GX Jupitter-Larsen

DENEUVE – UGLY (CD by Blowpipe) *
MULLER – WORKERS (CD by Comfortzone) *
RANT – MARGO FLUX (CD by Schraum)
(split LP by Attenuation Circuit)
THE NORDIC SOUND ART (compilation LP by Nordic Sound Art)
THE NORDIC SOUND ART (compilation cassette by Nordic Sound Art)
CREVER – CRVR (CDR by Crever)
SLOW SLOW LORIS (cassette by Staaltape)

Vital Weekly 2012

DENEUVE – UGLY (CD by Blowpipe)

Sometimes I think I am on a repeat mission. That I am re-writing the same bit 
of information over and over. Sometimes it is because releases are sparse, such 
as in the case of Deneuve, or as they prefer it deNeuve, and re-introductions 
seem necessary. They being Andre Bach and Marc Tegefoss, who have been together 
for some thirty-five years now. First they were part of Tox Modell, then 
Tecnoville (together with musicians from Dutch punk band Workmates) and for 
a long time known as Det Wiehl. In those years (roughly 1985 until 2010) they 
more and more concentrated on creating music for theatre and dance performances, 
and a lot less on releasing music or in fact playing this music live. As Det 
Wiehl their music was mostly abstract but recently Bach and Tegefoss also had 
the urge to play something that was more song based; pop if you will, but this 
is still quite far off. Anyway, much of this you knew from the previous reviews 
(Vital Weekly 831 and 923) of course, nonetheless there you have it (again). 
Now back in the day I was a huge fan of Tox Modell and to some extent also of 
Det Wiehl, dismissing Tecnoville as too punky for my taste (back then). These 
days I am open to anything really and I see no objection to allowing a song 
structure here and there. So I was already quite pleased with their first two 
releases from the new guise, but this twelve-track album is absolutely excellent. 
I really am clueless why this is called ‘Ugly’ as it comes with a great fold out 
leporello (144 cm!) booklet and digipack, and the music is awesome. The music 
has very little to do with their earlier work as Det Wiehl and all the more with 
Tox Modell and Tecnoville. Rhythm is for one something both these earlier bands 
used; Tox Modell via repeating guitar patterns (they had no drummer) while 
Tecnoville (and, come to think of it, the short-lived Scratch, of which Bach 
and Tegefoss were also part in the early 80s) were their most conventional bands, 
including a drummer. With deNeuve the rhythm comes out of a box, and it hammers 
away mechanically, playing at times almost techno based 4/4 rhythms. To that 
Bach and Tegefoss add their trademark guitar sound: full of feedback and 
distortion, howling nicely about, but unlike Tox Modell, pushed to the background, 
forming a wall of sound. Also new is the addition of sampled voices, which I think 
are sampled from movies, such as ‘2001’ and ‘All Quiet On The Western Front’ – 
song titles are indications in that respect. Quite rocky, quite dancy, but above 
all: great music. These are songs by mature (older!) man, so it’s very unlikely 
they will score a big hit out of this, but I can easily see a great video, 
sampled from those movie influences to go a long and making some novelty thing 
out of this. I believe deNeuve will start playing live as of next year, so it 
would be good to see that. I have no idea if their music could easily be 
translated to the stage, but they should really do and make sure their music is 
heard to a wider audience. The funniest piece, for me at least, was ‘1980 Anger’, 
in which they ‘remix’ Tox Modell ‘Numbers Two’ (I think!), including the feedback 
guitars, Xavier Martin’s super angry vocals but set to a fast almost gabber like 
rhythm. That said, this isn’t about fun as such, but this ain’t 1980 no more: 
you can’t be angry all the time. Excellent release, and hopefully something that 
will pick up more audience. (FdW)
   Address: http://www.blowpipe.org

MULLER – WORKERS (CD by Comfortzone)

