SWINGING MADEMOISELLE – VARIOUS ARTISTS (12″ LP by SASHA MONETT Records)
JACKNIFE LEE – MUY RICO (CD by Pussyfoot Records Ltd.)
MASON JONES – MIDNIGHT IN THE TWILGHT FACTORY
AUTODIDACT – WELCOME TO THE DISSONANCE ENGINE
(CD by Monotremata Records)
VIRIDIAN SUN – PERIHELION (CD by Hypnos)
ALL EARS (CD by Firework)
KENT TANKRED – A REVELATION (CD by Firework)
SPECIES OF FISHES – TIME END PLACE (CD by Exotica)
STARFISH POOL – RITUALS FOR THE DYING (CD by Conspiracy Records)
FRANS DE WAARD – TREIN (CD-R by Bake Records)
ETANT DONNES – MORT AUX VACHES (CD by Staalplaat)
ENTARTE – FUSION (CD by Firework Edition Records)
SARGASSO RECORDS:
DANIEL BIRO – THE COMPARATIVE ANATOMY OF ANGELS (CD)
EVELYN FICARRA – FRANTIC MID-ATLANTIC (CD)
ELLEN CHRISTI/CLAUDIO LODATI/JAN SCHLEGEL/LUIGI ARCHETTI – ALIENSTALK (CD)
SIREN CIRCUS – SOLID POEMS ON A GHOST OF A SUBJECT (CD)
PANTHEISTIC REC.:
POSITIVE NUNS – THE BIBLE TWO (CD)
CLEEE – SCHWARZE STERNENLIEDER (CD)
PHILIP JECK – SURF (CD by Touch)
FOURTET – DIALOGUE (CD by Output Recordings)
DUMBTYPE – OR (CD by Foil)
SWINGING MADEMOISELLE – VARIOUS ARTISTS (12″ LP by SASHA MONETT Records)
The approaching apocalypse has induced an unusual diversity of
hystericalforms of expression amongst dometicated primates, ever anxious to
leave
some kind of indelible skidmark behind as evidence of their occupation of
this terrestrial realm. The black hole of uncertainty has inspired some to
herald soiled diapers as art, nakedness as haute couture and flatulence as
music. So be it, and of course it’s not up to me to decide the contents of
someone else’s reality tunnel, however beige and unfurrowed it may appear.
The lack of new ideas since the fifties has resulted in loop of ideas,
which tightens a little more each time it re-coils around itself. Of late
we have been fortunate enough to be reintroduced to some of the best of the
worst of yesteryear by dedicated historians, who do not incorporate
recognisable (read: re-marketable) and often witty fragments in their
mashed up drum ‘n whatever ditties, but who insist on presenting the
original material in it’s basic form.
‘Swinging Mademoiselle’ is one such compilation – some of the tracks were
only available on vinyl, which makes their inclusion here particularly
retro. (I have always liked the sound of vinyl scratches on CD, but what to
make of old vinyl scratches on new vinyl?). Much of the heady tunes on this
record, which may not appear on CD – or so I’ve heard, probably hung
slightly to one side at the time they were released. Maybe it’s our current
preoccupation with trying to find something ‘real’ (and dirty) to cast a
shadow over this digitally pristine and disturbingly transparent world that
makes castaways like this so endearing.
My apparent cynicism stems from my concern with the CURRENT lack of
originality, and is in no way a criticism of the genuine thing. Au
contraire! This LP is fooking fab! I have not heard of any of the ‘Cute
French Girls From The Swinging 60’s’ whose epiglottal talents ooze from
these grooves, but I am still young ad there’s time enough to learn. And by
golly, I will, I will!
Ever heard of Stella? She eventually married Christian Vander, uberguru of
French progrockers Magma. Or Cosette, who ‘makes a pretty awful B.B.’?
