,
which takes us into the next piece 'Madurai Mani Fold', which
is the only 'electronic' piece on this four track, double CDR
(which spans 150 minutes!). The short sounds are on repeat mode
and drift in and out of the mix, changing microscopically, and
sounds like an electronic Steve Reich piece. 'Four Organs' but
then on acid. That would have been enough for me, but there is
two discs in the box, and the second takes the sound walk again,
with some voices that call for prayer (it seems), along with some
very low end drone like sounds. Ximm follows here the same process
as on the first piece on the other disc, so it's a bit hard to
relate to that again. When I was playing this, sunday, it was
the first day when temperature in The Netherlands was over 20
degrees and it felt like a small holiday. Closing the eyes and
hearing these sounds, while mildly sweating doing nothing, give
me the impression of being in Asia. I swear I could almost smell
spices and nice food. As such Ximm succeeds well in telling us
a 'story' or rather making the impression through 'audio' of what
we could see. I think one disc is great, and two is a bit too
much however. (FdW)
Address: http://www.quietamerican.org
ELEKTRICITEIT = ONZE HOBBY - IK HOOR DE
MUZIEK NIET (CDR by Heilskabaal Records)
This is the follow-up to 'Diodeneiland', a 3" CDR released
by Audio Office Records (see Vital Weekly 617) of the collective
called Elektriciteit = Onze Hobby, who played together in concert
on february 8, 2008. Like before they handed the audio files to
Kasper van Hoek for mixing and editing of the material. More than
the previous, or so we are lead to believe, this is an album of
them playing together on their modified electronic toy instruments
with less extensive than before. And that is something that can
unfortunately be heard here. The pieces here are more of an improvised
nature, haphazard like played, all over the place. The third (untitled)
piece reminded me, mainly through the singing, of music by The
Hitmachine: the rhythmmachine ticking the beat, fucked up electronica
and speak singing in a silly, childish way. Listening to the lyrics,
this might be the title track of the release. I think I prefer
the more extensive editing and making this into a more coherent
musical enterprise than this rather free form play. The cover,
a booklet with drawings by all five members is however much nicer
than the previous. Time to find the balance between the two. (FdW)
Address: http://www.heilskabaal.net
LUPUS GOLEM - PERSUADED BY THE MAN WHO ATE
THE PHOENIX (CDR by Twilight Luggage)
KALLSUP - ABOVE THE MOUNTAINS (MP3 by Twilight Luggage)
TORSTEIN WJIIK - FOGGY FOREST (MP3 by Twilight Luggage)
On a new label two releases which involve Scandinavian musicians.
The first is a trio of Hans Kristian Senneseth, Bjorn Kare Berntsen
and Andreas Brandal, who go by the name of Lupus Golem. They play
drums, guitar, recorder, bass and A largely unadorned field recording
made while motoring on a slow-moving houseboat through the famous
backwaters of Kerala. One late afternoon we passed a succession
of speakers broadcasting prayers from a temple at a bend in the
canal... Children run along the bank to engage us; the crew passes
the time.
keyboards and the three tracks they recorded show them as a heavy
noise rock band. Feedback flies about while the drums are pounding
away like the step of some heavy Norwegian troll stamping on the
ground. Psychedelically inspired by heavy weight krautrockers,
they find as much inspiration in Sonic Youth or Glenn Branca.
After the forty minutes are over one feels only emptiness, while,
oddly enough also full of adrenaline.
As a MP3 comes the release by Kallsup, which is Oscar Jacobson,
who is also a member of Paragraphia and Royal Train, both of which
I never heard. Kallsup means 'mouthful of water' in Sweden and
Jacobson works with feedback. Although Kallsup likes to put up
a fair amount of noise, feeding feedback to the lions of distortion,
things work best when he manages to keep the volume a bit more
down for example in the closing 'Last Broadcast'. Kallsup doesn't
always work out his ideas, but rather goes for the full effect
of his noise: the right in your brain stabbing. But I think the
effect of the music can be much better if Kallsup would decide
to actually start composing with the sound, rather than just playing
it.