There was once a time that Oval was a band with a massive influence. Their broken 
CD sound provided glitch music, skipping and bouncing with ‘wrong’ sounds, which 
certainly on their second and third CD found it’s peak. It has been a copied a 
lot since then, hardly surpassed by at best applied and incorporated in other 
musical forms. Lots of the copyists missed out on the musical edge of the first 
Oval records, maybe including Oval themselves on the works that came after that, 
all ambient or noise and no longer pop sensitive (that is altogether a different 
story). Ryuta Mizkami, who works occasionally with Yui Onodera, but solo as Mulllr 
took up the Oval inspired cut-up sound, no doubt these days something that is a 
plug-in or a max/msp patch, but not only lacks the pop sensibility, the melodic 
touch, it lacks also ideas and composition. Here we have twenty-one tracks/songs, 
some quite short, which essentially all sound the same: chopping up techno beats 
into break core beats, laced with delay pedals and ambient textures, randomly 
dispersed all over this. Everything gets the same treatment, nothing is different 
or standing out. It would seem that much of this was generated in the one hour 
this album lasts. Put up some track markers here and there and sell it as a 
twenty-one-track album. I have no idea why I am playing this for a second time 
and thinking about it. This is no good at all. (FdW)
Address: http://comfortzonemusic.com


It’s been nine years of silence since we last heard from Silk Saw, a duo of Marc 
Medea and Gabriel Severin, from Brussels. I have no idea why things were quiet 
for such a long time. I must also admit I never heard much of their music, even 
when this is their 11th album. Their last CD, ‘8 Reports’ was released by Ant-Zen 
Recording, and reviewed by NM. I must have heard their earliest work by Sub Rosa 
in the years I worked in a record store, but it didn’t leave a lasting impression. 
One could think ‘Imaginary Landscapes’ is a tribute to John Cage, and maybe it is, 
but then it’s not to be heard. It’s probably also my introduction to their sample 
heavy music. In the middle of everything they do is rhythm, which is partly owing 
to the world of techno and part-time more drum & bass. I am not a big fan of the 
latter genre, but what Silk Saw does is not something that is very strict in the 
drum & bass department, plus they add a bunch of different instruments all together: 
guitars, a piano, some voice material, string instruments and such like. Throughout 
these eight pieces, clocking in at one hour, there is a strong cinematic approach 
and it’s not a bright movie they show us. Overall I thought the mood was quite 
depressing, such as in the opening piece ‘Lonely Planet’, with its dark string 
section, beats that sound like pouring rain and insect sounds from a synthesizer 
or two. Big city speed comes in ‘Torment For Some People Is A Need’ (see: no fun!) 
or slowed techno stomping in both part of ‘The Decision To Exist’. I wasn’t in a 
particular good mood this morning and you would expect grim music like this to be 
even more depressing, but that didn’t happen. There is now a bit of sunshine 
outside, neatly warm inside and the darkness of Silk Saw effectively lifted the 
mood quite a bit. Quite an excellent first impression, or maybe that should be: 
a re-acquaintance? (FdW)
   Address: http://kotaerecords.com


After I played this the first time round, I started reading the press text and 
looking at the cover. Upon first hearing I expected this to be a solo project 
from someone who enjoyed calling himself ‘an ensemble’; people do like that 
sometimes. It sounded, again, upon first hearing a guy with a guitar and a bunch
of sound effects, or perhaps sound-processing using max/mps, stretching out 
these guitars. But lo and behold, this is an ensemble indeed, led by composer 
and guitarist Grant Miller, also including Liam Singer on piano and organ, Wendy 
Allen on voice, Erik Friedlander on cello, Monika Warchol on French Horn, Zeena
parkins on harp and there are credits for ‘vintage manuals’ (which are orchestron, 
mellotron and dulcitone) by Matt Henry Cunitz while there is an important role 
for Scott Miller, for recording, mixing and ‘tinted vapors’. Upon a second 
(third, fourth; I like to obscure such facts) listening I started to hear 
all of these instruments, especially as the CD continues to play (and evolve). 
There is a sensitive modern classical sound to this music; not academic, serial 
or whatever goes in the official classical world, but these songs (are they 
called songs?) are quite dreamlike and introspective pieces of music. What’s 
even more curious is the fact that most of these pieces are rather short and 
to the point. Something between just under the three minutes and just over four 
minutes. This is music to dream by, sleep by, meditate by but it also functions 
very well as music requiring your full attention. You can sit and listen and 
notice all the finer nuances this music has. Maybe some of the melodies are 
a bit tacky (such as the opening notes of ‘Aerial Verandis’, bordering close 
to the world of new age), but there is also some nasty sounds thrown, towards 
the end of ‘Processionary’ for instance, in order to keep this balance right, 
even when the overall spirit of the album is atmospheric. Great music for a 
cold winter’s day! (FdW)
   Address: http://www.serein.co.uk

RANT – MARGO FLUX (CD by Schraum)

