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VITAL WEEKLY
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number 630
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week 23
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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
ATHANA REMIXED 0508 (CD compilation by West
Audio Productions)
ALEXEI BORISOV - MULTIVIZA (CD by Laton) *
PARKING NON-STOP - SPECIES CORRIDOR (CD by Klangbad) *
MALUCO - RIGHT TIME (CD by Karaoke Kalk) *
CARL MICHEAL VON HAUSWOLFF - PERHAPS I ARRIVE (2CD by Auf Abwegen)
A SLOW RIP - FOR THE TIME BEING (2CD by Endgame) *
BARTEK KUJAWSKI - MURLULL MOVIES (CD by Warsztat8r)
ISRAEL MARTINEZ - EXORCIZIOS (CD by Abolipop Records)
ASS - MY GET UP AND GO JUST GOT UP AND WENT (LP by Static Caravan)
SCOTT ARFORD - ZOMBIE DUB (CDR by Resipiscent Records) *
TARANTISM - STUCK TO THE BOTTOM (CDR by Resipscent Records)
DAVID PAPAPOSTOLOU & DANIEL JONES - LEAVING ROOM (CDR by Adjacent
Recordings) *
FIVE ELEMENTS MUSIC - NEXUS (CDR by Still Sleep) *
MARCO OPPEDISANO & DAVID LEE MYERS - TESLA AT CONEY ISLAND
(CDR by OKS Recordings) *
GRANT BERAN - THE ANOTHER ONES (CDR by Postmoderncore) *
UNKNOWN ROCKSTAR - PICTURES OF POODLES (CDR by Postmoderncore)
CRISTOPHER CICHOCKI - ELEMENTAL SHIFT (DVD-R by Table Of Contents)
INDUCTIE (CDR compilation by Sqrt Label)
JOHN CLAIR & JED SHAHAR - TENNIS (CDR by Fenimore Records)
*
SAMPLE SCIENCE - PLASTIK DISC (CDR by Brown Coffee Recordings)
PACIFIC 231 - STIF(F)LE (CDR by Monochrome Vision) *
PUIN + HOOP - TIRTEKL (CDR by TBFKAGNK Records)
OLEKRANON - COHESION (CDR by Inam Records)
VOLONTE (CDR by Taumaturgia) *
RAFAEL MALLO - VRIBACION (CDR by Taumaturgia)
GISH - MAKING CLOCKS (CDR by Dirty Demos) *
MICHEALTHOMASJACKSON - LITTLE VILLAGE SUITE (3"CDR by Dirty
Demos)
THE FOUR FISHERMAN - FALLEN OAK (3"CDR by Dirty Demos)
DCS - SLOWFADE (MP3 by Larraskito)
EDORTA IZARZUGAZA - PASITAN NUE (MP3 by Larraskito)
LOOPOOL - DUNES SOON (MP3 by Larraskito)
ATHANA REMIXED 0508 (CD compilation by West
Audio Productions)
Sometimes I just fail to understand things, simply because an
incomplete picture is offered. I never heard the music of Athana,
also known as Alf Terja Hana, so how I am to judge a remix album
of his music? Other than perhaps just another compilation? Because
that's what it is now, an album of electronic music, with remixes
mostly by people I never heard of. The only two names I recognized
were Pal Asle Pettersen and HOH, the latter being the initiator
of this album. It's an album that fits the nice warm weather of
today. Techno, sweaty music, laidback tunes, dubby rhythms, acid,
funk, breakcore and even some more experimental moments that don't
seem out of place in this lot. Just like last week's Seed Records
compilation, this is an album of music that is best enjoyed while
doing other things, like eating or reading. A radio if you will.
