Vital Weekly 650
Tue Oct 28, 2008 10:57 pm
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VITAL WEEKLY
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number 650
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week 44
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Vital Weekly, the webcast: we offer a free-to-download weekly webcast
as the audio-supplement to Vital Weekly. Presented as a radio
programme with excerpts from some of the CDs reviewed here (no vinyl
or MP3s). It is available on the site for a limited period of 5 weeks.
Download the file to your MP3 player and enjoy!
Complete track listing here: http://www.vitalweekly.net/podcast.html
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* noted are in this week's pod-cast
NEU GESTALT - ALTERED CARBON (CD by Alex Tronic Records) *
NIKOS VELIOTIS & ANASTASIS GRIVAS - VERTICAL (CD by Low Impedance
Recordings)
OLDMAN - TWO HEADS BIS BIS (CD by Low Impedance Recordings) *
CARLOS GIFFONI - ADULT LIFE (CD by No Fun Productions)
A HANDFUL OF DUST - NOW GODS, STAND UP FOR BASTARDS / THE PHILOSOPHICK
MERCURY (2CD by No Fun Productions)
RAPOON - OBSCURE OBJECTS OF DESIRE (CD by Vivo Records) *
BROWN WING OVERDDRIVE - ESP ORGANISM (CD by Tzadik) *
MIKROKNYTES - DEKAKILLE (CDR by Kavekavity) *
NORTHERN VALENTINE - THE DISTANCE BRINGS US CLOSER (CD by Silber
Records) *
ELECTRIC BIRD NOISE - LE VESTIBULE/VESTIBULE TRANSITOIRE (CDR by No
More Stars) *
HOTEL HOTEL - THE SAD SEA (CD by Silber Records) *
SLICNATON - NOISEFLOOR (MP3)
CRISTAL - RE-UPS (LP by Flingco Sound System) *
BENJAMIN BRUNN - 77 (12" by Bine Music)
SLEEPS IN OYSTERS - WE KEPT THE MEMORIES LOCKED AWAY LIKE THE BEETLES
OF OUR CHILDHOOD, OR HOW TO APPRECIATE SOMEONE WHO'S ALWAYS AROUND
(CDR by Seed Records) *
GINGER LEIGH - MERCHANT OF DEATH (CDR, private) *
STEINBRUCHEL - HOME (CDR by Slaapwel Records) *
MAN'S LAST GREAT INVENTION - NONE (CD by Eh?) *
SUBMATUKANA (CDR by Turbinacarpus Records) *
CRACKED DOME - FLIPPING OFF THE SKY (CDR by Knife in the toaster)
FONIK - FUEL (CDR by Knife in the toaster)
FOSSILS - DAGOBAH (CDR by Knife in the toaster)
NEU GESTALT - ALTERED CARBON (CD by Alex Tronic Records)
As I had to do some business in my back room, I put this CD on without
noting press text, band name etc and just listened to this CD. But
since I was a bit distracted after a while, I suddenly thought: what
am I hearing? I couldn't remember starting to play a CD by Silent
Records from more then a decade ago. Once I moved back to the front
room, I saw the jewel case of Neu Gestalt again, and remembered it.
Their cover looks like a photoshop work which also remembers the
covers of Silent lookalikes from back then. Behind Neu Gestalt is one
Les Scott from Scotland, who dislikes almost all music before Anton
Webern. He was a member of September's Room, which was a duo and then
a solo album as Anti-Matter, but under his new moniker returns to
ambient house with both a big A and a big H. Slow rhythms, deep synth
washes, sometimes a bit abstract, dub like bass. Its a kinda of music
that I don't hear much lately, although occasionally I pull out a
Silent release or that excellent Meridian
Dream CD, whenever sparse time allows me. Which is why I liked this
release. I think a decade ago I would have put this off as too much of
a copy, but these days, when not so many copyists around in this
field, its almost like an original again. Maybe the early days of a
new revival? Maybe the title of this release is one that says it all?
(FdW)
Address: http://www.alextronicrecords.co.uk
NIKOS VELIOTIS & ANASTASIS GRIVAS - VERTICAL (CD by Low Impedance
Recordings)
OLDMAN - TWO HEADS BIS BIS (CD by Low Impedance Recordings)
Of these two releases I never heard of Oldman and also not of
Anastasis Grivas. The latter teams up with Nikos Veliotis, the greek
player of the cello. Grivas plays guitar, who he has custom made.
