philip samartzis / michael vorfeld : scheckenrock

Scheckenrock is the record of live concert by Philip Samartzis and Michael Vorfeld made in Berlin and later in January 2009 released by the Austrian label Non Visual Objects. The first of the two improvisation masters was responsible for electronics and field records, under the second master’s rule were percussion and string instruments. Improvisation itself can’t be uninteresting – while improvisation each musician’s soul is filled with creative spirit that exposes his talent for spontaneous, unexpected playing devices. As a result, the present element of unexpectedness and fortuity of some events can vivify any performance.

“Krause” is one of three long-lasting parts of the album. It starts pacifically with the noise of crickets and birds’ singing. Soon they are changed by Vorfeld’s string squeaking and thin layer of streaming electronic noise by Samartzis. I think this sound is similar to the sounds produced by crickets if they were, for example, stroke by electrical charge. Then starts percussion and the composition twists into dense noisy, winding vortex of metal sounds. It’s not the last time when this vortex makes a shake-up during the album. In Scheckenrock noisy and somewhere sharp parts, when you sometimes want to lower the volume, are changed by more calm abstract patterns made of squeaking strings and irregular strikes. This puzzle is pasted together by monotonous digital hisses and crackles with acoustic sounds threaded on them like on a thin fibers. Proceeding the started theme, “Wams” widens a little the sounding of the whole work and makes a step to drone ambient. The initial and final parts of the track are accompanied by shrouding, low drone. “Schaube” unexpectedly starts with the sounds collage from the training of the representatives of some fight style and syncopated strikes over various surfaces. This part of the album seemed to me boring and uninteresting. After it, in the final part of the album the theme, already started in “Krause” proceeds with new variations. In the result, I think, musicians managed to record a rather interesting and, most important, memorable work.

Wital Weekly 665

release date: january 09

tracks:
01. krause | 18:10 mp3 excerpt
02. wams | 19:41
03. schaube | 14:27

limited edition: 300

Philip Samartzis: electronics, field recordings
Michael Vorfeld: percussion, stringed instrument

Recorded at the Modezentrum Berlin-Mitte,
March 22, 2007

Mixed and mastered by Philip Samartzis

1980

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Passive Cable Theory

Bert Vanden Berghe is a belgian artist, “Passive Cable Theory” is one of his many akas used to produce and spread his artistic creations. This album contains 9 tracks full of porous and thick textures to the ear, a world of color with stiff harmonies within disjointed tempos, travelling aboard blasting strings to create hard-to-imagine environments.

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Snawklor: For Galleries and Backyards

Hi, how ya doin?. feels like We’ve neglected you all lately and thought it was time we put something up. This is our new album, web only. It was recorded in 2008 and maybe 07 too, they’re live recordings made for us to play at our visual art shows or outdoor shows and try to reflect these settings with their open spaces. Its a continuing obsession that has lead to us purchasing a generator and to play or organize a slew of shows over the current summer. It also reflects our current practise of basic guitar/keyboards and pedal improvisation but hopefully minus all the conotations that that carries. Hope you like it.

For Galleries and Backyards

Photo reproduced without the kind permission of Helen Johnson…. thanks Helen.

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DUE : few and far between

cs138

For this set, Susann Wehrli handles flutes and melodica, while Karin Ernst injects digital processing and live electronics. The thirteen tracks here broadly lean towards clean lines and a jabbing style that allows ample space for reflection, but also includes inserts of closer, more urgent playing. From the beginning form is open and sectionalized, with a clear direction that is carried through to the end.
Wehrli alternates brief melody lines with ascending arpeggios on the opener, shaping a succession of minor conflicts and resolutions. The next couple of tracks are both longer, more intricate, but also more generous in their pacing and establishment of repeated patterns alongside somewhat more exploratory passages. On track three, Ernst plays gruff percussive syncopation and aerial atmospherics, which Wehrli offsets with hairline runs, all of which speed up near the end for a slick, facile finale.
In places Wehrli can be seen in fairly conventional territory, stressing a piquant clash of melody and harmony, before passing beyond this horizon into more experimental zones, where she gropes around for variations in emphasis and tone. While she thus plays it fairly safe and straightforward, the two share in a common language, which enables them to switch roles often but without interruption. Wehrli’s flute often leads, bobbing in corkscrew patterns, but then she’ll deter to Ernst, who’ll follow with vibrating tinnitus force fields or percussive blips and thuds. Without fail, there movements towards and away from each other are reassuringly coherent, if not especially inventive. Darren Bergstein (The Squid’s Ear)