Rant is a duo of Merle Bennett and Torsten Papenheim. They released three albums 
on Schraum: ‘Seumsund/Sundseum’(2004), ‘A Direct Sensuous Pleasure’(2006) and  
‘Land’ (2011). So these two musicians know each other very well and enjoy  making 
a statementfrom time to timer. Yes, they have created their very own little 
musical universe that is worthwhile visiting. As a composer Papenheim produced 
works for several ensembles. As a performer he often plays solo, but he is also 
busy with his ensemble Tru Cargo Service. Bennett comes from Hamburg. Moving 
to Berlin she studied Jazz and Popular Music, and worked for a long time with 
a modern dance ensemble. Pop she plays with the band Eric and Me. With her duo 
Rant she is more into unusual instrumental music as this new release proves. 
Influences of pop, improv and minimal music can easily be detected. They play 
amplified cymbals and drums, bells, bottles, dictaphone, guitars, drum set, 
inside piano, minidisc recorder, piano, zither. Contrast is a word that describes 
their music well. In each track they chose for a different sound, although 
dominated by guitar and percussion. Also the tracks differ a lot in structure. 
What they have in common is that the music is always stripped down to its 
essence, and transparently recorded. Each piece breaths a sympathetic simplicity.  
Their music sounds fresh and engaging, and has a positive, sometimes even 
childlike, atmosphere. (DM)
   Address: http://www.schraum.de


This one is already some time on my desk. A difficult one. A line up of seventeen 
musicians is at work in this typical English work. The ensemble Post Office 
invites us for a trip that lasts about 65 minutes. Music that is closely related 
to UK progrock tradition. Eddie Stevens and Daniel Darriba are the central forces 
as they wrote and produced this album. Stevens worked with Freakpower, Fat Boy 
Slim, a.o. Together with Darriba he worked with Irish singer Róisin Murphy, Moloko, 
and recently with Danny Valentine & The Meditations. So both have a background 
in pop. With ´The Marylebone Greenwave´ they debut with their own project. A very 
ambitious one. The title of this concept album refers to a London myth ´where taxi 
drivers try to drive through King’s Cross to the Marylebone flyover in one attempt, 
without stopping at any red traffic lights`. Performance, arrangements and 
production are absolutely top and very professional. But the music somehow fails 
to make any impression on me. Too many clichés. Can´t relate it to the here and 
none of my musical tastes. So I might me the wrong guy to review this one. (DM) 
Address: http://www.minorityrecords.com


Elephant 9. What a band. What a players! Gorgeous. Their progrock inspired music 
is very convincing in some aspects and for sure very powerful. Especially the first 
track ‘Occidentali’ appealed to me. In the other tracks I found myself asking what 
are they heading at. They seem to lose focus and just keep going on for some reason. 
The weak spot is that their compositions don’t have that much to offer.  Srlokken 
plays old keyboards and synths (mellotron, fender, Hammond, minimoog, etc). It is 
a tribute to these ´old´ instruments. If you love their sound, this one is for you. 
But also the guitars played by Reine Fiske are impressive as is the intensive drum 
work by Torstein Lofthus. Nicolai Haengsle completes the crew playing mainly bass. 
Elephant 9 are around since 2006 and are not to be missed live on stage I think. 
Must be a joy to lose oneself in their spun out instrumental wanderings, as part 
of the audience. This is neo-progressive music of a highly technically advanced 
level. But personally I hope to experience more necessity in their structures 
next time. 
   The Espen Eriksen Trio bring us to other territories. Melancholic, jazz-oriented 
music is what they offer on their third release, demonstrated in eight well-defined 
compositions by the hand of Eriksen. Pianist Espen Eriksen has a background in jazz 
and pop. Lars Tormod Jenset plays bass, also in other Scandinavian projects like of 
Hot n Spicy, Bendik Giske Kvintett  and Rodent.  Andreas Bye is a much asked drummer 
and worked with Bugge Wesseltoft, John Scofield, Joshua Redman, among others. As a 
trio they exist since 2007. Eriksen plays his piano with an elegant touch. Bass 
and drums complete the sound of this trio that focuses on accessible, introspective 
instrumental music where harmony, melody are important. No avant-garde manoeuvres 
here. But music of a quiet and balanced nature, that will bring your mind to 
peace. (DM)
   Addresss: http://www.runegrammofon.com