Their four long improvised pieces show an interest in improvisation
and in drone music. Each of the four tracks start the same, with a
long silent intro. Then, when things are audible, long sustained
sounds come alive, in which not always the instruments are to be
recognized - such as the moving of bricks sound in the third piece -
but which make throughout a nice dark piece of drone. Nothing great,
nothing outrageous good, but fine playing throughout. No new light in
the world of dark drones, simply quite alright.
Oldman is the solo project of one Charles-Eric Charrier, formerly one
half of the duo Man (who released on DSA and Sub Rosa) and 'Two Heads
Bis Bis' seems to be his first solo record. He plays here bass,
guitars, drums and some vocals, and creates a hard to define sound.
Somewhere on the cross road that you couldn't imagine that existed:
post rock, jazz, drone, ambient, improvised music and even electro-
acoustic music. Mainly post rock perhaps with a lot of the rest thrown
in, scattered around this. Totally free music in a way that it is
beyond rules, not free as in free jazz. Oldman doesn't accept any
musical rules, defies any genre, and rather wants to play whatever
comes to mind. But by doing so, he oddly enough creates his own
coherent sound genre - one without a name, but these tracks, how far
away they are spread over musical and beyond musical boundaries, this
trippy music is surely a fine music treat. (FdW)
Address: http://www.lowimpedance.net
CARLOS GIFFONI - ADULT LIFE (CD by No Fun Productions)
A HANDFUL OF DUST - NOW GODS, STAND UP FOR BASTARDS / THE PHILOSOPHICK
MERCURY (2CD by No Fun Productions)
One of the few labels of whom I always look forward to the next batch
of releases, No Fun Productions have one new release and one reissue
on offer for autumn this time. The new album comes courtesy of Carlos
Giffoni and it's a logical progression from his other recent albums
(Arrogance, Eternal Noise, Zamuro). He's now officially abanonded the
harsh digital sound of excellent earlier albums such as Welcome Home
and arrived at his own rendition of analogue synth sound sources into
a broody place all of his own. I personally find it a pity that the
digital onslaught of older material is gone, especially as he showed
himself to be such a master in that field, but Adult Life still holds
enough on its own to surprise and delight. Different from the other
recent albums is the emphasis on rhythm, which makes this almost sound
like a less rigid Pan Sonic, with a basic pulse that features in all
tracks making this material also sound quite melodic. It also makes it
all sound slightly
oldfashioned, but that shouldn't be considered a criticism as Giffoni
has a deft hand to turn this into exciting material, almost making me
forget his work of old.
A Handful Of Dust is the duo of Alastair Galbraith and Bruce Russell,
the latter of noiserock supergroup Dead C. They've been active since
1990, but appearances both on record and live have been sporadic. This
double album is a reissue of two albums that have been out of print
for a long time, originally released between 1993-95 on the New
Zealand label Corpus Hermeticum, run by Russell. Not only the name of
that label, but also the group name (taken from a T.S. Eliot poem),
the cover art and the album & track titles come from an interest in
old religion, gnostic philosophy and heresy, but that's just the
packaging. Although the music can sound apocalyptic at times, it's
grounded in a contemporary sense of noise improvisation. As could be
expected it doesn't sound dated for one minute, if this was released
this year I would've believed it as well. Galbraith's use of violin
has a contemporary in C. Spencer Yeh even. Actually, this could have
just fooled me as being a Burning Star Core
record if nobody would've tipped me off before. Most of it sounds
quite well-paced, there's not so much extreme noise freakout, it's
more about the mass and length of the tracks. Built on the sound of
violin, guitar feedback and electronics, this might be music that's 15
years, but it holds up with the very best in the field made today. A
great rediscovery. (RM)
Address: http://www.nofunproductions.com
RAPOON - OBSCURE OBJECTS OF DESIRE (CD by Vivo Records)
There was a time when I professionally listened to a lot of music by
Robin Storey, also known as Rapoon. It might have been in those days
that I decided, subconsciouness, that in another life I didn't need to
go back to the older Rapoon, and perhaps no need either to follow
whatever he was going next. Or at least for a while. Those were my
considerations when I started to play the latest CD by Rapoon 'Obscure
Objects Of Desire'. It took until 'Part 5 Program Memory' before I
recognized the good old Rapoon sound, even mixed with some even more
