Number 1218

SEE YOU AT FTARRI (CD compilation by Ftarri)
RAMLEH – THE GREAT UNLEARNING (2CD by Fourth Dimension) *
DISPOSOFÓNICOS (4CD, 1 LP, 1 book by Sonoscopia)
 Lenka Lente) *
TONGUES OF MOUNT MERU – THE HEX OF LIGHT (LP by Moving Furniture Records) *
 AUDIO (CDR, book, lathe cut by Ballast NVP) *
MEYER HUTHWELKER – NEURO/BP (cassette by Otomatik Muziek) *
 Anathema Archive)
ZOOM IN 13: NEW ART MUSIC FROM LITHUANIA (CD compilation by MIC Lithuania)
SEMOD (CD compilation by Dumpf)
 25 ANOS DE PAZ (2CDR by Novak)
OYMOZ – BREED (CD by Everest Records)
KATAWA SINGERS – UFULU 1991​-​1997 (CD by Modernizations 1000Hz)
DUBINY – VIANIE RUTA 1982​-​1988 (CD by Modernizations 1000Hz)


The Irish duo of Danny McCarthy and Mick O’Shea, also known as The Quiet Club did a residency
at the Rauschenberg Foundation in 2016. The first release from that was ‘No Meat No Bone’ (Vital
Weekly 1128) and now there is a release they recorded in concert with Stephen Vitiello towards
the end of the residency at the Black Iris Gallery and Studio; hence the title. There is a picture of
the concert on the inside of the cover and although not a very clear picture, I would think this is
something that involves lots of small objects being amplified, electronics, guitars and the odd
laptop. I believe this is a recording made with a microphone in the gallery and there is some
additional hiss in this recording. It gives some more edge to the recording I guess. Over the
course of thirty-five minutes the three men improvise, not so quietly I must say, with all that is at
their disposal. It is, perhaps, not your usual improvisational music. There are small synthesizers
used, bumping on objects and guitars being processed on the spot. There is a fine interaction
between these players and they can go a bit of quiet introspection if they want to. Just as easily
they up the volume and add a bit of a noise element to the music. The addition of spoken word
(from shortwave radio, I assume) is an unexpected but fine addition to this. Overall there is a
direct in your face approach here, both in the way the material is played by them as well as with
the recording itself. That results in a fine disc, but also one that at this length is just enough for me;
it should not have been much longer than this. (FdW)
––– Address:

SEE YOU AT FTARRI (CD compilation by Ftarri)

Here we have a trio of new releases by the Japanese powerhouse Ftarri and I decided to start
with what, on paper at least, would probably the most radical release. Yan Jun has quite a
reputation by now for some of the more radical sound art experiments. In 2017 he did a residency
project at Daad in Berlin and recorded with Makoto Oshiro, who gets credit for ‘objects’. Yan Jun
plays ‘feedback’. It sounds like they are sitting at the kitchen table doing this music. There is lots
of amplification (and no neighbours, it seems, to complain), causing all the feedback and Oshiro
producing all sorts of acoustic sounds, which he plays with his hands but also with devices that
rotate and causes these objects to vibrate. It is radical music but also most enjoyable. The music
is loud, but not a full-on parade of distortion. This is not harsh noise wall music. In fact, there is a
most curious ‘acoustic’ element to this music, being picked up with a microphone in the space it
was played (which, for all I know, might not be a kitchen of course). The first piece, ‘Another Rose
Is OK’, has a collage-like feeling to it, bouncing all over the place, and in the second piece,
‘Another Name is Also OK’, they go for a more continuous approach of rattling, bouncing sounds,
which keeps shifting back and forth with objects being moved around and various degrees of
feedback moves. This is radical music, but jolly fun, also.
           Something different is the release by Hideka Umezawa and Yoichi Kamimura. It is also
something that perhaps you wouldn’t expect on Ftarri; it deals with field recordings and
electronics. It even contains a beat at one early point in the piece. Also, the cover is not the usual
Ftarri package and there is an explanation on a time, informing the listener where all these field
recordings were made. It is all quite interesting and I can imagine someone who follows the label
for their take on all things improvised might raise an eyebrow. In the world of Vital Weekly, this
would have been a release on Germany’s Gruenrekorder. This piece is culled from many different
sources and comes in a multi-layered form. This is not field recordings that are meant to be as a
document of one place, but from all over Japan plus a few from Taiwan, Germany and Kandersteg
in Switzerland (a place I visited, not that anyone would care). Sometimes sounds return to the mix.
It is a very fine listen, this report of many locations; I am not sure to what extent electronics played
a role in the composition but I would think they have a place in here somewhere. It is all produced
with great care for detail and it moves cleverly through the dynamic range. It is for Ftarri perhaps
 a chance of scenery, but for Vital Weekly, it is not. It is a firm solid collage of field recordings;
something that is good and not out of the ordinary. Check this out, improv heads!
           Damn, now that we have a corner for compilations since last week I am in a pickle where to
put this review. Since it came with the other two Ftarri releases, I will do it here. Ftarri is a shop that
doubles as a venue sometimes. Every year they do a compilation to celebrate another anniversary.
On August 11, 2019, they had three (well, at least) small concerts. The first one is Toshimaru
Nakamura on his no-input mixer with a carefully played piece that shows the dynamics of it at all.
It is not as loud as it could have also been. Next up are Daysuke Takaoka (tuba) and Tadashi
Yonago (flashlight and sprinkler) with a very minimal piece of music. The tuba is most of the times
barely recognizable. The electronics are interestingly vague. This piece is a fine showcase for
Ftarri music. The longest is saved for the last and we have here Junji Hirose (SSI4), Kayu Nakada
(Bug synthesizer) and Yuma Takeshita (electro-bass). This too is quite carefully played with lots
of attention to detail and various ways to approach the instrument differently and this trio know
the added value of dynamics; at one point in the middle, this can be called ‘loud’. That is not
heresy in the world of Ftarri; it’s not as common. A fine birthday bash! (FdW)
––– Address:


‘Chimaera’ is the second album by Signe Emmeluth and her Amoeba quartet. After their very
surprising debut ‘Polyp’ from 2018, I’m very curious what their new album has to offer. Again we
hear Signe Emmeluth (alto saxophone, compositions) with Christian Balvig (piano), Ole Mofjell
(drums) and Karl Bjorå (guitar). Again Emmeluth composed some thoughtful compositions that
play with the relation between improvisation and composed structures. Leaving room and
opportunities for her companions to make engaging contributions. The result is a record as
diverse and inventive as their debut recording. The cd opens with ‘Squid Circles’ that has
Emmeluth playing an intriguing intro. Likewise, she opens with a penetrating solo in the closing
track ‘Outro’. But overall we hear a tight quartet where everybody participates intensely. Guitar,
drums and piano equally attract our attention in the hands of these spirited performers. They feel
at ease in lyrical jazz-inspired ballads like ‘No.1 or the introvert ‘Velvet’ with fine guitar playing by
Bjor; but also in complex structures, such as in the up-tempo and jumpy ‘Lyons’, with a hammering
piano played by Balvig. ‘Ab’ lives from a subdued energy and is the most free and experimental of
the tracks on this album, with proportioned use of electronics. It is also the lengthiest one with
whirling sections and sections where it becomes a bit too introvert for me, with minimal jazzy
allusions. But for sure this quartet again proves to be an adventurous unit, showing many different
faces and at the same time making a coherent and convincing musical statement. Can’t wait to
see them live, somewhere, someday! (DM)
––– Address:


Belgium drummer Teun Verbruggen is an important exponent of the Belgian jazz and improv
scene since quite a while. He is known for his many international collaborations and his drive to
explore new territories. One of his bands is Warped Dreamer with Scandinavian musicians Stian
Westerhus and Arve Henriksen plus his mate Jozef Dumoulin. Dumoulin is also a member of
Verbruggen’s most important vehicle: Bureau of Atomic Tourism (B.O.A.T.) In former line ups
Nate Wooley, Marc Ducret, Trevor Dunn and Jasper Stadhouders, among others were part of this
sextet. Nowadays Ingebrigt Håker Flaten (bass), Magnus Broo (trumpet), Jon Irabagon
(saxophone), Jozef Dumoulin (Fender Rhodes), Julien Desprez (guitar) and Teun Verbruggen
(drums) make up this explosive collaboration. Again a very international line up that gave birth to
B.O.A.T.’s sixth album, released on their label. A bit on their backgrounds: Norwegian bassist
Ingebrigt Haker Flaten is known from The Thing and Atomic, Swedish trumpeter Mangus Broo
plays also with Atomic, Angles 9, etc., and American saxophonist Jon Irabagon is known for his
work with Dave Douglas Quintet, Mostly Other People do the Killing, etc. Julien Desprez is an
experimental guitarist from Paris. I had the luck to enjoy them live last December in a concert in
Nijmegen, where they played an excellent second set. Desprez made intensive use of his pedals
what sometimes looked as if he was dancing. Funny. All compositions on this new statement are
by Dumoulin who has a very eccentric and unconventional composing style. Complex compositions
that unfold and develop differently from what one expects. But they do have their own convincing
logic. The opening track ‘De Teun van Eden’ departs immediately with full and outrageous energy
as if we drop in somewhere halfway. In contrast, a title as ‘Two-Part Oven In Thin Eleven’ starts
almost like an ambient soundscape that has Dumoulin injecting drops of noise later on. Dumoulin
keyboards are part of the charm of this release. At other moments he adds dark mysterious
soundscapes while the blowers are fighting their battle; a contrast that works very well. With
‘Search Ends where Sharing Starts’ we are halfway the album, in the middle of this storm, we find
ourselves in a strange postrock-like drone. The ultra-short and weird ‘Ifrit’ that is built follows it
from very short intertwined gestures. ‘Video Interlude I’ is a funky piece, featuring fine trumpet
playing by Broo. ‘B Minor Blues’ has beautiful keyboards by Dumoulin in a strange laid-back
piece. And so on. Different ingredients and idioms are juxtaposed and opposed to gain contrast
and disorienting effects. Many dazzling moments pass by in this multi-layered succession of
interruptions, twists and contrasts in dynamics, etc. I know some of their earlier albums, but I
never was as impressed as I’m now. This one grows with each listening. There is so much to
discover here. Truly daring and urgent music! (DM)
––– Address:


Through the grapevine, I heard a book on the band Ramleh is to be published soon and that is
something I look forward to. I hope, for one reason surely, that it will shed light upon the question
that has been bugging me for years and that is, ‘why did Ramleh go from being an all-electronic
power electronic to become a unit for guitar noise?’ There was a time that Ramleh was my
favourite power electronics group (well, actually, from that period probably still is). Not Whitehouse,
with their high-pitched frequencies but Ramleh with their dense orchestrated feedback moves,
synthesizer drones and screaming vocals through a battery of sound effects. And then, suddenly,
it was quiet for some time (or so it seemed) and the group returned with ‘Grudge For Life’ and
guitars were distorting all over, but it had that rock sound. What happened? I don’t know. I would
think that Gary Mundy, who was the main man here, had a plethora of other sound project going
on for a Ramleh styled noise group and it was time for a change. Ever since Ramleh is in such a
modus and since then group is Mundy on guitars, Anthony Di Franco on bass, Martyn Watts on
drums (not all pieces have drums though), with Sarah Froelich and Philip Best on synths; Stuart
Dennison of Skullflower plays drums on four pieces here. In the old days lots of this sort things
were within strict boundaries; ‘you are not the real punk/power electronics/disco person’ and so
on, but these days of course (?) the open mind prevails and you can say that you love noise as
much as, I don’t know, Fleetwood Mac. Gary Mundy published on Facebook a list of 500 records
that he loves and it is not difficult to hear many of those different interests in the work by Ramleh.
They are a noise band, mainly the synthesizers are the proof they are, but they enjoy a good
number of guitar riffs, furious blasts on drums and biting vocals. I have no idea what they are
about, even when the inside of the cover they can be read (or sung along?); I am not a critic of
poetry. The nine pieces here are quite a mixed bag. Opening with ‘Futureworld’ and closing with
‘Natural Causes’, being two massive space rock pieces, of which the first slips in what seems a
disco rhythm at one point, which I found hilarious. ‘No Music For These Times’ and ‘Religious
Attack’ are two short furious attacks of post-punk proportions (the first) and synth noise (the
second; not much guitar seemingly there). There is a slow stomper with a massive sound in ‘Your
Village Has Been Erased’, and the mysterious drum machine noise jam that is ‘Procreation As An
Imperialist Act’ and ‘Blood Aura’. There is quite of variation in here and some of it way outside of
Vital’s scope and some of it totally from our world. This is an excellent blast. I can’t wait for that
book to arrive! I am spending my weekend with Ramleh’s ‘Awake’ box set in anticipation of that
(see Vital Weekly 838). (FdW)
––– Address:


Hot on the heels of what was for me the introduction to the work of Jean-Philippe Gross (see Vital
Weekly 1200) there is now a collaborative work with Stephane Garin. He plays in O (along with
Joël Merah and Sylvain Chauveau), Eklekto and Ensemble Dedalus. He is a percussionist. The
work here is subtitled ‘for percussions, electronics and recorded sounds). I would think that each
title is some indication of what is going on, or perhaps one or more ingredients are mentioned.
‘Woodblock’, ‘Cymbal, Watercourse And Wave Shaping’, ‘Floor Tom And Electronics’; that kind of
thing. Gross is responsible for the electronics. It is a short CD, only thirty minutes, and has seven
pieces of quite a radical sound work. I have no idea how it all worked out in the studio when laying
down these pieces, but I can very well imagine there is some kind of interaction between both
players and instruments, with the electronics being responsible for trigging percussion and Garin
adding more percussion in reaction. The electronics are to be understood as sine waves (one
track is called ‘Break 1 (Sine Waves Are Always Nice’) and provide the radical sound experience
in these pieces. Extremely high frequencies; extremely low ones; crackling and buzzing as if the
cables broke down during recording. That is support by some of the in-studio talk that is also part
of this, which adds to the mystery of the release. It is at times very minimal, such as in the longest
piece ‘Woodblock’. I quite enjoyed all of this. It was short, but was it too short? I find that hard to
say. Maybe at thirty minutes, this is all one needs to know? Great stuff all around. (FdW)
––– Address:

DISPOSOFÓNICOS (4CD, 1 LP, 1 book by Sonoscopia)

Here we have a massive project! Four lengthy CDs, 1 LP, a 120-page 12″ hardcover book and two
photos, all about the work conducted at Sonoscopia. Simply put: “a platform for experimental music
and performance arts”, from Porto in Portugal. The texts explaining what Disposophonica is rather
complicated, sadly (“Disposophonica is a neologism referring to civilizational well-being and the
concept […] apt to define the compulsive and the urgent human act of gleaning and collecting
sound futilities, from the most innocuous to the most turbulent or thoughtless. Disposophonia is
therefore a group of haptic effects capable of promoting an ecology of sound knowledge and
sound craft”) but the pictures in the book tell more than words. What the group of people behind
are researching is sound and objects, in in the form of installations or concerts or a combination
of both. Listening to the music while looking at the many colourful pictures in the lavish book
explain quite a bit more. Not always though; ‘Control And Unpredictability No. 1’ sounds like a field
recording from a shop but the book shows metal objects, guitars and cymbals in a concert setting.
Perhaps the way N.3 and n.5 from that series sound? The four discs are divided by interests, I
think, from installation pieces on disc one, concert pieces on disc two and disc three whereas disc
four has pieces from the Srosh Ensemble. Throughout on all of these discs there are long pieces,
providing some wonderful listening. There is much going for slow development in a lot of these
pieces; having a sort of ambient meets modern composition meets unstable installation pieces.
Occasionally there is leap into noise land, such as by ‘The Sonoelectroacoustic Laptop
Ensemble’. Field recordings, or something that passes on as such are also part of it, either
because the pieces are recorded in situ, or because sounds are part of the composition. I
enjoyed the fact that not all of it seemed to be overtly serious such as the shorter pieces by Nova
Orquestra Futurista Do Porto, which seems like satire (perhaps) of Luigi Russolo’s ‘art of noises’
manifest. ‘Gorgolatori’ starts with opening a few bottles, using those sounds, drinking the content
and the blowing on bottle heads as flutes. Some of the pictures of string instruments in the book
reminded me of Dutchman Yuri Landman, whose name is also among the many people who
played there. So perhaps there is a whole movement out there? You wish you could lay your
hands on some of these objects, instruments and such like and play them yourself. I wondered in
Sonocopia has an archive where they keep these, or if this is all of a temporary nature? Through
a long and wonderful experience for both ears and eyes! (FdW)
––– Address:

 Lenka Lente)