Susann Wehrli – flutes, melodica
Karin Ernst – laptop, live electronics

1979

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Nuts : L’Atelier Tampon-Ramier, Sept 2007

1978

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VARIOUS : AU CLAIR DE LA LUNE (DIGITAL)

To expand upon our 2xCD compilation, an open call was made for artists to submit their own interpretations of the 1860 recording by Édouard-Léon Scott. This digital-only release from INFREQUENCY collects together nine exceptional submissions as high quality MP3s.

PHILIPPE JELLI
JIMMY BEHAN
VENUS VULTURE
THOMAS ANFIELD & DAVID BIRCHAM
RICHARD LAINHART
CIMARRON CORPÉ
SHIN ICHIRO A
ROB THEAKSTON
SIGHUP

NOTE: This is different content than our 2xCD release.

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Mark O’Leary / Kenny Wollesen / Jamie Saft : The Synth Show

CD LR 521 – LEO RECORDS

Irish guitarist Mark O’Leary has built a nice relationship with Leo Records over the last few years, having recorded for the label with Mat Maneri, Matthew Shipp, Eyvind Kang, Uri Caine, Steve Swallow and others. O’Leary seems to favor the trio setting and enjoys throwing himself into new contexts. His ninth Leo release, The Synth Show, with Kenny Wollesen on percussion and Jamie Saft on synthesizer, may be his most surprising outing yet.
Saft and Wollesen are certainly knowledgeable about jazz, but tend to step further from the tradition than many of O’Leary’s past associates. As such, The Synth Show is always in a slow and easy flux. The title doesn’t put forth a lead player, but it does suggest a lead instrument and Saft’s axes (analog synthesizers seem to be used through much or all of the record) very much set the tone for the session.

At times the trio doesn’t seem to be playing together at all: jazz licks and electronic gurgles swirl over slow marches and washes. Then two of the three will seem to lock in, creating an inverted pyramid with the ‘soloist’ in the rear. But they do this with an easiness; they’re not wandering looking for each other but wandering together, like a search party dividing up patches of ground together. It’s spacey in a mellow Krautrock way, or jazzy in a trippy fusion way. Either way, it’s an easy but unusual listen.

Ultimately, the record feels like an exercise, albeit an interesting one. The synth—the star of the show—is always percolating with new suggestions and the others respond, or don’t respond, nicely. It never quite goes anywhere, but maybe it’s not meant to.

By Kurt Gottschalk All about Jazz

Track listing: Eva; Persona; Into the Abyss; Tuzla; Sky Kirk; Texas; Elysian Plains; Critical Mass; Oxygen; For Ingmar Bergman; Dr. Who Theme/Playing the Himalayas.
Personnel: Mark O’Leary: guitar, e-bow, soundscapes; Kenny Wollenson: drums; percussion; Jamie Saft: synthesizer.

1977

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black beast of arrrghhh : serenade

MTR-016

23-Feb-2009

In true “you can’t judge a book by it’s cover” fashion, the low fidelity aesthetic of this release’s cover art does no justice to this high fidelity stereophonic opus. It’s hard to classify Serenade into a single genre due to it’s complexity of styles, ranging from dark ambient to grindcore. black beast of arrrghhh tackles the great feat of keeping the listener interested by creating dynamics not only from track to track, but inside the tracks as well. Ambient textures are beaten down by grindcore-esque blast beats and vocals and then subdue back down to synth driven soundscapes. Your ears will thank you for listening to this one.