Included are Sternklang, Ost & Kjex, Mungolian Jet Set, Uko,
HOH, Nes, Cüret, Vasøk, Qrt, DJ Woo, Lingouf, Ars
Dada and Pal Asle Pettersen. (FdW)
Address: http://www.westaudio.no
ALEXEI BORISOV - MULTIVIZA (CD by Laton)
Of all the people in Russia doing music, Alexei Borisov is perhaps
one of older statesmen, with a long standing career in all sorts
of music. I saw him last week in Moscow playing guitar in what
seemed to be Russia's answer to The Plastic Ono Band, but thank
god he does other music as well. Electronic music, played with
old soviet gear and laptop. 'Multiviza' is a collection of music
he recorded between 2003-2005 while being on the road. A road
that brought him to Strahlsund, Montreal, Chicago, Kiev, Warsaw,
Tomsk, Berlin, Tallinn and Barcelona - and if you are a bit well-informed
you can fill in the names of the various festivals were he played.
Borisov plays noise music, but something in which some more happens
than just a load of noise. Extreme filtering on the oscillators,
high pierced sounds, but also deep end bass sounds, radio waves
leak in and sometimes things form themselves into some sort of
beat - think Pan Sonic if you will, but less groovy. Sturdy experimental
noise music that works best if you play it really loud. Then it
works best and then one can capture the 'live' feel best. Noise
as it should be, I think. (FdW)
Address: http://www.laton.at
PARKING NON-STOP - SPECIES CORRIDOR (CD
by Klangbad)
If you read that all music was 'pervaded, shaped and inspired'
by field recordings and then you hear Parking Non-Stop, you might
be surprised - to say the least. Parking Non-stop, a band from
Wales, have travelled over the world, and made recordings, but
incorporate that in 'real' music - Zoe, Alan and Dewi use vocals,
bass, guitar, moog and organ - to mention a few. But especially
the vocals may seem a bit odd here, since they provide the 'real'
musical element - this is popmusic. But popmusic with an odd element,
like church bells, nautical winch, rhythms played by woodpeckers,
people talking and even a poem read in dutch! The field recordings
however have a supportive role, the music is always just a bit
louder than the field recordings, so perhaps its not that special,
just perhaps a 'funny' element thrown into the music. The good
thing is that all of these sounds are well documented in the booklet,
to the precise date and location, which makes this easy to follow
for the listener. The music itself is electronic, with bass and
and guitars as extra's and it's all intended as listening music.
Pleasant, story-like, this is a fine combination between regular
music and radioplay. Perfect sunday afternoon music. (FdW)
Address: http://www.klangbad.de
MALUCO - RIGHT TIME (CD by Karaoke Kalk)
Three people are behind Maluco: Max Loderbauer, Pier Buci and
Argenis Brito. They all live in Berlin and although I never heard
of them, their bio's look good. Brito is the singer of Senor Coconut
(ok that I know, but didn't recognize the name), plays minimal
techno house - which seems the common ground for all three players.
Brito sings here too and that adds a curious latin american style
to the music. Music which is not always sunny, like in the somewhat
dark piece 'Dreamer', but throughout a dub/reggae style is strongly
present in this lot. Laidback rhythms, with likewise laidback
guitars, singing and electronics. Warm and melodic. Sunny and
lazy. Summerlike music. Like Parking Non-stop, reviewed elsewhere,
good music for a sunday afternoon - a hot afternoon that is. Nice
one. (FdW)
Address: http://www.karaokekalk.de
CARL MICHEAL VON HAUSWOLFF - PERHAPS I ARRIVE
(2CD by Auf Abwegen)
Nothing is for a musician more annoying than a response like:
whatever you are doing, it sounds like a test tone, alarm signal,
hiss or worse: I think your equipment is broken. So when Carl
Micheal von Hauswolff was asked by the Istanbul Biennale to make
a site specific work at their airport, he was probably very annoyed
when they turned down his piece of low rumbling, because it could
have caused alarm. So instead he created something else, on a
Yamaha QY22, using preset sounds only - probably to annoy the
organizers. Now both versions are released as part of this double
CD - the rejected piece on one CD, and the accepted on the other.