Elisabeth sings about the contents of her wardrobe and how groovy her gear
helps her look – an historic appearance on French TV in a tiny but exciting
bright yellow micro miniskirt seems to be her claim to fame. Fat girl
Bertha sings of the joys of blubber. Early ecologist Cleo was already
warning us way back then of the dangers of Earth Abuse. Pussy Cat is just
that. Franciose hums. And then hums some more.
Laced with punkish frills, screeching brakes, vampire teeth and a lyrical
content that sounds deceptively like it may be about sugar, spice ‘n all
things nice (non parlez Francais, me), this is worth grabbing before it’s
too late, especially if you’re interested in a slice of real French pie
replete with rocking fuzz guitar, smashing drumming and a real cutie
sitting on top of not one, but all of Herman’s Hermits. (MP)
(No contact details provided!)
JACKNIFE LEE – MUY RICO (CD by Pussyfoot Records Ltd.)
Well, I’ve just returned from a saunter round Howie B’s Pussyfoot website.
Not a sausage of a mention in their catalogue of this CD, although it does
appear in the news section as an unavailable item. There is a 12″
circulating which is the first I heard of this. A brief, but expensive
foray to my local dealer, resulted in me buying (yes, you heard right)
buying a promo copy of this CD from him. It was cheap, so I don’t mind. No
idea when this was/is to be released. The promo sleeve is rather scant on
details (and so is the Pussyfoot website, which is rather uninteresting.
You can order direct from them tho’ which, despite opening up the passages
to viral visitors, is trendy and cost effective way to operate)
What about the music – it’s big, it’s bouncy and it’s very, very cheerful.
It hops effortlessly from crunch to cream – the obvious 12″ being ‘Here
Kitty Kitty’ which is the first track on this CD. Can’t quite get my
gnashers around the source of the beat – is it sampled from Pizzicato Five
(they have a new CD out, incidentally, titled ‘Playboy & Playgirl’ on
Matador, with some Corfu Wotta Scorcher photos of small yet perfectly
formed NOMIYA maki, vocalist and Princess of Petite – if I understood the
credits correctly and am not spewing about a blurk – and some rather
brilliantly cool tunes, too.). Perhaps Jacknife lifted it from the same
place they did? Anyway, it’s bloody marvelous and bound to put some grease
into the crease in boogie-pens around this slowly twisting globe.
The there’s a couple of disposables before we hit into ‘A Dog Named
Snuggles’ (Snuckles, I thought?) Those lucky enough to obtain a copy of
Negativland’s ‘U2’s – I Still Haven’t Found What I’m Looking For’ may hear
the faint
tinkling of bells in the swirling cesspools of their foaming memory banks
when they read this title. For indeed, Mr. Lee has sampled the samplers –
this is where the whole deranged debate about ownership gets really
interesting – and has included out takes of American Top 40 Presenter Casey
Casem swearing and cussin’ his way through a prerecording of a show.
Casey, you’ll recall is now the only obstacle prohibiting the re-release of
the verboten CD by the Neglads, despite his stance on free speech (and
blond wife who takes phone calls)(Sorry, dunno why I said that). So here we
are, fucking Snuggles one more time for the world – and I’m curious to see
if there’s going to be any trouble in the States about this. Now someone
should sample Jacknife Lee, thus increasing the legal miasma, helping to
fulfill the prophecy that one day we will all be criminals and accusers at
the same time.
More big- and broken beats follow with dainty operatic fluters at the end
of ‘Spermy Daydream’, an Aphex Twin/Uncle Pervy type of thing with cutup
child and Grunt People noises ‘Toot Sweet Boogie Woogie’ and a young
hopeful’s quaint answering-machine message wherein she tries to arrange a
visit to Mr. Lee’s underwear by going out for a drink, dinner, anything…
Find it, get it and shake it. (MP)
(http://www.pussyfoot.co.uk)
MASON JONES – MIDNIGHT IN THE TWILGHT FACTORY
AUTODIDACT – WELCOME TO THE DISSONANCE ENGINE
(CD by Monotremata Records)
It seems like new label come by the hour… heaven for the reviewer? Who
knows. Monotremata kicks off with two releases – one by Mason Jones (known
Charnel Music entrepeneur and guitarist as Trance and in Subarachnoid
Space) and one by Autodidact. Probably the first has to pave way for the
latter.