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Sean Conly : Re:Action

Bassist Sean Conly is an extraordinarily busy player, perhaps somewhat of a yeoman—he’s worked with figures as diverse in approach as the violinists Sam Bardfeld and Regina Carter. But if he has a particular mettle, it might just be in the unruly, driving and highly plastic music of this ensemble. Conly, saxists Michael Attias and Tony Malaby and drummer Pheeroan akLaff take on on a program of ten originals and a cover of Eric Dolphy’s “Gazzelloni.”
There is something audacious about starting a set off with Dolphy’s tribute to Italian classical flutist Severino Gazzelloni (from Out To Lunch, Blue Note, 1964), a tune that is rarely interpreted and even more rarely interpreted well. However, the quartet attacks it brilliantly, Attias’ alto and Malaby’s soprano tearing into the knotty, odd intervals with equal amounts of flame and reverence, Malaby’s sputtering cycles implying a young Braxton as Attias’ lines are a loose-stitched inner dialogue, evaporating and reforming as quickly as they begin. The pair is clearly a formidable match, ducking and diving in quizzical poles as Conly and akLaff set supple implications of time around and underneath.

But placing Dolphy’s work at the head of an album does create some difficulty, too, as Conly’s writing resides in a different area—the ruddy tango of “Daily Mutation” and its evolution towards multiple parallel lines and disassociative thrum, loose patter and brassy keen or the contrary motion of “Suburban Angst.” The tart unison lines of “Ulterior Motives” are thrown asunder by a vamp that seems to heave itself in the line of fire at every turn. It’s a subtler tug-of-war that drives the music, which leapfrogs multiple lines at once rather than scaling the crags of a Dolphy-esque flight pattern.

Certainly, bringing the explosive technique of Malaby and the quixotic, childlike patterns of Attias into the frontline act heavily on this record of contrasts, as does Conly’s pliable meat and akLaff’s brushstroke architecture. Their freedom can be delicate and meditative, or jarring, but one mustn’t let the company Conly keeps on this date overshadow his composing, which is interesting and can only strengthen with time.

Clifford Allen All About Jazz

1976

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DOPO – Blue Lands

tube’|157

Runtime: 49’43”

«Bittersweetness. Perhaps the word that best defines the nature and behaviour of humans. We are capable of the best and the worst, capable of love and hate, of happiness and sadness, luck and misfortune, we are both bitter and sweet at all times. Bittersweetness is also one of the best qualities that the music of the DOPO collective has to offer. You can find it in all of their songs, and that’s what makes their sound so human, so unique. The power to make us happy and sad at the same time. And we wonder: ‘how could we not love this? how could this not be part of our lives?’. And it couldn’t, because DOPO’s music translates into sounds the feelings we have while living our everyday lives. This is our sound.

‘Blue Lands’ is to be – unfortunately or not – DOPO’s demise. After this, DOPO will end but their legacy is here for everyone to discover, and in a way, will live on in our memories. ‘Blue Lands’ is also the opening track of this release and probably the best song they’ve done, ever. But this album has some really beautiful gems inside, like ‘The Long Red Fires of the Dying Day’, the most Animal Collective-y of all tracks, minus the usual freakish beat. In this album we can also find the most loose DOPO ever, as they used a generous amount of field recordings in the compositions, of which ‘Sea-lion of the Sea’ is a great example of, and also one of my favorite ‘under two minutes’ tracks of all time.
You will find as well the usual hypnotic guitar strings all over the album, plus some special moments, like this one in ‘A Delicate Turn and Twist’ which has a delicious distortion guitar which reminded me immediately of some of Sonic Youth’s best musical moments. There’s well placed drones in ‘A Long Wave of Yellow Light’, more ‘around the bonfire’ oddities in ‘The Crowd of Little Men’ and… I’m not telling you more. Just download this amazing album and find out for yourself.» – Pedro Leitão

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Franke Neumann Schmidt Weinheimer: INNEN & AUREN

Crónicast 043

The piece INNEN & AUREN is a mixed and edited version of the concert INNEN & AUßEN, that took place as AlulaTonSerien.Konzert #35 at the New Building of the Gallery for Contemporary Art in Leipzig, Dec. 15, 2007. Neumann, who edited it, translated the spatial experience of the live concert to this stereo version. The chronological order of the concert was kept, but condensed. No sounds or effects were added.

For the original concert, the four performers created a set-up, which took place in three rooms inside the gallery and outside the gallery. Each of the four performers had his own position and function within the set-up and with each position made a certain statement about the relationship between inside and outside.