older zoviet*france (of which Storey was a founding member). The
minimalist, rhythmic, reversed sound, the raga like strings and the
echo and reverb units lined up. The four pieces before this were more
ambient like excursions, with highly processed religious voices, where
'the emptiness of institutions' and 'as close as possible' do not
differ too much from each other. It all culminates in 'The Emptiness
Of Art (I Made That One That)', which is
a twenty-six minute opus of all the Rapoon stylistic sounds: the
minimalist, reversed sounds, humming, the raga like rhythms on a
tabla, the delay, the reverb, the deep atmospheric mood music. It
seems like this track has everything in it, again, that happened
before that in the other six tracks - or perhaps I am merely
hallucinating. That might also be very well possible. It brings back
good memories this release. Maybe the time is right again, after a
serious gap of five years, to pick up upon the old Rapoon releases and
start playing them again. I have the impression that by and large not
many things have changed for Rapoon and his music, but that he
stumbled upon whatever he does best and decided to explore that for as
long as possible. No doubt his many fans like that approach - and so
that this occasional listener. (FdW)
Address: http://www.vivo.pl
BROWN WING OVERDDRIVE - ESP ORGANISM (CD by Tzadik)
MIKROKNYTES - DEKAKILLE (CDR by Kavekavity)
The link between these two releases is Derek Morton. Best known,
perhaps at least in these pages, as a member of Mikroknytes, who also
have a new release here, but also as a member of Brown Wing Overdrive,
a trio of Morton on banjo, effects, synth divination, Chuck Bettis on
electronics and vocals and Mikey IQ Jones on jaw harps, percussion,
objects and vocals. They live in New York where they create their
chaotic free run improvised music from the world of electricity. Other
than many alike, their playing doesn't deal with the instruments at
hand, but the crude electronic manipulation thereof, and Brown Wing
Overdrive places great interest in the use of vocals. Two vocalists
which scream, shout, whisper, hum and do everything in between those
extremes and cook up a highly vibrant version of improvised music,
almost in a punk rock manner. Its beyond any description, this quite
bizarre work. Sometimes a bit tedious, and hovering perhaps too much
in too simple use of delay pedals, but
then the vibrant style of their music makes up things quite nice. One
of those things that leaves you a bit exhausted afterwards. But this
careless wreck, this chaotic mayhem makes a nice contrast in the world
usually slow improvisations.
As Mykroknytes he works together with John Coursey, and they have
released a bunch of CDRs and CDs. Here a privately released CDR on
their own Kavekavity label. Morton plays electronics, effects, mind
control and Coursey plays violin, electronics, idea manufacturing.
Their sound is one of ultimate sound processing: its hard to recognize
anything in these abstract electronic sounds that can be traced back
to a real instrument. Sometimes this works out in a more improvised
way, sometimes in a more rhythmic way, but their main interest seems
to be lying inside drone related music. Too loud to lull the listener
asleep, but nice, sharp minimalist drone fields. That's where they are
best I think. The nine tracks are again perhaps a bit long for what
they have to offer and could perhaps be trimmed down a bit. Otherwise
I thoroughly enjoyed this release. Still raw and untamed, as its
predecessor 'Kaverna', but that adds a nice extra quality to the
music, I think. (FdW)
Address: http://www.tzadik.com
Address: http://www.kavekavity.com
NORTHERN VALENTINE - THE DISTANCE BRINGS US CLOSER (CD by Silber
Records)
ELECTRIC BIRD NOISE - LE VESTIBULE/VESTIBULE TRANSITOIRE (CDR by No
More Stars)
HOTEL HOTEL - THE SAD SEA (CD by Silber Records)
SLICNATON - NOISEFLOOR (MP3)
The differences between these three and a half releases on Silber
Records and related friends are small 'post rock and indie ambient' is
what it says on the sticker that these promo's arrive with. Northern
Valentine is a duo of Robert and Amy Brown, husband and wife. They
play guitar, violin and keyboards and are active since 1997 and have
six limited releases so far. Here they receive help from Jeffery
Bumiller on guitar, Marc Carazo on bass and Ben Fleury-Steiner on
guitar. Very much like the release by Neu Gestalt, this music is a
strong reference to past musical events, the post rock meet ambient
music. Lengthy sustaining sounds played on guitars and tons of effects
- a bit too much on the reverb side of things if you ask me, but it
certainly reaches for the dark atmospheres that bands like this want
to reach. Nice but not great.