The rejected piece is indeed a piece of low rumbling, a bit of
hiss sounds (long waves picked up from the ether I think) which
may not have worked at the airport - depends of course on how
things are presented - but for home listening I must say this
is quite nice. Perfect Hauswolff styled hiss music. And what a
difference indeed with the accepted version. Four pieces there
of lounge like music, but with a more forceful rhythm underneath,
so it wouldn't entirely work in lounge bar. But you can imagine
people at an airport, hastily walking along Hauswolff march like
beats and bittersweet keyboards with a vague trace of arab-like
sounds. This is a side that we haven't heard from him before,
and it's not something he should do a lot (or in fact never did
again, as far as I can recall), but it's surely a curious album.
(FdW)
Address: http://www.aufabwegen.com
A SLOW RIP - FOR THE TIME BEING (2CD by
Endgame)
There is a small picture of A Slow Rip on the press text along
with this double CD, which show the band as not exactly young
man, but their names are new to me: Phil Turnbull, Ian Miles and
Rob Laurie, who play music through means of improvisation on guitar,
percussion, vocals, wind instruments, analogue synths, bass and
virtual analogue synth. Everything is recorded live to the computer,
where the material is edited. Over the past few years they recorded
seven CDrs of which 'For The Time Being' is a best of. All three
players have an extensive background in Australia's music life
and play various instruments. That is something that can surely
be heard on this release. CD one is apparently more synthesizer
based and the tracks are pretty dark and moody, but the atmospherics
are kept alive through relatively short (between three and eight
minutes) pieces, which have enough to say and never fall short
in variation. Things drone and hum nicely away. The second disc
has more rhythmic interjections in the music, not really the techno
kind, but nice, gentle rhythms that guide a music that is a bit
more opened in its structure. This is the more musical side of
the band, and other instruments than the synthesizer play a role.
It shows indeed another side of the band, and usually I could
say that two CDs is too long but in this case it rather works
well. Not having heard the previous CDRs of which this is culled,
but I can easily imagine these two discs form the complete picture
of the band. Nice one. (FdW)
Address: http://www.endgame.com.au
BARTEK KUJAWSKI - MURLULL MOVIES (CD by
Warsztat8r)
Maybe the name Bartek Kujawski doesn't ring any bell at all, but
maybe you know him better as 8rolek, who released three albums
on Mik Musik. That project is currently on hold, but will return,
and for now we deal with the very first record under his own name.
The reason is that this is something different than 8rolek. Whereas
that project is held together by beat related music, this is entirely
gone, and replaced by loops of all sorts. Classical music, noise,
electronic music, everything seems to be thrown into a hardcore
blender which the computer can sometimes be. Kujawski treats the
material beyond recognition and makes at times chaotic sound collages
and at other times things are quite pleasant and relaxed - in
as far that was ever his intention. This is the more serious side
of him, and almost sounds like a real composer at work here. Things
work best in 'Onion Tears', the final piece of the CD and the
longest with some more sturdy composing at work. (FdW)
Address: http://www.warsztat8r.pl
ISRAEL MARTINEZ - EXORCIZIOS (CD by Abolipop
Records)
'The exercise of the internal demons', the possibility to expose
his obsessions through audio. 'Exorcizo', the title of Israel
Martinez' CD, is Spanish slang created with the works exorcism
and exercise. If one reads his biography, where he played concerts
and some of the prizes he won, you may expect some highly serious,
academic form of electro-acoustic music. But that's half the story,
I guess. Martinez adds humor to his music, as well as some force
to the sounds he uses. Take 'Ma Vida', which starts with the ignition
of a car, then a car ride and, how sad, a car crash, all spiced
up with car engine sounds. Now that is humor, and noise, I guess.