Luksz Szalankiewicz’ project Zenial has been going for quite some years now and in 
the last years it has been mostly by the Zoharum label. Much of the material on his 
latest LP ‘Minotaur’ has been recorded at Stockholm’s EMS studios, where one can 
find analogue beauties such as a Bucla and Serge synthesizers. It’s a place where 
people usually tape a bunch of sounds to take home, and use it there to create new 
compositions. Judging by the sound of the new Zenial record, that’s also something 
he did. He samples the sounds of those synthesizers, and adds field recordings and 
EVPs (not that I heard that a lot in here; they are probably heavily transformed). 
There is also a DVD of films to each of these pieces, by such artists as W?adys?awa 
Szulca and Mariana Kraczkowskiego. I haven’t seen that DVD, so I can’t comment there. 
The music is quite what we expect from Zenial: a deep electronic sound, with lots 
of dynamics going. The drone plays an important role in this music, but Zenial has 
quite a vibrant sound. Sounds move in and out of the mix, maintaining an excellent 
level of tension throughout these seven pieces. One could say this is dark ambient 
music, but there is more happening than just that. As easily it refers to modern 
electronica, but lacks, thankfully the notion of being academic. The music is quite 
intense, but also cinematic; one could easily envisage a horror movie to go along 
with these pieces. In the opening (title-) piece I was taken off guard by the sound 
of running water, and thought my heating system was breaking down. It’s this sort 
of use of sounds that make this into quite a powerful record. Maybe this is his most 
powerful statement to this date? If you like your music to be all dark, electronic, 
at times to be ambient, but also maybe a bit more industrial, then this one surely 
is worth your time. (FdW)
   Address: http://zoharum.com/

(split LP by Attenuation Circuit)

Both sides were created by way of collaborations. I started with the side that is 
credited to Le Scrambled Debutante feat. EMERGE (i.e. the band behind the label). 
Behind Le Scrambled Debutante we find Allan Zane and a rotating cast of musicians 
such as (in this particular case) Kimathi Moore and Ms La-Dee-Dada & Her Pet Eye 
Ov Tomato, plus sound input by Emerge. There have been various releases by the 
Debutante by Attenuation Circuit before, which I quite enjoyed. I have no idea 
how they generate their music, even when I can wildly speculate about that. One 
of my favourite theories is that they have an ancient 8-track reel-to-reel machine 
which they load up with sounds, spinning the speed control freely when recording, 
and when it comes to mixing this down, they take mixing inspirations from The 
Beatles and Nurse With Wound, and probably also a similar diet of hallucinatory 
drugs. A hit or miss, and I always like the more or less free aspect of the music. 
Here on ‘Electric Jackass’ it is not always a hit, I must say. It’s quite loose 
on the compositional aspect, as expected, but it also seems a bit too ‘easy’ for 
me. The bit of drum & bass cut-up at the end of the piece just doesn’t have it; 
other parts before that work better, but overall it is a bit thin, this collage 
of sound. More sounds, more layers are required; make it more trippy guys.
   The big surprise is on the other side where we see Haters frontman GX Jupitter-
Larsen work with Ace Farren Ford, of Smegma fame, but also known for his work with 
The Los Angeles Free Music Society, The Mystery Band, The South Pasadena Free Music 
Ensemble, Super Heroines and The Child Molesters. Previously I was aware of his 
work with Jupitter-Larsen and The New Blockaders (see Vital Weekly 991), but don’t 
know much of his other work. Their piece ‘Vertigone’ also fills up the entire side
of the record but it’s not the blast of noise one would probably expect. I never 
know what the difference is between Jupitter-Larsen when he works under his own 
name versus his work as The Haters, or what in fact Ford’s part is here, but this 
is a twenty-minute drone piece that holds a firm middle ground, frequency-wise, 
and below there are some darker frequencies happening, which are also a bit more 
muddy and mildly distorted. It works however very fine here, the cleaner mid-high 
and the muddy low mid creating some excellent piece of drone music. Think perhaps 
Phill Niblock but much cruder or Alvin Lucier testing out his sine waves, but 
fine-tuning them as he is already recording them. This is a piece I enjoyed very 
much and wished was a bit longer than the side of a LP. Quite a surprise; maybe 
the virtue of getting older is that noise isn’t always necessary. Maybe it’s 
time to move on and do more of this? (FdW)
   Address: http://attenuationcircuit.de