Electric Bird Noise is just one person, Brian Lea McKenzie, who plays
ambient guitar for over a decade now. He offers two long pieces here
on his release, in which effectively explores a few things: feedback,
guitar drones and lots of sound effects - mainly the reverb and the
delay. But unlike Northern Valetine, his use of those effects is much
more controlled and do not play the leading part. Also his music is a
bit more freaked and spaced out. Other than doing a 'pure' ambient
piece of music, his music is more noise based, but not in a strict
noise scene, but rather in a heavy psychedelic manner. Pleasure
through pain. Not exactly a relaxing piece of music that is going on
here, but throughout, I felt, better than the previous release, which
however would make a perfect come down music after the Electric Bird
Noise.
Whereas these two drift more into ambient music than into the world of
post rock, then Hotel Hotel does it from an opposite direction. Much
more post rock than ambient. The origin of the band lie in P.D. Wilder
and Patrick Patterson, who toured with a drummer but who disappeared
in April 2007, but new members were found and guestplayers (such as
Kirk Laktas) were invited and 'The Sad Sea' is, I believe their second
release. Like said, this post rock in the best Godspeed tradition.
Drums, bass, space echo, guitar and violins make up the instrumental
sound of Hotel Hotel. Although I could write references to the empty
prairies of Texas where they hail from, they have much more a sea
reference. Not a bumpy sea with lots of waves, but the calm sea, with
ripples spreading and spreading. Each of the pieces start with a slow
drift and then expand on that theme and like Godspeed they work
towards a fine crescendo. Text book post rock, me thinks. Other than
Northern Valetine who arrive at
what
they do through improvisation, this is much more 'composed' and worked
out. Here is a band playing well tuned music. Again with nothing much
new around it, but its a fine job they are playing here. Musicwise and
packaging wise the best of this quartet.
Something entirely different is however Slicnaton, which is from the
circle of Silber friends. Behind Slicnaton (say slick-nay-ton) us
Nicholas Slaton solo, as opposed to Trio Slicnaton (see Vital Weekly
633) which saw Slaton working with various people. He plays solo
electronics here, along with a no-input mixer and glitches. Lots of
feedback like sounds, being the harsher version of many other no input
mixing artists. The sounds he generates on the spot are looped around
and from there on he creates his own fine mass of sound. Much more
noisier than the other three releases here, this is best played as the
first release of the four (which of course I didn't), simply because
it puts you in the right mood for music that is much more subtle and
subdued. Although this release was o.k., I think it would make much
sense hearing this in a concert situation. With the right volume, the
one that can't be achieved at home, this can surely be a true beauty
but maybe gets a bit lots at home.
(FdW)
Address: http://www.silbermedia.com
Address: http://www.nomorestarsrecords.com
Address: http://www.slicnaton.com/
CRISTAL - RE-UPS (LP by Flingco Sound System)
The three men behind Cristal have been around as such since 2001, but
'Re-Ups' is only their second release. The three are Jimmy Anthony,
Greg Darden and Bobby Donne, the latter from Labradford and Aix Em
Klemm, who play together infrequently. Cristal is, as far as I
understand, a laptop trio. And the play ambient music. Well, what's
new, I asked myself, and you do too probably. But I must say that I
very much like what I hear - not because it sounds so 'new', but
because its so delicately made, even the total noise outburst of 'Left
Of Swept', which seems to be totally out of place, but which makes
great sense among its four silent brothers. Its the antidote of the
silent play. It probably scares off the true ambient glitch head, but
its a necessary injection. The four other pieces are beautiful slow
pastoral humming pieces, with a fine dramatic and intense feel to it.