And the recurring theme of noise comes back in the other four
tracks too. As said Martinez likes a bit of noise in his music,
thus hiding his original sound sources, but he doesn't step into
the trap of pure distortion or being too academic in his processing,
but rather tells us a nice story of his own, as each of these
pieces is a narrative (without words) piece of music, like 'Epidermis',
using the sound of someone getting a tattoo, but changing into
a massive, machine like piece. This is the noise that I like:
thoughtful, loud and simply good. (FdW)
Address: http://www.abolipop.com
ASS - MY GET UP AND GO JUST GOT UP AND WENT
(LP by Static Caravan)
Following his CD release on Headspin Recordings and a 7"
for Static Caravan, here follows a LP by Ass, also known as Andreas
Söderström. Again he plays guitar, lots of guitar in
fact, organ, a bit of drums, horns, accordion and even a bit of
singing, This is not the usual Vital Weekly cup of tea, but despite
that, it's a great record. Think Tape, but less in digital folk
manner, the finger picking technique of Ass is more traditional
but of incredible beauty. Outside the sun is shining and it's
nicely hot, and this music is the perfect soundtrack. One could
imagine to be in some southern US state, sitting on a porch and
hearing this music. Dark at times, sweet at other times. Most
instrumental, but his voice matches the music perfectly. Like
said, hardly music that belongs the daily digest of a reviewer
for these pages, but perhaps just because of that, this is a very
fine record. What else can I do than play the previous record
again, and if time allows, listen to some John Fahey also? The
afternoon will be filled with acoustic guitars and finger picking
techniques. A pity I don't have a porch to sit on, but the balcony
will do as fine. (FdW)
Address: http://www.staticcaravan.org
SCOTT ARFORD - ZOMBIE DUB (CDR by Resipiscent
Records)
TARANTISM - STUCK TO THE BOTTOM (CDR by Resipscent Records)
Pleasantly surprised: that's what I was after hearing 'Zombie
Dub' by Scott Arford. It had been a while since I last heard some
of his music. For one reason or the other I assumed it was more
noise oriented than what I just encountered on 'Zombie Dub', which
is presented as a 'film in 9 songs', and the press blurb describes
each of the nine songs. Let's say it's about decay, zombies, rotting
and other mean things. Arford doesn't play dub music, at least
not in the classical sense of the word. His sound is highly digital,
and at times rhythmic, also very digital. The rhythm drives on
- and that might be the dub aspect of this music - while distorted
sounds fly over. Somehow, somewhere, this all sounds very much
like Ableton Live to me. Not if that is really important. The
music is still loud and forceful, deep and aggressive. An updated
industrial sound for this millennium. Quite nice.
Tarantism is a new name for me and it's a duo of Angie Edwards
and Tyler Harwood, who have their own label Bent Over Cowboy Records.
They have a bunch of handmade modular synthesizers, electroacoustic
modulators and regular instruments and play throughout a noisy
bunch of sounds. Music in a heavy form, with some more softer
spots here and there. I had the impression that the material on
their release was generated through improvisation, which of course
is no problem, but some editing could have saved it. Now I found
some of the tracks, especially the louder ones, too long for what
they had to offer. I don't understand why this had to be this
long. (FdW)
Address: http://www.resipiscent.com
DAVID PAPAPOSTOLOU & DANIEL JONES -
LEAVING ROOM (CDR by Adjacent Recordings)
The name David Papapostolou popped up once in Vital Weekly, in
issue 555 with his self-released 'One Two' release, in which he
played acoustic guitar, cello and soprano saxophone, but on his
recent live recording with one Daniel Jones (turntables, dulcimer
and acoustic guitar) he plays mixing desk feedback and computer
with pickup. The recording is divided in six pieces, although
it's one piece of sheer softness. The two play around with the
notion of silence and sound, the presence of sound and the lack
thereof, even when most of the time there is in fact something
to hear. Carefully they explore their sound sources and know how
to create an interesting, intense piece of music, moving the listener
through various states of mind. Music that requires intense listening
otherwise things will not make much sense. Close your windows,
turn up the volume and listen. Improvised music of the next level.