Also as a MP3 is the latest work by Torstein Wjiik, also known
as Kjetil Hanssen. So far much of his work dealt with true, loud
noise, but in 'Foggy Forest' he takes matters into a new territory,
and I must say I enjoyed this much more than much more than any
of his previous material. Using voice and electronics, Wjiik cooks
up a forty some minute work of slowly evolving dark rumble. Feeding
his voice, merely producing wind sounds it seems to me, through
what seems some simple audio processors and the end result is
a deep dark ambient piece with some of the more rougher edges
than is common in this area, mainly through some sparse outbursts
in the noise end of it. Perhaps a bit too long, as I can imagine
this trimmed down to a nice 3"CDR. Way to go, Torstein! (FdW)
Address: http://www.twilightluggage.com
UBEBOET - PRAETER (3"CDR by Con-V)
Apart from running the Con-V label Miguel A. Tolosa is also active
as a musician under the guise of Ubeboet. His releases so far
has been on CDR and MP3 formats and he has worked with people
like Pablo Reche and Asher. That might already give you some clue
in which direction this goes. The two pieces here deal with field
recordings made in various places in Spain and opens with a voice
singing in what appears to be a church. The following drones might
be taken from a church organ. Both pieces have this angelic feeling
to it. Ubeboet's music was previously a bit more roughly shaped
than the regular drone posse, but here he finds himself along
the lines of say Paul Bradley or Jonathan Coleclough and I must
say that, while I don't think it's all very 'new', this direction
suits him better. Dark ambient drone music, made through digital
sound manipulation - but Ubeboet does a very fine job. Can't understand
why he should only want to make twenty-five copies of this release,
as it seems to me that more people should be hearing this. (FdW)
Address: http://www.con-v.org
M. SWIEZYNSKI - FILMS 2007 (DVD-R, private
release)
It is of course highly flattering that people think that when
we write about music all week, we also might have an opinion on
video art or literature. Can't speak for the others on board,
but I am no such homo universalis. I like to think I know a bit
about music, but that's about it. So what can I do with the DVD-R
of M. Swiezyniski, which contains eight films? I can view them,
think about them, even tell you wether I liked them or not, but
I can't say much of how it was made or in what sort of tradition
it stands in the world of film, abstract or not. His films are
slow, minimal pictures. Sometimes it looks like a picture such
as 'This Invisible Art Of Memory - Magic Hour Number 1', with
a dark drone like piece of music as it's soundtrack. I think,
it seems, that Swiezynski holds his camera onto a surface, say
a river stream, and films the automated movements of water passing
and then through computer technology changes the color or the
speed to make things partly more abstract and partly still recognizable
what it is. Dreamlike sequences, but which are very dark. Black,
grey, and white are the colors for most of the films. The best
one I thought was 'Mysterious And Invisible', with shot of a forest
at dawn with occasional lights and the in the second part water
that moves like sun light. Music for this film is by Asher. So
I quite enjoyed the images on this disc, but I couldn't possibly
say if they are original or new, or from which tradition they
stem from. All I can say is that I enjoyed them. (FdW)
Address: http://theartofmemory.blogspot.com
ROBERTAS KUNDROTAS & GINTAS K - SEPTYNI
TILTAI PASAULIO CENTRE (MP3 by Zeromoon)
The title translates as 'Seven Bridges In The Centre Of The World'
and brings together Lithuania's most active force of laptop glitch,
Gintas K, together with Robertos Kundrotas, who can be held responsible
for bringing new music (as in Vital's world) to the same country,
since a long time, when he started to publish 'Tango' (in 1990).
In October 2007 the two of them performed at an audiovisual poetry
festival 'Tarp: Vasaros 5' in Vilnius. It's a bit hard to say
what the texts are about. They are not easy to understand, even
if I would speak Lithuanian. The voice is pushed to the back and
Gintas waves over it a network of sounds - starting rhythmically
but slowly more and more heavy sounds drop in, like washes from
the sea until the voice has entirely disappeared. Towards the
end it returns and things seem to come to a natural conclusion.
Quite a heavy piece, which is unmistakably a live recording which
could have perhaps trimmed down a bit more, but nevertheless is
a well rounded piece. (FdW)
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