In their ongoing search for obscure, short texts by writers who died a long time ago (and surely in
the public domain), Lenka Lente exhumed a text called ‘Die Mutter, Die Hexe’, also known as
‘Sorciere Ma Mere’, in the French translation, as all books are in French with this publishing
house. There is an English translation online on various blog entries, but e-mail me for a PDF and
I will send you one (I am not sure if that is allowed, actually). It is a story about a man who writes
a letter to his brother, informing him that he suspects their mother to be a witch and he thinks it is
hereditary. In the end, there is a short reply from the brother. I thought it was a funny, little story in
which you easily believe it is true but also in his brother’s imagination.
           The musical component is by Nurse With Wound, who are steady suppliers here of music,
and as far as I can judge (or know such things), this is a previously unreleased piece of music,
clocking in at exactly twenty minutes. The title is a line from the story. No players are mentioned,
so I have no idea if behind head nurse Steven Stapleton anyone is involved. The opening
section, the first five minutes, sounds like a modern music ensemble, ringing violin bows and
percussive bits along with sounds on tape. It evolves into something a bit more massive in tonal
approach, but in which the piano sounds, violin and percussive linger on, but now with more
electronics. It is a great piece. It has all the makings of a classic Nurse With Wound piece; it is
ambient. It uses the studio-as-instrument. It’s a fine combination of acoustic instruments and
electronics. It reminded me of Zeitkratzer Ensemble with somebody at the mixing desk overlaying
their playing with some mysterious sound effects. It’s a pity that it’s so short; I hadn’t finished
reading the story. It worked well on repeat for the entire time of reading the Ewers story. (FdW)
––– Address:

TONGUES OF MOUNT MERU – THE HEX OF LIGHT (LP by Moving Furniture Records)

Lasse Marhaug is surely a name known to all readers of Vital Weekly. Staggeringly active as a
musician, book publisher, graphic designer, film maker, zine writer/editor and probably even
more than that, Marhaug is most often associated with harsh electronic noise. However, he’s also
not one to rest on his laurels… or, as far as I can tell, to rest much at all. Tongues of Mount Meru
(just one of the myriad bands/projects he’s part of) is his long-running duo with Jon Wesseltoft,
and it’s far from the blistering assault that one might expect from either artist. The album fits onto
two sides of an LP, but I could imagine that these are two slices from within much longer pieces…
and not necessarily slices that start at the beginning. They sound like they’re carved out from the
center of two hour-long tracks, but we only get to hear 19-minute extracts. Both sides are slow-
moving cascades of shimmering texture, dense with layers of microscopic movement. There is no
lead-up; the moment that side 1’s monolith “Foliage” begins, the listener is dropped into the
furious eye of a crystalline ice-storm already in progress. Dissonant chords hover in and out of
focus and a threatening saw-like buzz constantly peals at the music’s edges with competing
rhythms. I’m reminded of Phill Niblock’s vertical drone pieces, forceful and confident minimalism
at maximum volume. The second piece, “Affinity Birds”, is another side-long mantra that begins in
medias res and is just as merciless as the first side. Elements begin to drop out after eleven
minutes of boiling syrup and a warm resolution seems about to coalesce… but it never quite
resolves. Marhaug and Wesseltoft twist the knives as they near the finish line, transforming the
textures into a sharply aggressive climax before dispassionately cutting the thing off. No happy
ending here, just a hard stop. (HS)
––– Address:

 AUDIO (CDR, book, lathe cut by Ballast NVP)

First, we need the help of Wiki to learn what a Venn diagram is: “A Venn diagram (also called
primary diagram, set diagram or logic diagram) is a diagram that shows all possible logical
relations between a finite collection of different sets. These diagrams depict elements as points in
the plane and sets as regions inside closed curves. A Venn diagram consists of multiple
overlapping closed curves, usually circles, each representing a set.” In the booklet, you can find
on each of the 36 pages a list you can create your own Venn Diagram. Such as ” a) Likes Patrick
McGoohan b) Could spell Portmeirion correctly if asked c) Favourite number is 6 d) considers self
a number e) considers self a free man (or woman) f) has seen Ice Station Zebra”. I think that is
funny (and puts ‘The Prisoner’ back on the to watch again list) and there are more like this. There
 is a soundtrack to go along. The CDR and lathe cut deal with the sound of vinyl; “the needle of a
record running along a runout groove, a record skip, a loop created from an audio snippet, or
layers of any, (or all!) aiming to create a meditative quality, either as one creates the diagrams or
a stand-alone audio”. The music on the CDR is seventy-one minutes long, and indeed made of
skipping records, but slowly Vertonen adds little bits of electronics, making the overall sound
thicker and towards the end, the sound effects have taking control and it becomes something of a
piece of unrest ambient music, going darker towards the very end. It reminded me of the older
work of Vertonen when the project first started.
   The lathe cut record is 5.5-inch x 6.7 inch and is a Euler diagram. Hold on, another quote
coming up “A Euler diagram is a diagrammatic means of representing sets and their relationships.
They are particularly useful for explaining complex hierarchies and overlapping definitions. They
are similar to another set diagramming technique, Venn diagrams. Unlike Venn diagrams, which
show all possible relations between different sets, the Euler diagram shows only relevant
relationships.” I tried to play the record but (of course?) it is impossible without doing some
serious damage to my stylus. It looks great though; this Moebius ring-shaped record object.
   Overall I thought this to be a very funny release; there are some great diagrams to be made
and the music is a most fitting, rotating soundtrack to it all. Limited to thirty copies only! (FdW)
––– Address:


Two new releases by Sound In Silence often mean two new names; here it is one. Behind Test
Card is Lee Nicholson, who was once a member of Formula One and Domestic4 before
moving to Vancouver and first working as Electrohome and now as Test Card. ‘Music For The
Flowers’ is his third album under the guise of Test Card, following ‘Rediffusion’ (Vital Weekly
1112). According to the information, he plays the guitars, bass, synthesizers, field recordings but
if it was just a bunch of synthesizers and field recordings, I would have believed that as well. As
you can guess by the title of this collection, inspired by ‘Music For Airports’ no doubt, this is
ambient music with the capital A. The previous release seemed to be a bit more guitar-like than t
his one. Here it is all very quiet and introspective, but not without little, warm melodies. It is very
spacious, with carefully played tunes on a piano, keyboard and, yes, a guitar, feeding off through
some effects (delay, reverb, loopers, chorus; whatever else) and that’s about it. It’s nothing you
haven’t heard before, but on a day like today (the day after Blue Monday should that be any
indication) it is grey and cold in the street of Vital Weekly. Flowers are months away, warmth
also (well, providing the earth doesn’t warm up quicker) and it’s best (for me, that is) to stay
inside, near the central heating and play quiet ambient music, reading ‘stuff’ and glancing
outside. It makes the longing for spring easier!
           Gavin Miller is Worriedaboutsatan since 2005, when he started this a solo project next to
Johnny Pointdexter, the band he was in. Later fellow band member Thomas Ragsdale joined
him and they released on Gizeh Records and Denovali Records. In 2011 they started a new
electronic project, Ghosting Season, which released two albums, put it on hold in 2014 and
started doing Worriedaboutsatan again. In the period that followed they released four more
albums. In June last year Rasdale and it is a solo project of Miler again, who is now responsible
for what the cover lists as “guitars and computers”. I would think lots of guitars and the computer
kept to a minimum; maybe it is used in looping a few sounds, editing or mixing; maybe adding a
distant texture here or there. There are also electronics, synthesizer and a drum machine part of
this. That one is slowly ticking away time, supporting the spacious instrumental bits and bops that,
again, also support the guitar, the leading instrument here. Miller uses quite a bit of reverb in all
of the eight pieces here, suggesting atmosphere and space, but it is at times also a bit shrill; just
a bit too much I would think. Like Test Card, this is surely another fine bit of ambient music, but
Test Card out-ambients Worriedaboutsatan. The differences are in the details really. I have a
preference for the all-out ambient sound produced by Test Card but surely the music of
Worriedaboutsatan is beautiful on the same day too; more warm sounds indeed. (FdW)
––– Address:

MEYER HUTHWELKER – NEURO/BP (cassette by Otomatik Muziek)

Behind this name, we find a duo, Helge Meyer and René Huthwelker. They are both active in the
world of modular electronics, using a 208r Rev2 Music Easel, a Floer Electronics Little Boy Blue
and Eurorack modular synthesizers. Mayer is from Hamburg, starting with improvised music but
now more in the ambient, drone, noise and generative music; he is also a member of 9-24V
Group and Ex-Kopf. Huthwelker is aa part of the Niedervolthoudini collective, plays in bands
such as Katzenkönig and Modulation Lab, and is the sound engineer of Station 17 and Palais
Schaumburg. Still, there is time for some solo music and projects like this. This is the duo’s first
release and contains two seventeen-minute pieces of drone music, by analogue means. Both
pieces have a fade in and once in place they become a fine, delicate, sonorous blast of slowly
unfolding tones. It is not the same sort of minimalism that we know, for instance, from Orphax.
Meyer Huthwelker aren’t that minimal; they move around in their material quite a bit and don’t
stay too long in the same place; well, some sounds may linger on for a while, but others don’t.
There is a healthy amount of reverb here, especially in the slightly more homogenous
‘Taucharbeiten’, to suggest much atmosphere. There are some differences to be noted between
pieces, the second being a bit more minimal and the first with ore changes. These are solid
pieces of music, these two and beyond the more usual modular synthesizer release and great
listening experience. (FdW)
––– Address:

 Anathema Archive)