(FdW)
Address: http://adjacent-recordings.blogspot.com
FIVE ELEMENTS MUSIC - NEXUS (CDR by Still
Sleep)
I was already introduced to the music of Sergey, the man behind
Five Elements Music through his release on Mystery Sea (see Vital
Weekly 588) but now that I can point a face to the name, after
seeing two very nice concerts by him and Kryptogen Rundfunk, it
means something more to me. So these things go, I guess. Sergey
uses many, many field recordings all five elements (ether, air,
fire, water and earth) in his music, which he builds as a long
collage. Two untitled pieces on this release which displays his
working method quite well. All of the natural sounds he recorded
are fed through a bunch of sound effects, but he manages to keep
things under control. The music moves through various parts (paths?)
inside each track but there is a homogeneity in the music that
makes this dark drone thing work remarkable well. His processing
doesn't sound like a computerized one, but analogue, making things
a bit rougher than the usual microsound artist, but therein lies
the power of Five Elements Music. Fans of Mirror should pay attention
to this new name! (FdW)
Address: http://www.myspace.com/fiveelementsmusic
MARCO OPPEDISANO & DAVID LEE MYERS -
TESLA AT CONEY ISLAND (CDR by OKS Recordings)
First I listened to 'Electroacoustic Compositions For Electric
Guitar', a CDR release from July 2007 by one Marco Oppedisano,
which he also sent but which I won't review (too old), but to
get an impression what his music sounds like when not collaborating
with David Lee Myers. I must say it leaves a good impression.
He sounds like a skilled guitar player who is prepared to take
risks and he has a sense of adventure. It could be a good combination
with David Lee Myers, whom we of course know as Arcane Device,
but after dropping that name and working more and more with others
(Tod Dockstader, Asmus Tietchens, Ellen Band, Vidna Obmana and
Thomas Dimuzio) under his own name. Myers plays feedback circuitry
and computer distortions, while Oppedisano handles the electric
guitar. I must be honest: I am a bit disappointed. This sounds
like two ends that are willing to meet, but don't know how. Oppedisano
lets his guitar wail like in true prog rock style, which is the
element that puts me here, while Myers perhaps waves together
an interesting pattern on his feedback. Occasionally there is
also the addition of rhythm, which acts as glue to hold everything
together, but also an excuse to go wild on all the sounds. How
hard I tried, and how much I love Myers' music, I never got into
this. (FdW)
Address: http://www.oksrecordingsofnorthamerica.com
GRANT BERAN - THE ANOTHER ONES (CDR by Postmoderncore)
UNKNOWN ROCKSTAR - PICTURES OF POODLES (CDR by Postmoderncore)
On New Zealand's Postmoderncore two new names for me. Grant Beran
uses an old record player, second hand microphones, discarded
tape recorders and 'various bits of wire'. 'The Another Ones'
is his first album and turntables are at the centre. Not every
moment is great around here, but throughout its a fine album.
Beran creates loops of rhythm, and to which he adds all sorts
of sounds ripped from records. Despite his love for lo-fi gear,
this doesn't very lo-fi to me. Beran's music is quite present.
It seems as if he takes his ideas from trip hop turntablists,
putting old sounds into new contexts, but he does that in a much
more crude manner than the polished trip hoppers. Nice, a bit
long for the amount of ideas.
Labelowner Sam Stephens works as Unknown Rockstar. He has had
more releases which I didn't hear, but apparently this is a continuation
of earlier work, exploring drone music through the use of guitars,
keyboard and electronics. Three long pieces of New Zealand's finest
lo-fi trademark sound. Once sound is set in motion, things stay
there and develop in a very slow manner. Music for a state of
mind in which things alter through the use chemicals. The soundtrack
for a good (and plenty) amount of beer or joint. Not that there
is any around, just coffee and nicotine, but you catch my drift.