I didn’t hear much new solo material by Mason recentely, but I’m sure I
missed something. In his four long suites, there are walls of feedback,
drenched in reverb, echo and other lovely little effect gear and Mason
creates a haunting atmosphere. Two tracks are direct to DAT and two are
live pieces with other musicians. The live pieces tend to be more on the
improvisational side (looser and at times a bit more chaotic, but then
there are all over the place as they say). A fine disc for those who love
the whole guitar / drone / experimental ambient thing (you fill in the
references).
Autodidact – the word implies learning, but this CD is filled with utterly
boring guitar & rhythmbox music that drags on without structure, original
ideas or inspired. I’m sorry but Autodidact should go back to school. (FdW)
Address: <monorecs@monotremata.com>
VIRIDIAN SUN – PERIHELION (CD by Hypnos)
The two members behind Viridian Sun are also actively as solo musicians and
label bosses of Hypnos. It may be no suprise that their second CD is like
an index of what music on Hypnos can be like. Mostly a dreamy world, full
of different colours but one that is also highly abstract and at times
disturbing. Much happens in the background – it comes better to you when
listening with headphones. I’m not familiar with their debut CD, but it
fits clearly in the Hypnos catalogue and lovers of the more daring ambient
music know what to get. (FdW)
Adress: <mgriffin@hypnos.com>
ALL EARS (CD by Firework)
KENT TANKRED – A REVELATION (CD by Firework)
More art puzzels from Sweden. Having been around music for some time now, I
thought I knew a lot of names, certainly from ‘experimental music areas’.
Some curator in Sweden (most likely Kent Tankred and Leif Elggren, who also
run Firework Edition) has brought together twelve artists in an exhibition
called ‘All Ears’. What this exhbition was about does not become very clear
– the booklet is not particularly helpfull. The twelve people range from
the usual countries like England, USA, Japan, Germany but also unlikely
ones such as Estonia, South Africa and Greenland – not particulary the
first pace to think of when thinking ‘experimental’. So with all these
riddles, we are once more left with just a CD, with just twelve names, and
twelve titles. Musicwise it ranges from true noise to voice manipulations
to soundscaping. There isn’t a particular stand out track here, but the
quality is overall o.k. There is one thing however I can’t get out of my
head: who are these people? Do they really exist?
Kent Tankred, one half of The Sons Of God, is nice, quiet man with the love
for bizarre electronic music and sound installations. ‘From Alpha To Omega’
is a short, noisy piece of multiple dissonant radio/synth interference. It
is followed by ‘Desert’ which is heavy loaded work ambience, with vinyl
crackles and whisperings. Strange, yet beautiful. The title piece is a
hunting piece – a rhythm pattern is the backbone and it is chasing small
sounds that come from synth. Maybe a bit too long for it’s 30 minutes. The
last piece is the second part of ‘From Alpha to Omega’ and hears like a
slowed down version of part one and it works even better. If the whole
Swedish scene around Hauswolff and Elggren is appealing to you, then you
must certainly dig this too. It’s noisy, intellectual and conceptual! (FdW)
Address: Firework – Sverkersgatan 5 – 12651 Hagersten – Sweden
SPECIES OF FISHES – TIME END PLACE (CD by Exotica)
If I’m correct this is the third CD (fourth if you count the remix CD they
did with Muslimgauze) and their most difficult one until now. They seem to
rely on computer harddisc recording now, and time stretching belongs to the
possibilities. Their other CD’s were more open ended ambient techno
affairs. Here they move into more abstract sort of techno. Clearly inspired
by Pan Sonic in their beats and bleeps, but without the same tension or
inspired. But the Pan Sonic line is just one – as there is much more with
crazy over the top samples (such as in ‘The Damnation Play’ with an
orchestra running wild). It’s not a bad album, but altogether not very
coherent – it jumps around too much for my taste. If cut in half (with a
playing time of 45 minutes), the album would be good, now it’s just o.k.