“Are you sure this is the same Jliat?” When I worked in a record store I managed 
to sell the very first releases by Jliat to one of those lovers of drone/ambient/
cosmic music lovers that was one of our best customers, but once Jliat started to 
poke his nose into counting bitrates and thinking about digital silence, this 
customer’s love affair was cut short. I am pretty sure he never returned as I do 
occasionally speak this gentle older man and never again Jliat is mentioned. He 
might surely not have liked those harsh noise wall releases or the conceptual 
releases, but all the same he might be interested in ‘Days’, which is apparently 
a new series of works by Jliat, returning to the world of drone music. All of 
this was recorded in real time, using equipment by Nord, Yamaha, Roland, Boss 
and Korg, looping and delaying the material, taking in account the work of 
messrs Fripp, Eno and Riley. These are limited to twenty copies and while creating 
the music on an endless sustain, the twenty covers are hand drawn (and there is 
a free download on soundcloud possible). This sounds like a project that Jliat 
could do for some time to come. This brings back happy memories of ’16:05:94′, 
‘The Dancing Horse’ or ‘The Ocean of Infinite Being’: one long form synthesizer 
piece, with everything on ‘endless sustain’, creating beautiful overtones, slowly 
mingling together. Upon the surface nothing much seems to be changing, and perhaps 
one is not required to ‘listen’ as actively as one would perhaps do with any other 
piece of music; maybe one is to ‘undergo’ this rather than actively listen. But 
even when listened to closely this offers enough small changes to enjoy this. 
I was cooking dinner, reading a bit and simply enjoying this as it was. That is 
sometimes the best. On Jliat’s website one can find a short video clip from that 
very afternoon this was created; if I would post a video of the day this review 
was written it would be very much alike. That probably ties it all together. 
A great return to something old. (FdW)
   Address: http://www.jliat.com/

CREVER – CRVR (CDR by Crever)

Crever is a project of the Dutch musician Joey Beentjes and exists since 2011. 
The album “Venus in White” was his first release in 2012 at Het Donkse Oog. 
Crever has been influenced by the sound of machines and industrial music from 
the eighties. CRVR is a CD-R of about 17 minutes and consists of three tracks. 
“N250” is a ongoing edited industrial and minimal beat. There is hardly any 
development in the sounds and that’s the strength of this composition. “Husslage”
starts with a flowing pulsating noise with some minimal rhythms in the background.
Some layers are added and the track becomes more and more intense. The last track 
“E” is a more abstract dark ambient track and has some more experimental moments. 
CRVR is a beautiful follow-up of the first two albums and Crever is a master in
creating a maximum result with a minimum of sounds, especially in the first two 
tracks. (JKH)
   Address: http://crever-industrialnoise.blogspot.nl/


Ri Be Xibalba? Isn’t that the current guise of Anomalous Records, once a mighty 
mail-order, and slightly less successful label, and these days still selling old 
stock and occasionally releasing a piece of vinyl by the likes of Sun City Girls 
and The No-Neck Blues Band? I must admit I gave up following all of this some 
time ago, mainly because I am not a big fan thereof and maybe I thought there 
was an element of snobism in the releases, very limited, arty and no doubt (a 
bit) more expensive. So much to my surprise then I received these two CDRs, 
which I would assume a label like Ri Be Xibalba would think as a highly inferior
medium, with music by Damian Bisciglia, whom you may also know as Agog. From 
the mid-80s to 2004 he released a handful of cassettes and a CDR, and also had 
two releases under his own name. He was also a member of Points Of Friction. 
In December 2012 he took his own life. I must admit I never heard a lot of his 
output, as certainly in the 80s there was so much to hear and evidently so much 
you’d miss out upon, so I hardly have an idea what his music was about. On these 
two CDRs we find stuff from two decades of music, recorded with friends such 
as J. Alexander, T. Alexander, Rick Potts, Adam Bohman and others. However the 
majority of the pieces are solo pieces. Only for one piece on Volume Two there 
is an indication towards instruments used, but not for the other pieces on both
discs, unless, also on the second disc, the title of pieces give away something:
‘Guitar Stuff’, ‘Guitar Improv’ or ‘More Turntables, Etc’. There is one piece 
that is credited to Points Of Friction. A large on the first disc is for ‘The 
Gods Speak January 1981′, an early piece of six people and a bunch of microphones, 
using mainly the mouths to make wordless sound poetry before exploring the living 
room with a bunch of sticks: one large percussion instrument, with more burping 
going round than strictly necessary. For it’s time, 1981, surely a radical piece 
of sound art/voice poetry/non music. This is followed by the Points Of Friction 
piece, which uses improvised electronics. Then there are four short pieces of 
acoustic sound treatments, which are not bad, but maybe a bit too haphazard. 
I prefer the two longer on this disc, which combine the banging around the house, 
wordless sound poetry with a bit of electronics. Especially ‘Dinosaurs With 
Horns’ (together with Jeannie Cohen and Rick Potts) is a very fine piece in that 
respect. The second disc had more musical variation to it. Not just the ‘living 
room’ music approach of the other disc, but also pieces that deal with turntable 
abuse, ‘multi-tracked zither, etc’ and more extensive improvisations with others.
 Whereas the ‘1980s’ disc seems to be more a statement of ‘non music, any sound 
goes’ and that sort of Cageian approaches, the ‘1990s’ disc is more a matured 
disc of experiments that make up music people find more easily to identify 
with in terms of engaging experimental music. It’s good to see some of Damian 
Bisciglia’s music become available again. (FdW)
   Address: http://www.ribexibalba.com/
Note!: I am asked to point that the Ri Be Xibalba label as run by Eric Lanzillotta has
nothing to do with these releases, and it’s unclear where they originate from. We at
Vital Weekly also don’t know where they are from.