The set-up included: a microphone outside of the gallery (Franke, outside), speakers behind a glass wall, microphone in room 1, feed from Franke and computer (Neumann, room 1), speakers outside the gallery and in room 1, two headphones in room 3, microphone, sine wave generator, feed from Franke and computer (Schmidt, room 3), four speakers in room 1, one speaker outside the gallery, violin, bass flute with internal microphones and electronics (Weinheimer, room 1).

Patrick Franke, Daniel Neumann, Ole Schmidt & Chris Weinheimer, recorded live in Muenster, 29 November 2008.

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Marilyn Crispell Collaborations

Marilyn Crispell in quartet with Fredrik Ljungkvist, Palle Danielsson & Paal Nilssen-Love, and in quintet with Magnus Broo, Lars-Goran Ulander, Per Zanussi & Paal Nilssen-Love.

74 minutes of powerful, exciting, breathtaking music recorded live at the Nya Perspektiv Festivals, Sweden, in 2004 & 2007 with the top Swedish musicians. Two pieces with quartet, three pieces with quintet.

American pianist Crispell is one of the most celebrated and most listenable of the free improvisation fraternity who eschew formal structure entirely in favour of an in-the-moment spontaneity. In the wrong hands, it can be cacophonous torture, but with a master like Crispell, free music is an exploration of the beauty of the unknown and the listener is able to bring their own structures to the experience. Recorded live in Sweden, she is joined by saxophonist Fredrik Ljungkvist, trumpeter Magnus Broo and the great Palle Danielsson on double bass. Refreshes the parts other music cannot reach.

1975

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Dan Warburton : Profession Reporter

Profession Reporter – the reference to Michelangelo Antonioni`s 1975 film of the same name is entirely deliberate and for you to figure out – is the latest in a series of works, following on from Warburton`s Walks series and Compendium Maleficarum III (with Frederick Farryl Goodwin), that seeks to further break down the already fragile barriers separating composition and improvisation, natural (field recordings) and man-made (improvised) sound. Sourced from recordings made in Morocco in three different locations at three different times of day – morning, midday, evening – and extracts from live improv concerts in France, featuring Kyle Bruckmann, Bertrand Denzler, Greg Kelley, Jean Sébastien Mariage, Bruno Meillier, Bhob Rainey, Fabrizio Spera and Warburton himself – it`s voyage of discovery across space and time for composer and listener alike.

1974

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Matthew Mullane : The Whole Moon Gleams in Every Pool

Searching excursions into the woods, poetry-to-frequency converting Max/MSP patches, and the appropriation of a university’s bell tower p.a. system are just some of the myriad elements which comprise Matthew Mullane’s “The Whole Moon Gleams in Every Pool.” A studied work in the efferent and the afferent, Matthew’s work seeks to explore the interface between the projection of sound and its audition.

Matthew Mullane is a student, sound artist, performing musician and writer currently living in Ohio. His sound work differs greatly from release to release while his written work focuses on aesthetics and art theory

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Graziano Lella : animali

Graziano Lelli (Taxonomy) composed this incredible organized & acousmatic work from the musical theatre opera ANIMALi, with gestures and voices from Julio Cortazar’s Rayuela.

“Born in Rome, graduate in astrophysics, self-taught bassist, Graziano Lella studies sax at the SMPT (Scuola di Musica Popolare di Testaccio, Rome).Always interested in avant-gardes in all artistic forms and expressive languages, he organizes, starting from 1992, many concerts and cultural events with the Cervello a Sonagli association.

After a first experience as bassist in a punk band, from 1997 he plays bass guitar in the art-rock group Dura Figura and takes part, as a saxophonist, in many performances which connected music and visual arts with the open collective Ask the Dust. Moreover he takes part in some workshops with important innovative musicians like Tim Hodgkinson, Ken Hyder, Amy Denio and others.

At the same time he dedicates himself to improvisation practice both with a consolidated formation, the radical improvised music Zic quartet, and with many musicians of experimental area. Fascinated by the timbre-dynamics possibilities of electric bass, with the Zic quartet he developes his own vocabulary through a prepared instrument. Subsequently he introduces in his work the use of self-made amplified objects supported by live electroacoustic treatments and pre-elaborated recorded materials.