This is one of those things that holds nothing new under the sun, but
which makes a damn listening. Great record,
and I would love to hear from them. (FdW)
Address: http://www.flingcosound.com
BENJAMIN BRUNN - 77 (12" by Bine Music)
It seems that Bine Music only releases music by Scanner, Move D and
Benjamin Brunn. I am no DJ, but I love to go to places where people
dance to music. I even admit that one point I like minimal techno very
much, but these days, at home, this music hardly gets a welcome
applause from me. The house/techno inspired pieces on this 12" sound a
bit worn out, but perhaps its me who is worn out, even when half
through some strange brass band element is thrown in. Who knows. No
doubt the DJ knows how to handle this, and like to play this in their
environment, but for me personally, being the 'objective reviewer in
armchair', it didn't do much. (FdW)
Address: http://www.binemusic.de
SLEEPS IN OYSTERS - WE KEPT THE MEMORIES LOCKED AWAY LIKE THE BEETLES
OF OUR CHILDHOOD, OR HOW TO APPRECIATE SOMEONE WHO'S ALWAYS AROUND
(CDR by Seed Records)
We don't hand out prizes for packages - its the music that counts in
Vital Weekly and we don't give prizes for that either. But if there
would be a prize for packaging your release, then Seed Records would
be the award winner of this week for their release by Sleeps In
Oysters with that long long title. Five postcards in an envelope, the
CDR in an enveloppe, sealed off by wax, and then put in a handmade
fabric sleeve, complete with buttons to close it. Sleeps In Oysters
are a group, well duo at least, since I hear a male and a female
voice, which operate in the shady area of pop meets folk, meets
electronics. The voice sounds to me a bit like Björk, but perhaps
that's because I don't deal a lot of with popmusic that I find it hard
to find another reference. To that they (?) add a fine blend of jumpy
and bouncy rhythms, some guitar playing, a glockenspiel. Things do not
always match up and that's exactly where the power of this release
lies, I think. Its sufficiently strange enough to
be experimental, but on the other hand it links nicely to popmusic and
folk, mainly through the vocals. The music however follows nicely
vocals, but when listened closely is quite strange however. What seems
an uneasy marriage works out great. A highly pleasant release, not the
winner of the week, but surely one of the better ones. (FdW)
Address: http://www.seedrecords.co.uk
GINGER LEIGH - MERCHANT OF DEATH (CDR, private)
The believe in a just world is something I gave up on a long time ago.
Music industry, to limit my rant a bit, is based upon lies and
corruption (just finished Simon Napier-Bell autobiography of a few
years back), and always seem to promote the wrong people. Why the hell
am I reviewing yet another privately released CDR by Ginger Leigh and
why the hell is not on Cold Meat Industry, Staalplaat, Cold Spring or
Old Europa Cafe, to mention four labels that would suit him well? If
you can release In Slaughter Natives why not the sampled mayheswainsm
of Leigh? His industrial beating, orchestral interludes, ethnic
percussion, hip hop rhythms, his excellent use of vocal snippets, his
dark sense of humor. Perhaps its that latter thing that bothers the
music industry. If 'humor' is not direct in your face, but hidden in
the music, through weird samples, odd quotes and not a joke act, then
they are not there. To even bother to think what it is, is too much to
ask. Oh well, like I said, there is
no just world. Ginger Leigh, however great I think his music, will no
doubt be bound to unleash his crazy, eclectic music on privately
released CDRs, reaching only for those in the know. What a pity and
what a shame. Another pearl for swains. (FdW)
Address: http://www.gingerleigh.com
STEINBRUCHEL - HOME (CDR by Slaapwel Records)
Being an occasional insomniac myself, I am of course more than happy
with a label called Slaapwel Records, who presents music to fall
asleep to - it's a pity that I don't have any means of playing in the
bedroom, and to use earplugs is of course a bit odd. One guy called
Wim, who runs the label, asks artiest friends to present music that is
perhaps best described as boring. Steinbrüchel duly accepted the
invitation and you have thirty-three minutes to fall asleep here,
well, or to take a nap on the couch. The piece is based on guitar
sounds by Daisuke Miyatani, this piece is a thirty-three minute sense
of decay and fade out. The guitar sounds are present at the beginning,
although even then covered in the usual dust of the computer, but then
slowly drifts apart in an amorphous mass of sound, guitars becoming
piano like sounds, which slows down and fades out. Of course I didn't
fall asleep, but then I played this in the morning after a some
relatively good nights rest. Its music to
get
up well also. Once it has died out, one can start the day and play
some more heavy music. Somehow I don't think I will try this on
falling asleep with. Maybe because it doesn't seem right to do so. A
work of art should be enjoyed, cherished, thought about, and not
merely used to sleep by. This is a pretty nice release, best enjoyed
when being awake. (FdW)
Address: http://www.wixel.be/slaapwel
MAN'S LAST GREAT INVENTION - NONE (CD by Eh?)