It’s been quite a while since I heard ‘III’ by Petr Ferenc, who calls himself 
Phaerentz when it comes to doing music (see Vital Weekly 925). Besides being 
a promoter (Stimul Festival, Wakushoppu concert series) and journalist (HIS 
voice magazine), he’s also part of Birds Build Nests Underground, Radio Royal, 
Z Veseleho Sveta, Prkvoj, MCH Band, PPPP, Biokovo. Back then he had a one-sided 
cassette, now he has a single piece that lasts forty-nine minutes on a CDR. 
This work was recorded in various places and that is something one can hear. 
The piece has three sections and slowly crossfade into each other. It opens 
with a twenty-minute section of electronic sounds and some highly obscure field 
recordings, mingled together. These could be synthesizer tones, but just as 
well something processed from those field recordings. The middle part is a loop 
of percussive sounds, very slow and shifting from left to right in the stereo 
spectrum, growing slowly in intensity. Gradually a piano sound is added, in 
similar slow-motion, but it takes over from the percussive sounds and becomes 
the third piece. The piano is played, chord by chord, slowly with spacing in 
between, and here to the most curious kind of sound processing is going on, 
like there is something burning (maybe the piano, I was thinking). Phaerentz’ 
music is, as before, quite slow and sometimes a bit too slow, I think. Especially 
the opening part is quite long but does not necessarily stay interesting for all 
this time, or it doesn’t captivate enough to be hallucinating. In that respect 
some of this work needs a bit of re-thinking, but the sounds he uses are quite 
good; all of this has the potential to grow and bloom further. (FdW)
   Address: http://phaerentz.bandcamp.com

SLOW SLOW LORIS (cassette by Staaltape)

On Staaltape something is a somewhat bigger edition this time: fifty copies. 
There is an A6 sized booklet, partly full colour and the cassette all wrapped 
up in a magazine with lots of tape. Behind Slow Slow Loris we find Angie 
Yeowell, who was a ballerina, who lived in Ostrava (Czech Republic), Prague, 
Amsterdam and New York. After leaving the world of ballet she went on to live 
with Buddhist beatniks in Colorado and once that ended she started to play music. 
Yeowell recorded ‘From Monster Till Morning’ with her partner Robert Heim in 
Berlin. There are no instruments mentioned on the cover, but judging by the 
music there is all electronic set up; a few synthesizers, all connected to each
other, so that everything remains in sync, and on top there is Yeowell’s voice. 
There is a fine element of repetition in this music; a cold and clinical bang, 
reminding this listener of the cassettes he heard in the 80s. Slow Slow Loris 
is an ancestor to that old school industrial sound. I was thinking of the 
Inner-X label and all those offshoots of Sleep Chamber (and curious enough 
perhaps not a lot of Sleep Chamber themselves). I am not sure if the lyrics 
had any significance, but if they did I must admit I found them hard to 
understand. Having said that (I shamefully also admit I never listen to lyrics
that much anyway), I quite enjoyed this dark synth-heavy industrial pop noir. 
It along the lines of many current dark-wave acts, except that Slow Slow 
Loris still sounds old-fashioned, with their analogue synthesizers in what 
sounds like a basement studio. Powerful! (FdW)
   Address: http://staaltape.wordpress.com/



About: modisti

Experimental Music and sound art Archive. If you want to propose some work for the file you have to register as a user

Categories: Publications