Also perhaps a bit long, but let me check later when that state
of mind is reached. (FdW)
Address: http://postmoderncore.com
CRISTOPHER CICHOCKI - ELEMENTAL SHIFT (DVD-R
by Table Of Contents)
People are easy to think we at Vital Weekly know everything or
have an opinion on anything. That is not true, in case you were
wondering such a thing. Please do not send us literature, books,
poetry, or in fact video. We simply don't have the knowledge to
qualify these things. The DVD-R by Cristopher Cichocki comes with
a warning that it should not be watched by epileptics is a good
warning. He likes flickering images and loud noise. Images and
sound worked perfectly hand in hand here. At one hour quite an
endurance test, all these flickering images of telegraph poles,
lamps, pavements, water and what have you (what did I miss?),
with loud noise to accompany the visual overload. I am glad I
am no epileptic, as a seizure would be immanent. Nice enough,
but still I don't regard myself to be qualified to say anything
objective about this, in which tradition it stands or with what
tradition it breaks. If you like noise and you wonder what it
looks like, then this is the perfect visual counterpart. (FdW)
Address: http://www.thetableofcontents.com
INDUCTIE (CDR compilation by Sqrt Label)
If you wouldn't know better then this would sound like just another
compilation. But it's not. It's a thematic approach here: 'all
the compositions in this album, guitar was the only sound source.
All further manipulations to the guitar signal were allowed',
we read on the cover. And then on second hearing this makes sense.
In some cases we don't recognize the guitar at all, hence the
'wrong' original approach, but if one listens closely enough one
can detect guitars all around. Olaf Rupp's unique approach to
the acoustic guitar stands out: no processing, just playing the
strings in a way that only he can. There is also distorted guitars,
drone guitars and pieces in which the guitar seems to have vanished,
sank into the sampler, computer or perhaps a long line of sound
effects. Included are emitter, Christopher Riggs, Charles Lavenac,
Red Needled Sea, Janin Benecke, Pawel Janowski, Lukasz Ciszak,
WoO and Andy Jarvis. A pretty varied bunch with not many weak
brothers around. Of course there could have been more people (Aidan
Baker, Fear Falls Burning?), but now its still a pretty much o.k.
release. (FdW)
Address: http://sqrt-label.org
JOHN CLAIR & JED SHAHAR - TENNIS (CDR
by Fenimore Records)
Two more new names for me: John Clair and Jed Shahar, who use
the 'usual' array of contact mics, metal objects, field recordings,
electronic devices, piano and saxophone in four lengthy cuts on
their 'Tennis' album. I believe they are from the USA but as far
as they sound they could also be from New Zealand with their somewhat
lo-fi approach to music. Rumbling on metal, a piano string being
struck, feedback from cheap oscillators and that sort of thing.
Not to different from say Metal Rouge, even when these two boys
seem to put some more effort in making a recording and editing.
Their pieces sound thoughtful, delicate and don't drag on on end.
Despite the fact that its all made through improvisation, this
has tension and variation throughout, making this stand out of
a lot of things from New Zealand. Drone based, improvised and
yet managing to sound composed: quite an effort. (FdW)
Address: http://www.fenimorerecords.com
SAMPLE SCIENCE - PLASTIK DISC (CDR by Brown
Coffee Recordings)
No money was spent on releasing this in any proper way, just a
cheap xerox, but apparently its on a label - Brown Coffee Recordings,
run by Sample Science himself. He's from Montreal and plays music
since 1999. 'This is not a disc of noise or 'hard' music. I wouldn't
even consider it experimental. This is just unpretentious 'easy-on-the-ears'
music' it says on the cover and that is very much true. He uses
a computer using FL Studio and plug-ins and the outcome is quite
pleasant ambient electronics, a bit of IDM, a bit of break-beat,
but throughout it's the ambient side that takes the lead here,
with warm keyboard sounds. A bit of Tangerine Dream like sequences
with a nice techno sauce. Indeed no pretensions around this bunch
of tracks, which you can put on, enjoy and then forget all about.