Not much information on the release 'None' by Man's Last Great
Invention, but going to their blog and myspace, one can easily learn
something, such as the extensive line up of this band: Anderson Josef
Reinkordt (guitar), Topher Ware (keys), Jillian Savage (cello), Jon
McQuillan (bass), Elisabeth Reinkordt (film projection), Luke "ande
will always spell wrong" Polipnik (rhythms), Jason Buckner (korg,
singing bowl), Mathias Svalina (the howl of wolves), Michael Hernandez-
Stern (birds and sounds), Predator (rarr), Tom Currie (bass, guitar),
Chris, the magician, Lavaque (drums, soundscapes), Nick Kuhl (yes!
more drums!), Teal Gardner (sing sing), Anders Peterson (percuss) and
Jim Schroeder (guitar). This is free form freak folk at its best.
Lengthy improvisations on guitar, the oh-ah (endless sustain required)
vocals, and drone like sounds that bubble under the sea here. I read
an online review of this saying we should not complain that this is
too long (seventy minutes), but I think
its
all a bit too much, perhaps simply for the fact that there is not
enough difference between the various pieces. Maybe with all the right
hallucinating substances that both playing and hearing this kind of
music requires, its a long and flowing trip into the world of
subconsciousness, but if I would give in to every musical invitation
to take drugs, I'd be in rehab and then there is no Vital Weekly. So I
skip the drugs (on a daily routine) and think with this: great music,
but for the amount of variation (or the lack thereof), a bit too long
(at least twenty or so minutes). (FdW)
Address: http://www.publiceyesore.com
SUBMATUKANA (CDR by Turbinacarpus Records)
'Sound is our structure, movement our main component' says Submatukana
on the cover of their self-titled release. Its a duo of Igor Yalivetz
and Yuri Kupriyanov, who use some computer, kaos pad, electric guitar
to create music that relies heavily on the rhythms. Rhythms that are
borrowed from the world techno, but fed through sound effects which
add an industrial feel to the music. This is music in which the rhythm
is the glue of the music and everything else is ornament. This is not
music that you can easily dance too. Also its not always structured as
promised on the cover. A piece like 'EX 003' for instance derails
easily in an extensive use of the kaos pad. But throughout its pretty
tight music. I am reminded of some latter day Esplendor Geometrico,
with whom they seem to share a similar interest in harsh rhythm
combined with piercing noise, but still remaining to sound pretty
accessible. Maybe a bit long in total, and maybe some of the pieces
are a bit long in itself, but
otherwise a pretty fine release. (FdW)
Address: http://www.turbinicarpus.net.au
CRACKED DOME - FLIPPING OFF THE SKY (CDR by Knife in the toaster)
FONIK - FUEL (CDR by Knife in the toaster)
FOSSILS - DAGOBAH (CDR by Knife in the toaster)
www.knifeinthetoaster.com says it will be here soon. "You can check
back again, if you want" - http://knifeinthetoaster.tripod.com/ - last
post 2006? http://www.discogs.com/label/Knife+In+The+Toaster gives a
listing of 82 releases of which these are the latest 3- google maps
for this "Noise" label from St. John's NL Canada is sponsored by
Memories Forever PartyBus. If you would like to talk to someone about
our services or anything you have seen on the website, please feel
free to contact our friendly and competent staff....Ross, Ed or Alma
at (709) 738-4336. So maybe Alma can help? Yes I am making a sarcastic
point - "Some people think it's perhaps 'cool', 'fun', 'art' or
otherwise to send something to Vital Weekly that has no
information.." Discogs again, Fossils is David Payne, Scott Johnson,
Jeremy Buchan, Cracked Dome is one half of the sonic noise duo known
as The Sunken out of Kelso, nothing on Fonik(2). The genre is
described as Abstract, Musique Concrète, Noise - which
needs to be understood in a new way if any sense is to be made of
labels relating to what were experimental, intellectual activities of
50 years ago. The recordings themselves are on commercial CDRs- Fuji
Film and Maxell, b&w photocopies for artwork- with a sticky label
slapped across the surface of the disk- low core graphics, Fossils is
in a DVD case the others in poly bags. WTSA, what the shit
aesthetics.. This and the lack of information, save Cracked Dome who
thank Satan and evil doers the world over.. has forced me into this
(long) analysis. My wife often sticks a knife in the toaster! and I
pointed out to her the other night, mathematicians regard 2 as being
identical to 1.999... I was very upset, (in a platonic way) but she
just gave a WTSA look or was it a WTF... What has happened to the
truth... this question is answered by KITT A.K.A. post - theorists
everywhere- with WTSA. (This might help Nietzsche and Heidegger - but
I doubt they would approve) Fossils is not
Noise - (though it can now be so called) more audio collage - of the
type first produced by the tape cut-ups of the 50s and 60s, bits of
found sound, distortion , audio clips from video/TV/Film? Low freq
rumblings and such - cut up though not chopped - so sounds overlay and
merge. Fonik(2)s 20-30 minute track is of noodling on a drum kit,
twiddling with a synth and audio chop/loop of film dialogue.