Actually he works in a solo project called arg. With arg he carries out electroacoustic and concrete/acousmatic music compositions with a personal compositional approach which ‰ÛÏappropriates‰Û heterogeneous materials and put them in a dialectical relationship with the possibilities offered by new technologies. In October 2002 Sirr.ecords label (Portugal) releases his first solo cd: arg.

In 2003 he founds the electronic improvised music trio Taxonomy with Elio Martusciello e Roberto Fega. The first group’s cd, A global taxonomical machine, is released by Ambiances Magnetiques (Canada) in 2005.”-Graziano Lelli MySpace Profile

cs127

#1 apertura
#2 consolidazione
#3 infra 1
#4 paravisione
#5 intermezzol
#6 pseudopodi
#7 infra 2
#8 filo di lana

Graziano Lella – composition
© 2008
Recorded in Italy between 2005-2007

1973

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En Busca Del Pasto : Improvisación para dúo, Nº 4 («Pan y vino»)

(January 24, 2009) [rdm084]

Cuarto disco de la serie «Música de cámara» de EBDP, grabado en Berlín el 10 de noviembre de 2008 por el dúo electrónico Diego Agulló y Pedro Pons.

1 Parte primera 26:34
2 Parte segunda 08:45

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Emeralds : What Happened

Emeralds is at the forefront of a new American movement that continues the experimentation in analog electronics of the 60′s and 70′s while ignoring the formulaic and boring turn electronic music took in the later part of the 20th century. Add a renewed energy gained from their connections to the noise movement, and you have some of the most original and true music of the new century. ‘What Happened’ continues their exploration in tonal beauty of their recent work that brought to mind pioneers like Tangerine Dream and Cluster, while presenting a new approach to structure that brings to mind masters like Luc Ferrari and opens our ears to a new universe full of astonishing possibilities. This is the true new American infinite electronic music of our present. Recorded by Emeralds and mastered by James Plotkin.

1972

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Benedict Drew : A Folding Table

This album was first pencilled for release on the label Confront we changed our minds about it and now it is offered free of charge and with out any restrictions what so ever. A new set of works are now being made for Confront . A Folding Table was made in Whitstable, Kent 2006 – 2008.

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Individual Flac files for those who can not unzip. please download all tracks

1 A TABLE TOP.flac

2 A HINGE.flac

3 SOME LEGS.flac

Artwork

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KNYAZ MISHKIN : Tiho-Tiho

L.Narushevich – V.Semashko – V.Kravchenko

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Mark O’Leary : fabrikraum

cs140

How’s about industrial improv? Electroacoustic technicians have managed to coordinate and subvert virtually all genre eccentricities within their chosen field (natch Ñ the very nature of “improvisation” fits around the style du jour like a velvet glove); why not bring in remnants off the factory floor as well? O’Leary’s follow-up to his Skyshifter collab with the erstwhile GŸnter MŸller might take you aback. Gone are the flirtations with onkyo, with abject digital reductionism, with the glitch itch and slavery to the rhythm: O’Leary’s apparently underwent some bizarre metamorphosis and capitulated to the fact that the world isn’t a neatly ordered digital playground after all, but a pretty rank place. The inside booklet appoints O’Leary solely with “sound design”, a fairly wide marker that takes in all or nothing; we’re on mysterious grounds here, places where the earth underfoot shifts violently.
Thankfully, O’Leary’s savvy enough not to let these brooding soundscapes become degenerative noise or the kind of clichZ¹ abandoned by the likes of Throbbing Gristle and other post-industrial noiseniks decades ago. The font of modern technology allows someone like O’Leary to incorporate environmental ambience and give it palpable tension as much as the triggers (or pull-down menus) of itinerant software, as the ominous hollow drones feel trapped within the confines of “Interior.”
The title piece references those industrial trappings of old by incorporating jackhammers into its galvanized steel atmosphere, as if Faust, Einstuerzende Neubauten, and Lustmord got together for the penultimate smackdown. “Machina” gets under your skin and stays there, outlasting its welcome care of overly astringent tones and forged metal loops. O’Leary’s intent is obvious just from the track titles alone: “Metal” and “Welding” betray a newfound fascination with steel resonances and their piercing reverberations, “Metal” sounding like elves wreaking havoc in an disused missile silo, “Welding” their attempts to put the pieces back together again. The closing “Wood”, though hardly redolent of its subject matter, harkens back to the more “pleasing” textures of Skyshifter, but O’Leary’s insistence on re-applying the malevolence takes care of any such directives in a hurry. Darren Bergstein (The Squid’s Ear)