Sometimes that's all you need. (FdW)
Address: http://www.geocities.com/browncoffeerec
PACIFIC 231 - STIF(F)LE (CDR by Monochrome
Vision)
Russia's Monochrome Vision indeed has a monochrome vision when
it comes to packaging: all black and white, so much to my surprise
this limited CDR of a live recording released by Monochrome Vision
of French Pacific 231 is a full cover cover. The music is taken
from three concerts in Russia in September last year. Pacific
231 has a long career in industrial music, but to be honest, I
wasn't always the biggest fan. However these live recordings sound
pretty interesting. Pacific 231 uses 'advanced feedback technology,
based on the manipulation of sounds through motion sensors feeding
and controlling a projected visual imagery'. The feedback waves
about and the sensors pick up motions from the body and that controls
and changes the sound, especially in the long third track, in
the best Arcane Device going ambient phase. This is an excellent
release, which is far better than anything I ever heard from him
in the past twenty years. I would have loved to see it! (FdW)
Address: http://www.monochromevision.ru
PUIN + HOOP - TIRTEKL (CDR by TBFKAGNK Records)
Following their debut release 'Headphone Sessions' (see Vital
Weekly 612) their is now a new release by the Dutch Puin + Hoop,
of whom I now is a trio. I am not sure if they employed the same
sort of recording process like on the first one (not hearing eachother,
because they were wearing headphones), or if they actually listened
to what the other was doing. I think they moved from playing guitars
to using keyboards here. They play three long tracks (fifteen,
sixteen and thirty-three minutes) here of what I think is improvised
electronic music. I must say I am a bit disappointed after the
previous release, which sounded pretty coherent. Here they play
some sort of cosmic music, the Schnitzler variation of no-keyboard
electronics (plus a bit of turntablism in 'Attention! Attention!',
but things are a bit too free-flow for me. Their is sometimes
a bit of distortion (lack of good recording quality or deliberate),
but it's all a bit long. Things don't seem to be mixed like it
was before. I think the proceedings could have been shorter in
order to have more impact on the listener. Now its too much 'anything
goes' around here. (FdW)
Address: http://www.myspace.com/puingeefthoop
OLEKRANON - COHESION (CDR by Inam Records)
Sometimes these things happen: after an intense, long day of hearing
Vital Weekly music, there is something left behind which you can't
pin down. This week that seems to be Olekranon. The material on
'Cohesion' was released on three limited edition CDRs before and
now compiled into one CDR. 'Audio by Ryan' it says on the cover,
but that doesn't help us much further. Ryan however loves the
drum computer and the guitar, as both of these bang on here. Not
too fast, rock like rhythms, the guitar howling away through a
wall of feedback and distortion, with long sustaining tones. It
reminded me of something, but I can't remember what, I think something
on Pthalho. The tracks are pretty much alright, but there is a
certain similarity throughout these pieces which works against
the total. There is a point where I thought: yeah, alright, I
get your drift, but that was well over 2/3 of the release. Until
than things were quite alright. (FdW)
Address: <inamrecs@yahoo.com>
VOLONTE (CDR by Taumaturgia)
RAFAEL MALLO - VRIBACION (CDR by Taumaturgia)
A new label from Galicia, the northern part of Spain, and they
release improvised music, the music of here and now. I received
information on three releases, but there were only two in the
parcel. The first is by a band named Volonte, a five piece (but
working in various combinations, here four are present) from Galicia
and the recordings here were made in October 2007. Must have been
a fruitful (or long) day, since it has 76 minutes of music on
it. The instruments are guitar, circular saw, alto sax, electric
violin, drums and percussion. Their improvisations are loud and
noisy, even when they sometimes pull back gear and make a few
moments of silence. The recording is a pretty much 'in your face
affair' and especially the alto saxophone plays like he wants
to create some sort of feedback. I must say that I rather enjoyed
it, but that the overall length was a bit too much. Not every
moment of their playing was equally strong, but it of course fits
the idea of improvisation.
The drummer of Volonte is Rafael Mallo, who is also responsible
for a solo release called 'vribacion' and it has him solo on his
kit and percussion. His six tracks are much shorter, but also
entirely improvised. The vibrations of the kit work well coming
to this listener, but here too, I think the same. Why so long
(although it's 2/3 of Volonte's release) and if improvised music
is so much a thing of the here and now, why release it? Wouldn't
it be better to present this music solely through concerts and
not through which releases which are here tomorrow and there too?
