CONTINUUM ASORBUS 2 (compilation CD by Sub Rosa)
I was a little put off by the sticker on this CD. It said ‘Dark Ambient’. I
don’t think a high quality label such as Sub Rosa don’t need such a marketing
scam to sell their CD’s. Three projects are featured here. Tobias Hazan’s first
track is some frantic drumming, real drums instead of computers (that already
makes a big difference from what is commonly done in ambient) .Followed by the
fourth part of Lilith’s Stone (the first three are to be found on their first CD
for Sub Rosa) .Again hard to believe this was recorded by using just stones: a
long drone, but somehow crystal clear. Probably the best of all four parts I
know. Then Tobias is on again, with a similar drone like piece. The CD closes
with a long track by Jardin D’Usure. Their first CD (also on Sub Rosa) didn’t
appeal to me very much, but this is a great piece. Slowly shifting drones in
which movement apparently don’t playa great part. Apart from that sticker a very
good CD -so please continue with more.
Address: Sub Rosa -P.O.Box 808- 1000 Brussels -Belgium
THE THRONE OF DRONES (Compilation CD by Asphodel)
According to this label (new to me) ‘Sombient’ is ambient darkest brother. ‘This
somber bearing on the outskirts of ambient noir inhabits the haunted interzone
between classical electronic plunderphonics and the desolate environmental
tundra’s of isolationism’ .To me, difficult terms to describe that they are
releasing dark, moody, atmospheric electronic music. Some of my personal
highlights are the ethnic drones of Robert Rich, the experimental work of Steve
Roach and the acoustic guitars of Biosphere (whose track is the only none
exclusive, since it is taken from Patashnik). Other people included: Vidna
Obmana, Jeff Greinke, David Darling, Rhythm & Noise, Xopher Davidson, Ray
Guilette and others.
Address: <asphodel@interport.net
WIELAND SAMOLAK -STEADY STATE MUSIC ROBERT HENKE -PIERCING MUSIC ASYNC SENSE
(all CD’s by Imbalance Recordings)
Three CD’s by one label. Although the label style is not yet coherent, one can
notice similarities in the covers. They are all printed on good quality paper,
with simple yet effective type font and have abstract backgrounds.
Samolak’s CD has 5 tracks, and according to the cover text he searched ‘for
possibilities to create continuous sonic situations with controlled dramatic
development that cannot be expressed in traditional terms of melody, harmony and
soundcolour’ .These are is first results. The five pieces are indeed at first
hearing rather monotonous, yet underneath it shifts all the time. The sounds
seem to be roughly recorded synthesizer sounds, organ sounds or just motor
sounds, but the processing on them is pretty interesting.
Robert Hencke’s CD has just one piece, and no information at all. I’m confused
why this is called Piercing Music, since it is not (ear-) piercing at all, but
also since this is largely built around water sounds, that shift (like a river
of sound) between dripping stages to continuous streams of sound. Myattention
drifted away a couple of times, but overall I liked it a lot.
Async Sense is a digipack and that music is different from the darker
electronics duo of above. 5 of these tracks are totally fucked up rhythms, quite
housy, yet not really danceable, with disturbing sounds from synthesizers
buzzing in and out. Quite hectic stuff on this one. For the true dedicated there
is also a 12″ on Imbalance with remixes. This is a very good start for newcomer.
MARC BATTIER & HENRY CHOPIN -TRANSPARANCE (CD by Unrec)
After the Chopin retrospective CD on Staalplaat, again a new work. Electronic
composer Battier used audiopoems by Chopin which he manipulated with various
computer programs. Reading such lines I get suspicious, because there are cases
that the whole toy box is there, without presenting an interesting piece. This
is not the case on this one. The 18 short pieces are powerful electronic
manipulations that are vivid. By presenting short pieces with very much one idea
to them, I was reminded by Asmus Tietchens’ work, also in regard to his
processing techniques. The only negative point is that Chopin’s input can’t be
heard very well. Only the last three pieces show some of his work, as the
processing is a little bit further away. Nevertheless an excellent work.
Address: through Bond Age -42 Rue Trousseau -75011 Paris -France
RLW -WHEN FREEZING AIR STINGS LIKE ICE I SHALL BREATHE AGAIN (CD by Streamline)
In case you need a little historical background: RLW stands for Ralf Wehowsky,
the main man behind P16.D4. That group was one of the first to explore to full
extend musique concrete techniques in the industrial context. Since the death of
that group Ralf produced three CD’s, of which this one is his latest. Like
always he uses concrete and electronic sources to construct 6 pieces of collage
music. Sometimes almost inaudible, sometimes disturbingly loud and feedback
like. Much more then with his two pervious CD’s, I am reminded of Ios Smolders’
LP’s. This new CD doesn’t contain much surprises, but nevertheless it is a
consistent work. Cover by Jim O’Rourke by the way. ..
Address: Streamline -Horngasse 2- 52064 Aachen -Germany