(FdW)
Address: <exotica@roust.co.ru>
STARFISH POOL – RITUALS FOR THE DYING (CD by Conspiracy Records)
It has been quiet around this Belgium exponent of minimal techno for a
while (or at least it has been quiet with stuff under the Starfish Pool
banner), but now he’s back with an odd CD. Four long tracks, with a total
playing time of 70 minutes. Personally a title like this is never
attractive, as it evokes all of these things which I don’t like to see
connected to music. Upon first hearing I thought it was a rather weak CD,
but now that I heard it a couple of times I start liking it more and more.
The first track is a continuos stomping piece with dubby elements and the
second is a long wash of synths. The third one is in continous drive mood
again, with sounds that really penetrate the brain. Half way through the
mood changes and it becomes a dark cloud. The final track (I’m sorry but
titles are not very clear) is the most industrial piece of them all with
its not very techno like rhythm and dark synths. This CD is a progress for
Starfish Pool with longer, yet good developping tracks All in all a nice
one. (FdW)
Address: <chaos@conspiracyrecords.com>
FRANS DE WAARD – TREIN (CD-R by Bake Records)
Those who know dutch may have an idea about the content of this disc: yep,
it’s a recording of a journey by train and the cover informs us about the
goals of this trip as well: Arnhem – Amsterdam. Now if you like traveling
by train, this is certainly a must have. Personaly I tend to fall asleep in
trains very quickly and this record has exactly that effect too. The sound
(especially when played softly) makes me drowse off almost instantaneously.
And strangely enough I like it! The recording has obviously been made with
a contactmic and basically we’re lisening to the journey twice at the same
time: the left channel is the way to Amsterdam from Arnhem, the right
channel vice versa (at least that’s what I think). This makes for perfect
(drowsy) conceptual pondering on time and space and being where one isn’t
at that moment (or something…)…. Aside from this it’s an excellent one
to use for source material. (MR)
Adress: www.staalplaat.com
ETANT DONNES – MORT AUX VACHES (CD by Staalplaat)
I’ve been looking forward to hearing something new by Etant Donnes. It’s
been fairly quiet around them lately (as far as releases are concerned
anyway). And here it is: a live recording of a radio performance recorded
in september 1997. Maybe I should have been warned by the cover though: the
same foto’s again from one of their video’s, very similar to ones that have
been used for earlier releases. I got the same feeling when listening to
the CD: I’ve heard this before, but way better. This CD contains two long
tracks that sound very very very pathetic with a lot of shouting and lots
of reverb and other effects. None of the subtility that made Aurore and
Bleu such strong albums, but also none of the real force of their first
tape releases. Somehow the poetry of the earlier works has been traded for
something hollow and even downright trendy. So yes, this was something of a
shock for me. (MR)
Adress: www.staalplaat.com
ENTARTE – FUSION (CD by Firework Edition Records)
How should I describe stuff like this, I wonder? It’s electro-acoustic,
yes. It’s noisy, yes. It’s vicious, yes. It’s surprising, yes. It’s subtle,
yes. It’s challenging, yes. But still it seems impossible to catch the
essence of this music. There are a lot of different qualities presented
here and that makes this disc a very good one. From very sublty shifting
noisy drones to dry pulses to the freezing white plains of the swedish
north and back; from gentle hiss to metal machine rooms to silence; and
again; and again!; and what about that thudding?. I can’t help it: this
stuff washes over me and leaves me pretty helpless. Good stuff! (MR)
Adress: www.algonet.se/~tankred/fer.html
SARGASSO RECORDS:
DANIEL BIRO – THE COMPARATIVE ANATOMY OF ANGELS (CD)
EVELYN FICARRA – FRANTIC MID-ATLANTIC (CD)
ELLEN CHRISTI/CLAUDIO LODATI/JAN SCHLEGEL/LUIGI ARCHETTI – ALIENSTALK (CD)
SIREN CIRCUS – SOLID POEMS ON A GHOST OF A SUBJECT (CD)
Sargasso is a London (UK) based label, describing itself as an “artists-led
environment where all contemporary musical currents meet and interact.” The
blurb continues to say that the artists featured on the label, “have a
passion for originality and excellence, and their work will appeal to
today’s multi-listener whose thirst for eclectic and unique contemporary
music we wish to quench.” To expand on these liquid metaphors, the problem
with the confluence of different currents is that in merging each loses its
outstanding individuality, the result being rather indistinctive. It is as
if most musicians on these various cds started their artistic life in the
mainstream and have now just taken a turn into more adventurous territories
– improvisation, tape composition, unusual studio and composing techniques
– but are not (yet) ready to leave the off-ramp. It’s uncanny to see how
some of the albums seem to aspire to work that has already been done, but
will not go beyond halfway.