These were the things I was thinking about when playing Mallo's
release, which, as said, surely has its moments, certainly in
the louder moments of the disc. Perhaps to be seen as a presentation
card for his qualities? He certainly has them, if you are looking
for a wild punk jazz drummer. (FdW)
Address: http://www.taumaturgia.com
GISH - MAKING CLOCKS (CDR by Dirty Demos)
MICHEALTHOMASJACKSON - LITTLE VILLAGE SUITE (3"CDR by Dirty
Demos)
THE FOUR FISHERMAN - FALLEN OAK (3"CDR by Dirty Demos)
Gish is a new name for me. Its a guitarist cum mixing board/electronics
improviser who plays with $un$hine Republic, Jack Nicholson trio
and with drummer Rich Preston. Here he plays solo. It's hard to
believe that there is 'just' a guitar at work with some electronics.
The material sounds very electronic to me and the guitar is barely
recognizable. Gish operates from a microsound perspective: minimalist
changes, low in volume, sine wave like material, glitchy rhythms.
It all sounds like a 'been there, done that', but he manages to
make things sound like something of his own, combining various
interests - improvisation, microsound, electronics - and thus
creating a very nice hybrid version of his own. Think early Ielasi,
if you need a name to compare it with.
On a small size we find music by Micheal Thomas Jackson (who records
as Michealthomasjackson), who has a long career in experimental
music, with many releases on his own Primecuts Recordings label.
Here he has three 'improvisations for prepared electric bass guitar
and signal processors' recorded live. We are warned that any 'clicks,
pops, cancellations and difference tones [...] are an inherent
part of these works'. No doubt his bass playing master didn't
teach him to play the instrument like he does here, as this is
a massive, loud work of harsh sounds. Metallic rumble, loads of
distortion, that kind of thing which makes this into quite a noisy
beast. It's o.k., because it's short, more would have been tedious.
The Four Fisherman is a project of mainly Ben McElroy, who receives
help from a bunch of people on drums, double bass, clarinet, violins
and cello. He was already present on a compilation by Dirty Demos,
but here he's back with a debut EP of four tracks. The music couldn't
have been further away from the Jackson release. The music is
folky with touches of country & western and psychedelica and
would not have been out of place on Constellation Records or Static
Caravan. Ben sings his songs with the strings in full support.
'Train Minus Train' is a lovely drone like piece of music, and
'(Destroy) The Heart Machine/Summer Of 70' has a full lead of
clarinet. Strange release this one, but it's quite nice. I think
they should hunt for a real record deal. (FdW)
Address: http://www.dirtydemos.co.uk
DCS - SLOWFADE (MP3 by Larraskito)
EDORTA IZARZUGAZA - PASITAN NUE (MP3 by Larraskito)
LOOPOOL - DUNES SOON (MP3 by Larraskito)
Three new releases on the Larraskito netlabel, run by Xedh. The
first is by DCS, which stands for Daniel C Simon, the man behind
Flutwacht and labels such Apocalyptic Radio, Nervous Nurse and
Tourette tapes. For this release under a new name, he uses metal
plates, chains, nails and a fan. His twenty minute 'Slowfade'
was a bit long for what it had to tell, and lacked therefore the
tension that is required.
Edorta Izarzugaza is from Bermeo and plays dark ambient. Very
much along the lines of Lustmord (think 'Heresy'), using guitar,
feedback and effects, these tracks are also quite long, but here
a certain amount of tension is well present, save perhaps for
'Etxera Heltzeko Goguegaz', which is too long. But throughout
this was quite nice.
Beehind Loopool is one Jean Paul Garnier from Seattle, of whom
I also never heard. He too plays guitar and loop pedals to create
a lonely, desolate sound scape. It could have fitted well on Waterscape
(see last week). His piece, also around twenty minutes in length,
is a bit out of drift: it moves in all sorts of directions but
without a straight direction. More like an improvisation than
a fixed, composed piece of music. Nice but also a bit long. (FdW)
Address: http://www.xedh.org/larraskito