The second release I hear by Christian Mirande, following ‘Trying To Remember A House’ (Vital
Weekly 1055), which I thought was a promising release. I learned back then that he uses ‘iPhone
and tape, open-reel tape manipulations and digital re-synthesis’ and for all I know, that is still the
case here. At least it sounds like it. The ten pieces on this new release continue with this very
varied mix of sound sources. Some of these sounds like they were recorded around the house,
including static interference, people humming and whistling, some objects carefully moved
around. On top there can be heavily processed electronic sounds, high pitched, crackles, more
static (but digitally this time), found sound from the radio, TV or vinyl, and somehow, for all we
know Mirande himself, (one track lists the voice of Ralph Salvina Jr.) and it holds the middle
ground between a personal audio diary, radio drama or a therapeutic session. It is not too heavily
drawn on voice material, but when it does I was reminded of some of Eric Lunde’s work. All of this
arrives in a cut and paste/collage style, going back and forth in various degrees of extremeness;
loud and quiet; heavily processed, totally acoustic; personal and public. It is, by all means, a most
curious release, topped off by this “how to administer Naloxone for an opioid overdose” and a link
how to do that. See, there is a deeply personal aspect to it all, which, we the listeners, may not
fully grasp. Well, maybe I don’t grasp, but I hold on to the music, which I think is great! (FdW)
––– Address:

The compilation corner;

ZOOM IN 13: NEW ART MUSIC FROM LITHUANIA (CD compilation by MIC Lithuania)
SEMOD (CD compilation by Dumpf)
 25 ANOS DE PAZ (2CDR by Novak)

Ah, compilations. They still arrive here, no matter how often I say that I don’t like reviewing
compilations. I understand the need to release them, to promote your label for instance. To
promote a country and it’s musicians or to promote a bit of software. Here are examples of both,
plus, oh no, remixes.
          The Music Information Centre Lithuania is an organisation that supports all sorts of music
with all sorts of activities. One of them is to release compilation CDs. They did a lot of them in the
past and surely lots in the future. First, there is ‘Note Lithuania: Experimental/Electronic 2019’ wth
Veliu Namai, Patris Zidelevicius, Skeldos, Daina Dieva, Distorted Noise Architect, Nulis:S:S:S,
Tiese, Unit 7, Fume, Phil Von, Nortas, Raguvos and Avidja/Devita. The most surprising name
here being, of course, Phil Von, once the man behind Von Magnet and now residing in Vilnius,
Lithuania. This experiment and electronics are to be understood as rooted in the world of industrial,
drone and ambient music. It is fairly safe to say, the world of Vital Weekly. It is a mixed bunch of
strong rhythmic songs (Unit 7, Phil Von Distorted Noise Architect))), drone music (Fume), gothic
(Skeldos), noise (Dainia Dieva) and the rest possibly somewhere between all of this. A booklet
provided all the necessary information, also about festivals.
          No such booklet for ‘Zoom In 13 on which we find Egidija Medeksaite, Albertas Navickas,
Rumanas Motiekaitis, Goda Marija Guzuaskaite, Ruta Vitkauskaite and Ziboukle Martinaityte. This
is more the realm of modern composed music; classically trained composers and much less
within our field of expertise (as mentioned a lot of times). No explanatory booklet with this one.
With my limit knowledge of this sort of thing, I’d say this is all quite melancholic, save perhaps for
the final dramatic piece by Martinaityte, which is quite a soundtrack for a movie. All of this is
nothing really for Vital Weekly.
          And then there is a compilation to showcase software, Segmod in this case. “Segmod is a
non-standard sound synthesis that embraces the discrete nature of digital sound. All sounds
created with Segmod result from the concatenation of simple periodic waveforms, such as sine,
triangle, and square waves”. Thanks to one of the participating artists who mailed me this, I had
a sniff around as one can translate words in text files to music and I was wondering how this issue
of Vital Weekly would sound. But of course, I am afraid I will fuck up something with my computer
or that the whole text I just penned is lost, as I easily admit knowing fuck all about software. I
understand that if you repeat words or numbers that would translate into a rhythm, and a lot of text
probably means quite a bit of noise. You get the drift and otherwise, these sixteen artists drive the
point home; David Pocknee, Lula Romero, Veronika Klaus, Ji Youn Kang, Yota Morimoto, Martin
Lorenz, Artemi-Maria Gioti, Jliat, Casper Schipper, Miriam Akkermann, Hanns Holger Rutz,
Demian Jakob, Hadas Pe’ery, Luc Döbereiner, Volker Straebel, David Pirrò (no prizes if you have
an idea who send a review copy my way). Lots of names I never heard of, but maybe there is a
whole computer musician’s circuit out there that I don’t know of. It is all pretty radical music; lots of
noise, deep bass sounds, high-end frequencies and the occasional stuttering rhythm.
           Ah and the deadly combination of compilation and remix; both not favourite subjects to
write about. Remixes, I said it before, will say it again, is a form of masturbation. Especially in the
case such as the one presented here by Escupemetralla. In 1994 they recorded a song called
‘Quiero Ser Guitarra De Esplendor Geométrico’, which means ‘I Wanna Be Espendor Geometrico’s
Guitarist’, which is funny because they don’t have a guitarist. Now, twenty-five years later, they
have Spanish (mostly) finest remixing this song. The title is a reference to General Franco’s ’25
Years Of Peace’, announced in 1964 to celebrate his victory in the civil war. It is also the name of
a part of Barcelona where the boys of Escupemetralla grew up and apparently an ugly part of the
city. Some bands take the piss out of the title, like ‘I Wanna Be Escupemetralla’s Drummer’ and
the whole thing contains tons of new names for me, as well as some established ones; cue list
of names. Macromassa, Jet7, Tecib, Rapoon, Javier Hernando, Anki Toner, Alxsnjrjo, Delusions,
Red Kite, Bob Lanzas, Esplendor Geométrico, Permutation, Loppkio, Geométrico Aviado, Mauri,
Lrad, Mandivula, Javier Piñango, Ô Paradis, Wilder Gonzales Agreda, Wdr (Jm Soler & Sofía
Bertomeu), Sedcontra and of course Escupemetralla with a couple of pieces, including the
original (towards the end of disc one; why not the beginning I wondered). So mostly Spanish
bands but also some from abroad. These remixes take the original in a somewhat noisier area;
more distortion, more beats. The more dancefloor-oriented pieces are on the second disc, next to
the usual noisy stuff, continuing from disc one. None of these pieces was aiming for the dance
floor (or a rock audience) and self-serving. Particularly the Esplendor Geometrico remix was a
letdown. (FdW)
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‘Less than Vital – music [not] reviewed outside our box’