Cracked Dome employ static, noise drones - a short track 1, rhythmic
2- like train wagons, and a slow build 20 minute+ track 3. The problem
here is that the WTSA means glitches skipping and looping appear @ 20
minutes, and skipping/looping also in 4, 5 & 6, from errors in the
media (not the message?). In lieu of explanation, I maintain that
this is significant work - even if it seeks insignificance - in
packaging production and construction. Not because of any 60s anti art
or Dadaism - but because it presents a phenomenon of not creativity -
or anti creativity but usability, which is the metaphysics of "After-
theory". "Abstract, Musique Concrète, Noise" as its called - like the
term "modern art" - is now *used* to define a space which is not
structured, grounded in knowledge, theory, or meaning - i.e. not
representational. This particular genre/community has assimilated
the term "noise", they have not "made" anything (new) but inhabit a
space once created by the moderns of
the last century. Post-theorists use structures - here "creatively" -
like those who use myspace etc. without understanding the purpose or
method of its creation, foxes living in badger holes. They mimic
because they wear only the skin (avatar) of the past - of
"modernism". The technology or meaning is lost to them, like post
roman Europe in the dark ages, the metaphysics, culture, theory,
politics, history, aesthetics which created modernity's structures -
ART MUSIC NOISE are lost to them as its simply no longer required and
more importantly no longer possible. This is the correct (my)space of
post-theory, of users- not critics or creators. It is a new space,
though not one created, of the re-use of modernity's surviving
outward appearances and more historical in a Fukuyamaian sense than
the current oscillations of economics and politics. (jliat)
reliable Address http://www.discogs.com/label/Knife+In+The+Toaster
HELP NEEDED!
The Vital Weekly archive is looking for missing copies of their own
podcasts. We seem to have misplaced the podcasts for issues 570, 571
and 582. Please contact us if you have them! <vital@vitalweekly.net>
1. From: "Ph. SIMON" <phsimon@voila.fr>
November 11th - Studio672 / Stadtgarten - Merzbow & Richard Pinhas duo
+ Das Synthetische Mischgewebe - Cologne, Germany
infos > www.stadtgarten.de > www.aufabwegen.de
November 12th - Instants Chavirés - Merzbow & Richard Pinhas duo + DJ
K.OZ - Paris, France
infos > www.instantschavires.com
advance booking for paris date
bimbo tower > 5, passage saint-antoine, paris XIème
souffle continu > 20-22 rue gerbier, paris XIème
amiando.com > http://www.amiando.com/IC121108
MERZBOW & Richard PINHAS::KEIO LINE::2 CDs Cuneiform Records::3 LPs
Dirter Promotions
www.merzbow.net
www.richardpinhas.com
also SOUFFLE CONTINU, NEW RECORD STORE IN PARIS!!!
check it here > http://soufflecontinu.free.fr
2. From: gert-jan prins <gjprins@xs4all.nl>
Tuesday, November 4, 2008 at STEIM, Amsterdam, the Netherlands
Greatest Hits Concert
Axel Dörner-Toshimaru Nakamura
Gene Coleman-Raed Yassin-Lucio Capece
Gert-Jan Prins
curated by Raed Yassin
http://www.steim.org/steim/activity.php
--------------
November 7,8,9, 2008 at Scheepsruim van de Avontuur, Leeuwarden, the
Netherlands
PASSAGE...LOOS
Film & Live Music on a ship,
Camera, montage, productie: Telemach Wiesinger, D, 2008, silent, zwart/
wit, 16mm
Compositie: Cornelis de Bondt,
Live muziekuitvoering: LOOS
Musici: Peter van Bergen (7-8-9 november), Gert-Jan Prins (7-8-9
november), Guus Janssen (8-9 november), Teodora Stepancic (7 november)
Filmmaker Telemach Wiesinger reisde langs havengebieden om historische
draai- en hefbruggen, de laatste hovercrafts en reuzenschepen in
bewegende beelden vast te leggen.