The title track of Daniel Biro’s cd is based on the number three and its
multiples, but doesn’t come anywhere near Tom Johnson’s inspired number
juggling. Two other tracks feature guitars and Fender Rhodes pianos
respecitvely, a faint mirror image of David First’s programmed Casios and
extraordinary guitar work. In contrast to the output of the others Biro’s
music always sounds varnished.
That same holds good for both Siren Circus and the quartet behind
Alienstalk. The former is a female duo (very probably sisters) presenting
songs that are rife with dark eroticism and analysis of their (?) psyche –
somehow reminiscent of the Japanese duo Opera, but not as eccentric by far.
Alienstalk seems to hark back to the work of vocalist Anna Homler and the
German gadgeteers Axel Otto and Frank Schulte on Alien Cakes, but lacks the
hop-skip-and-jump between moods, the playfulness and sense for the absurd
of the latter.
Most convincing in this collection is the work of Evelyn Ficarra, exploring
the medium of tape and the seas of static in between radio stations. On
Plus ça change she has a violin and a marimba play over a tape with
processed sounds derived from the two instruments. Deuce has been composed
using a similar strategy, with a baroque flute and a harpsichord, thus
providing starker contrast between the instruments and their antiquity on
the one hand and the turn-of-the-millenium technology on the other. Another
track features delicate sound constructions coaxed from a Buchla analogue
synthesizer. Frantic Mid-Atlantic has been constructed from radio
transmissions, from static to station calls to various types of broadcast.
Sometimes the arrangement of fragments has been text oriented, sometimes
Ficarra focuses on sounds, contrasted and juxtaposed. She makes you aware
again how evidently processed and unnatural American radio voices are in
comparison to those from Britain. The piece starts and ends with waves of
static. Three quite minutes after its apparent conclusion you’re treated to
a surprising extra piece of sound processing, in which she has rehashed
some of the other compositions on this cd.
“Take a plunge in the Sea of Sound” Sargasso advertizes its output. If
that’s what you’re after, try Ficarra’s cd. Otherwise you’d better explore
deeper waters than these. For a first dip into this vast expanse of unknown
surprise and terror, to find out (without losing stature, style and face)
whether that could prove a medium to your liking, Sargasso may be a safe
and prudent choice. (RVP)
Address: PO Box 10565, London N1 8SR, UK; URL www.sargasso.com
PANTHEISTIC REC.:
POSITIVE NUNS – THE BIBLE TWO (CD)
CLEEE – SCHWARZE STERNENLIEDER (CD)
Darkness is the rule on these two cds. Positive Nuns is a trio assaulting
the bare basics of a rock setup – bass (Dirk Bruinsma), drums (Jim Meneses)
and guitar (Frank Crijns). Contrary to what the name may suggest to the
light of heart this threesome doesn’t suffer from an excess of positivism
in their world view. Propelled by Meneses’ nightmarish misanthropic texts
they pound out tight, intelligently crafted power rock. The lyrics are
voiced with appropriate mania – an overexcited tone alternates with vile
reasonable calm. While the drums lay down a deceptive display of
regularity, the bass seems to have escaped from the blackest turbulences of
the mind and the guitar gives voice to disturbed exhilaration. This cd is
so much over the top, it can’t fail to bring a smile to your face – a grim
smile, but a smile nonetheless.