#1 fabrikraum
#2 interior
#3 machina
#4 metal
#5 welding
#6 wood

Mark O’Leary -sound design

© 2008

Recorded National Sculpture Factory Cork November 2007

Cover design Carlos Santos

1971

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mzk001

New from Vienna, where things always remain busy it seems, comes a new label Moozak, which is an extension from the Klub Moozak, held each month at Fluc since september 2007. All of the twelve participants played there, and no less then eleven are new, which once again proofs the electronic and experimental is so much bigger than one can possibly imagine. The majority of the artists featured here operate at the more noise based ends of music. Not necessarily the over the top end of noise, but things here are pretty loud and present. it moves between tape manipulations of Rinus van Alebeek (the only name I recognized) and Gedi, to the more digital surroundings of fAbia and Griefer and the darker side of ambient of Taos Hum. Griefer also brings rhythm to the outburst, just like Lamanidayz. At the beginning and the end there are two more quieter counterpoints, and me thinks the best tracks: Strangelets microsound ambient glitch and the harmonic textured, almost orchestral ambient of Dirac. Not every moment is great, such as the luckily short CD skippings by Analogset, and some are quite long (basically all four pieces that last nine minutes), but this compilation offers a nice view of live experimental music – if you run a stage and if your looking for new acts to book, then this is surely a good guide. (FdW)

(FRANS DE WAARD) VITAL WEEKLY #651

1970

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The Whole Series : Whole

“The whole is greater than the sum of it’s parts” was the statement used to describe this during it’s submission phase in late 2008. From that, thirty-eight individual artists from across the globe submitted tracks that were used to create this “collaborative” release. Each track is named in accordance with which artist’s tracks are used. There is a slight loss of identity with something like this, but if you listen close enough you’ll be able to tell who did what. And if not, that just gives you that much more reason to seek out the individual artists The mixing and mashing was done by Josh Sherman (a/k/a Insecticide Lobotomy a/k/a 0.5 of the Meatronic staff) in early 2009.

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Lapslap : Scratch

CD LR 531
Lapslap: Michael Edwards / Martin Parker / Karin Schistek
11 improvisations for instruments and live electronics

Scratch” is the companion album to lapslap’s debut CD “Itch” released in 2008 to a high critical acclaim. Michael Edwards (tenor sax, computer, midi wind controller), Martin Parker (french horn, computer), Karin Schistek (piano) freely combine computer solos with instrumental trios and any combination in between. The music draws from traditions ranging from avant-garde classical, free improv/free jazz through to improvised electroacoustic/glitch.

1969

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David Reed / Royce Icon – Conspiracy of the Machetes

ca219

Artist: David Reed / Royce Icon
Title: Conspiracy of the Machetes
#ca219
Date: 2009-02-15
Keywords: experimental; ambient; other
Tracklist:
01 – 1 – 20:54 (320 kbps)
02 – 2 – 21:19 (320 kbps)

David Reed: Synths, Pedals
Royce Icon: Synths, Theremin, Pedals

Both tracks were recorded in one jam session during early summer/late spring of 2007.
Recorded/mastered by David Reed.

Contact:
David:

http://www.angelfire.com/empire2/reed

Royce:

http://skullvomit.com

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tBH : Book Of Salms

tBH started in 2007 from the late-night jam sessions of Kris Klubo and Tim Shireman, former members of London industrial/electronic outfit The Brainhole. As the sessions progressed they took the shape of the album, Book of Salms.

01. Alumni II
02. Untitled I
03. Prescopate
04. Preu
05. Seething Sours
+ artwork (PDF)

tBH is Kris Klubo and Tim Shireman

recorded between 08.2007 – 01.2008 at
ENTROPY Studio, London
mastered by Jack Milaszewski
design & photo by Bartek Rogalewicz
(hellywood.net / re.publik.pl)

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CD (12 eur + s&h)

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