Technische dinosauriërs die een zinnebeeldig document van Wiesingers
tijdsloze reisfantasie opleveren.
Film poem PASSAGE...S en compositie SANS FAIR DE VOUS DEPARTE (2008, wp)
7-8 november 20:30 en 21:30 uur, 9 november 15:00 en 16:00 uur (ovb)
scheepsruim van de Avontuur, het laatste Nederlandse zeilende
vrachtschip , Museumhaven Leeuwarden,
PASSAGE...LOOS is een coproductie van
BUOG, Museumhaven Leeuwarden en Noordelijk Film Festival
http://www.BUOG.nl
http://www.barakiel.nl
http://www.loosfoundation.com
http://www.gjp.info
http://www.petervanbergen.nl
http://www.geestgronden.com/
3. From: dp <dp@tochnit-aleph.com>
LIVE
30th october 2008
musée des beaux arts de nantes, 10 rue georges-clemenceau, nantes,
france
dp
http://www.apo33.org
7th november 2008
kunstraum walcheturm, kanonengasse 20, zürich, switzerland
dp, eran sachs (jerusalem)
www.walcheturm.ch
12th december 2008
moods im schiffbau, zürich, switzerland
dp & marc zeier & karen geyer, jason kahn & ralph steinbrüchel
13th december 2008
villa rosenau, neudorfstrasse 93, basel, switzerland
dp, iD (ashley davies), b°tong
10th february 2009
theatre du saulcy, université paul verlaine, metz, france
dp, michael worfeld, billy roisz, xavier querel
4. From: adam sonderberg <adam@longboxrecordings.com>
set 3:
Olivia Block, electronics, prepared materials
Adam Sonderberg, drum, tone generator
Christian Weber (CH), contrabass
set 2:
Asimina Chremos, movement
Carol Genetti, voice
Aaron Zarzutzki, no-output turntable
set 1:
Joseph Clayton Mills, electronics
Jason Stein, bass clarinet
friday, 7 november 2008 @ 8.30PM
enemy - 1550 n. milwaukee, ave. 3rd flr., chicago
http://enemysound.com/
suggested donation.
5. From: David Galbraith <djg@panix.com>
I'm performing with Analogos this Wednesday at <http://maps.google.com/maps?f=q&hl=en&geocode=&q=882+Third+Avenue+brooklyn&sll=40.658406,-74.004593&sspn=0.010223,0.017788&ie=UTF8&g=882+Third+Avenue+brooklyn&ll=40.65756,-74.004593&spn=0.010223,0.017788&z=16&iwloc=addr
Diapason
882 Third Avenue (between 32nd and 33rd Street), 10th floor
Brooklyn, NY 11232
Subways: D, N, R to 36th Street
<http://maps.google.com/maps?f=q&hl=en&geocode=&q=882+Third+Avenue+brooklyn&sll=40.658406,-74.004593&sspn=0.010223,0.017788&ie=UTF8&g=882+Third+Avenue+brooklyn&ll=40.65756,-74.004593&spn=0.010223,0.017788&z=16&iwloc=addr
Phone 718.499.5070 | E-mail info@diapasongallery.org
About Diapason http://www.diapasongallery.org
Analogos 12 - a night of "vintage" analog synthesis
Wednesday October 29 at 8:00 pm
Performances and informal discussions, with KABIR CARTER, DAVID
GALBRAITH, KATO HIDEKI, MICHAEL J SCHUMACHER, SERGEI TCHEREPNIN,
STEFAN TCHEREPNIN AND ED TOMNEY
Kabir Carter: MoogerFooger and Moog pedals and synthesizers
David Galbraith: self-built electronics
Kato Hideki: Octave "Cat" synthesizer, bass
Michael J Schumacher: Steiner-Parker Synthacon synthesizer
Sergei Tcherepnin: Serge modular synthesizer
Stefan Tcherepnin: Serge modular synthesizer
Ed Tomney: EMS VCS 3 "Putney" synthesizer, various
--
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All written by Frans de Waard (FdW), Dolf Mulder (DM) <dolf.mulder@hetnet.nl
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, Robert Meijer (RM), Niels Mark (NM), Jeff Surak (JS), Craig N
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(CN), Boban Ristevski (BR), Maurice Woestenburg (MW), Jliat (Jliat),
Freek Kinkelaar (FK), Magnus Schaefer (MSS), Steffan de Turck (SDT)
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