Schwarze Sternenlieder by Pad Conca makes do without the humour. Conca’s
intentions, expressed mainly on bass and percussion, appear to be wholly
and deadly serious. Most pieces on this cd are relatively brief forays into
barely passable terrain. Conca’s bass trudges along, hesitating then
jumping, or retreating from the pitfalls encountered. Halfway the album
these brief explorations result in Monument for the resistance, culmination
point and, at twenty minutes length, watershed of the album. Two basses
constitute a pulsating, quaking groundwork which spawns fragile embryonic
melodic lines on several guitars. Somehow they never come to a point where
they can fully unfold. Instead they eventually wind down to a deep vicious
rumble – as if Conca wants to point out that resistance against the vested
powers must always be futile, but should never be given up. (RVP)
Address: c/o Daniele Schiliro, via Mameli 14, 51100 Pistoia, Italy; email
schiliro@italway.it
PHILIP JECK – SURF (CD by Touch)
FOURTET – DIALOGUE (CD by Output Recordings)
DUMBTYPE – OR (CD by Foil)
Three CDs that nothing much in common except that theyíve been sitting
around waiting for me to review them for some time. They’re not
particularly recent, but here goes…
For his new release, Mr Philip Jeck presents a number of live or semi live
loop-based pieces. The one thing theyíve got in common is that pitch,
timing and alignment are all up for grabs. The usual instrumentation –
turntables, tape recorders and some keyboards. Heavy, dissonant, stuttered
rhythms give way to bilious rumbles, which in turn are juxtaposed with
floaty tones – simultaneously hypnotic and disturbing. This is an
altogether darker release than ‘Loopholes’. Thereís an impressive range of
real-time manipulations techniques going on here.The remainder of the disk
is also multilayered, dense and menacing – tones are piled upon tones until
the tension is almost unbearable. In places more electronic then
turntableized, this is a rewarding listen if youíre in th mood (eg ready to
be unsettled).
The Fourtet disk is altogether lighter and more pastoral. Its characterized
by lopsided live and sampled drum, slight instrumentation (guitar, bass,
keyboards)and the occasional burst of angry sax. The beats rarely break a
sweat, in fact the tracks all shy away from committing to anything – the
beats almost rock, the chops almost work…but not quite. Its fey and
whimsical, vague even. Thats not to say it isnít pleasant – it certainly is
and on ‘Liquification’ it gets close to a drum and bass workout. Later
‘Aying’ strays into Black Star Liner territory with its Bollywood string
flourishes. The appeal of this CD only becomesapparent after a couple of
listens. In terms of comparisons, it’s in the same area as Kriedler –
gentle, organic record.
Dumbtype is a serious disk – definitely the best of the three. Itís a
collaboration between Ryoji Ikeda and Toru Yamanaka. Basically Ryoji
handles the tones and Toru the music (although its not quite as simple as
that). From the outset tones, pulses and bleeps build into coherent pieces,
ending in jittery drum and bass. This is a solid performance. From the
sublime to the ridiculous – next up is an extended easy listening sequence
with dabs of Hammond and shuffling hi hats, before thewhole thing floats
off into pure cheese territory. One minute its Mantovani strings and harps,
the next its bleeps reminiscent of Warp circa 1991. The individual sounds
are just so good. Thereís reedy crooners, big 60’s themes, more tones and
bleeps – a right old mix, I can tell you. This CD contrasts extremes of
sound with exquisite beauty in equal measure. Thereís a lot of milage in
that mix and its fully exploited here. Basically, it walks an improbable
line between minimalist tone work and easy listening – unlikely but true.A
superb, varied and highly assured work – best of the year so far? RTH