OYMOZ – BREED (CD by Everest Records)

“Antonio Albanello is the musical mastermind behind the cryptically named project, Oymoz. Over
the last thirty years, his works have been unveiled to the public in waves of creativity, ever
oscillating between pop and experimental.[…] During the recording sessions in the Church of the
Holy Spirit (Heiliggeistkirche) in Bern, the elements of Breed were blended to create a cohesive
whole, skilfully weaving the majesty of the baroque organ, grand piano, percussion and vast
space into the fabric of the electronic stories. It is this bold experimental approach which gives
the album its distinct atmosphere.”
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KATAWA SINGERS – UFULU 1991​-​1997 (CD by Modernizations 1000Hz)
DUBINY – VIANIE RUTA 1982​-​1988 (CD by Modernizations 1000Hz)

“Katawa Singers from Mzuzu in the Northern Region of Malawi are pundits of the local scene.
They have designed and delivered the electronic gospel sound that dominates the country ever
since. They have designed and delivered the electronic gospel sound that dominates the country
ever since. It all started by accident. The choir that collected money for the erection of the new
Presbyterian church in the Katawa area received a Yamaha keyboard from a foreign donor.
What followed next is the result of the musicality, inventiveness and artistic sense of artists who
quickly gain acclaim. Since then, Katawa Singers have recorded a dozen releases, toured
around Malawi, playing at festivals and prayer gatherings.”
           “Dubiny is a musical band the story of which has become an excellent example of what is
here referred to as ‘modernizations’. The leader of the band, Piotr Skiepko, has been garnering
musical inspirations and experiences from his young age – by watching musicians as a boy, by
playing around with self-made electric musical instruments, by performing as a member of a
regional folk group. In the early 1980s, all this allowed him to launch a project combining
electronic music with big bit rock, and sometimes – disco arrangements with local theme songs,
melodies and harmonies. The band was a short-term but dazzling success; the musicians had
the house packed at their concerts, recorded their compositions to cassettes and released them
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“Released August 22, 2019; recorded by IS at WG Studios in Milford, MA 2018-2019
IS- Jack, Steve, WeeGee. Art by IS & Lob. Photo’s by A Girl Named Rose. Tags rock depressing
songs Massachusetts” No further information online; the first link has the music to hear and you
can judge for yourself.
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