{"id":38741,"date":"2015-10-06T21:07:47","date_gmt":"2015-10-06T19:07:47","guid":{"rendered":"http:\/\/modisti.tk\/15\/?p=38741"},"modified":"2015-12-31T16:47:34","modified_gmt":"2015-12-31T14:47:34","slug":"vital-weekly-1002","status":"publish","type":"post","link":"https:\/\/modisti.com\/15\/vital-weekly-1002\/","title":{"rendered":"Vital Weekly 1002"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/modisti.tk\/15\/wp-content\/uploads\/2015\/10\/ASMUS-TIETCHENS.jpg\" alt=\"ASMUS TIETCHENS\" width=\"600\" height=\"400\" class=\"alignnone size-full wp-image-38743\" srcset=\"https:\/\/modisti.com\/15\/wp-content\/uploads\/2015\/10\/ASMUS-TIETCHENS.jpg 600w, https:\/\/modisti.com\/15\/wp-content\/uploads\/2015\/10\/ASMUS-TIETCHENS-300x200.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p><span class=\"Apple-style-span\">ASMUS TIETCHENS &#8211; ORNAMENTE (ZWISCHEN NULL UND EINS) (CD by Line) *<br \/>\nTHE NECKS &#8211; VERTIGO (CD by Northern Spy Records) *<br \/>\nPC WORSHIP &#8211; BASEMENT HYSTERIA (CD by Northern Spy Records)<br \/>\nLEA BERTUCCI &amp; LEILA BORDREUIL &#8211; L&#8217;ONDE SOUTERRAINE (CD by Telegraph Harp Records) *<br \/>\nGREGORY B\u00dcTTNER &#8211; WENN UNS JEMAND H\u00d6RT &#8211; SAG &#8211; WIR HABEN EINFACH KURZ LUFT GESCHNAPPT (CD by 1000F\u00fcssler) *<br \/>\nKOCH &amp; BADRUTT &amp; KOCHER (CD by Bruit) *<br \/>\nLUCA SIGURTA &#8211; WARM GLOW (CD by Monotype Records) *<br \/>\nYU MIYASHITA &#8211; HOMAGE (CD by Signaldata) *<br \/>\nERYCK ABECASSIS &#8211; ILUMEN (CD by Entr&#8217;acte) *<br \/>\nMARTIJN TELLINGA &#8211; POSITIONS (CD by Cronica) *<br \/>\nWIL BOLTON &#8211; INSCRIPTIONS (CD by Dronarivm) *<br \/>\nHAKOBUNE &amp; DIRK SERRIES &#8211; OBSCURED BY BEAMS OF SORROW (CD by Paddy White Mountain) *<br \/>\nCHIHEI HATAKEYAMA &#8211; FIVE DREAMS (CD by Paddy White Mountain) *<br \/>\nLOREN CHASSE &#8211; THE ANIMALS AND THE SHADOWS (CD by Semper Florens) *<br \/>\nAIDAN BAKER &#8211; ELEMENT (CD by Teta-Morphosis) *<br \/>\nFIVE ELEMENTS MUSIC &#8211; OBOROT (CDR by Still*Sleep) *<br \/>\nTHE DEAD C &#8211; PALISADES\/T.I.F.F. (7&#8243; by Il Dischi Del Barone)<br \/>\nMTO &#8211; MARY=X (7&#8243; lathe cut by Static Caravan)<br \/>\nGARY FISHER &#8211; JOINED APART (CDR, private) *<\/p>\n<p><iframe loading=\"lazy\" width=\"660\" height=\"180\" src=\"https:\/\/www.mixcloud.com\/widget\/iframe\/?embed_type=widget_standard&amp;embed_uuid=4a1cb4c9-25d5-43dd-91fb-9688eae756cd&amp;feed=https%3A%2F%2Fwww.mixcloud.com%2FVitalweekly%2Fvital-weekly-1002%2F&amp;hide_cover=1&amp;hide_tracklist=1&amp;replace=0\" frameborder=\"0\"><\/iframe><\/p>\n<div style=\"clear: both; height: 3px; width: 652px; \"><\/div>\n<p style=\"display: block; font-size: 11px; font-family: 'Open Sans', Helvetica, Arial, sans-serif; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 3px; padding-right: 4px; padding-bottom: 3px; padding-left: 4px; color: rgb(153, 153, 153); width: 652px; \"><a href=\"https:\/\/www.mixcloud.com\/Vitalweekly\/vital-weekly-1002\/?utm_source=widget&amp;utm_medium=web&amp;utm_campaign=base_links&amp;utm_term=resource_link\" target=\"_blank\" style=\"color:#808080; font-weight:bold;\">Vital Weekly #1002<\/a><span> by <\/span><a href=\"https:\/\/www.mixcloud.com\/Vitalweekly\/?utm_source=widget&amp;utm_medium=web&amp;utm_campaign=base_links&amp;utm_term=profile_link\" target=\"_blank\" style=\"color:#808080; font-weight:bold;\">Vitalweekly<\/a><span> on <\/span><a href=\"https:\/\/www.mixcloud.com\/?utm_source=widget&amp;utm_medium=web&amp;utm_campaign=base_links&amp;utm_term=homepage_link\" target=\"_blank\" style=\"color:#808080; font-weight:bold;\"> Mixcloud<\/a><\/p>\n<div style=\"clear: both; height: 3px; width: 652px; \"><\/div>\n<p>tracklist for Vital Weekly 1002:<\/p>\n<p>0000 Tune<br \/>\n0014 Luca Sigurta &#8211; Pleistocene<br \/>\n0322 Yu Miyashita &#8211; To Goethe<br \/>\n0630 Gregory B\u00fcttner &#8211; Falte<br \/>\n0937 Hakobune &#038; Dirk Serries &#8211; Obscured<br \/>\n1243 The Necks &#8211; Vertigo<br \/>\n1549 Aidan Baker &#8211; Elementary<br \/>\n1900 Asmus Tietchens<br \/>\n2206 Chihei Hatakeyama &#8211; February<br \/>\n2514 Loren Chasse &#8211; In The Tubes<br \/>\n2822 Gary Fisher &#8211; Listen The Birds<br \/>\n3128 Five Elements Music &#8211; Cycle<br \/>\n3436 Wil Bolton &#8211; Hedera<br \/>\n3746 Koch &#038; Kocher &#038; Badrutt<br \/>\n4055 Lea Bertucci &#038; Leila Bordreuil<br \/>\n4405 Martijn Tellinga &#8211; Branching Into Others, For A Large Instrumental Field<br \/>\n4714 Eryck Abeccassis &#8211; Ilu Who Men<br \/>\n5023 Tune<\/p>\n<p>\nASMUS TIETCHENS &#8211; ORNAMENTE (ZWISCHEN NULL UND EINS) (CD by Line)<\/p>\n<p>Line is surely missed from the pages of Vital Weekly, for reasons I am not\u00a0<br \/>\nentirely aware of; maybe it&#8217;s the high postage these days, which pesters\u00a0<br \/>\nso many labels on both sides of the pond, or maybe we&#8217;ve fallen out of grace\u00a0<br \/>\nover something we wrote; perhaps they just have digital promos &#8211; I simply\u00a0<br \/>\ndon&#8217;t know. But Asmus Tietchens is a dedicated follower and supporter of\u00a0<br \/>\nVital Weekly and send down a copy of his release on Richard Chartier&#8217;s\u00a0<br \/>\nLine label. But maybe that&#8217;s because we (and this time it&#8217;s actually &#8216;we&#8217;,\u00a0<br \/>\nwhereas usually I mix-up &#8216;me&#8217; and &#8216;we&#8217;; but in this case: more writers\u00a0<br \/>\nfor Vital Weekly enjoy his work) are supports of mister Tietchens&#8217; work\u00a0<br \/>\nfor quite some time, and I for one surely heard at least 90% of his\u00a0<br \/>\nreleased output. We could tell you were works fit in that career. In\u00a0<br \/>\nVital Weekly 907 I reviewed &#8216;Fast Ohne Title, Korrosion&#8217;, which seemed\u00a0<br \/>\nto be something entirely different in that long line of releases, with\u00a0<br \/>\nloud synthesized sounds, tape manipulation and such like and I wondered\u00a0<br \/>\nif that would something of a new direction. So far I haven&#8217;t heard\u00a0<br \/>\nanything by Tietchens that came close to that release, and &#8216;Ornamente&#8217;\u00a0<br \/>\nis not different. That is a pity, to be honest. Here Tietchens is on the\u00a0<br \/>\nsame trail as his previous releases for the Line label, and before that\u00a0<br \/>\non Mille Plateaux (plus a bunch of other, one-off releases such as &#8216;Fahl&#8217;\u00a0<br \/>\non Farmacia901, see Vital Weekly 967). In all of these works Tietchens\u00a0<br \/>\nis the reductionist, or as he said it himself he feels connected to the\u00a0<br \/>\nworld of Ikeda and Noto, but that he is not part of it. I am not even sure\u00a0<br \/>\nif he would agree to the word &#8216;reductionist&#8217;. Unlike many others who work\u00a0<br \/>\nin the same field of reduced electronics, Tietchens is not someone who uses\u00a0<br \/>\nall sorts of computer plug-ins, max\/msp or some such, but in stead works in\u00a0<br \/>\nvery analogue way. Recycling sounds is what he always does, so whatever the\u00a0<br \/>\norigin of the source material: by the time it leaves the studio it no longer\u00a0<br \/>\nsounds like anything like that. Tietchens feeds his sound material through\u00a0<br \/>\nall sorts of filters and strips the sounds naked to just a few sounds remain.\u00a0<br \/>\nA few ticks and clicks, some slow moving sound (in &#8216;Ornament 5&#8217;), which is\u00a0<br \/>\nalmost like a drone. It sounds very quiet and distilled. In the opening piece,\u00a0<br \/>\n&#8216;Ornament 1&#8217;, we might even recognize an organ-like melodic touch, but here\u00a0<br \/>\ntoo the abstraction has already set in. In &#8216;Ornament 2&#8217; and &#8216;Ornament 3&#8217; it\u00a0<br \/>\nseems like Tietchens is using water sounds, like he did in his various\u00a0<br \/>\n&#8216;Hydrophonie&#8217; releases (and maybe also in &#8216;Ornament 4&#8217;, but that one also<br \/>\nhas quite a lot drones below the surface). It&#8217;s not a Tietchens release you\u00a0<br \/>\nhaven&#8217;t heard before, it&#8217;s the not anticipated follow-up to &#8216;Fast Ohne Title,\u00a0<br \/>\nKorrosion&#8217;, a pity at least in this little corner, but it&#8217;s another damn\u00a0<br \/>\nfine Asmus Tietchens release! (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/lineimprint.com\/\">http:\/\/lineimprint.com<\/a><\/p>\n<p>THE NECKS &#8211; VERTIGO (CD by Northern Spy Records)<br \/>\nPC WORSHIP &#8211; BASEMENT HYSTERIA (CD by Northern Spy Records)<\/p>\n<p>About two years ago I was pleasantly surprised by a release by The Necks,\u00a0<br \/>\n&#8216;Open&#8217; (Vital Weekly 911). I had never heard of them, which caused some fun\u00a0<br \/>\nby some: &#8216;how come you never heard of The Necks&#8217;? But now I am more aware,\u00a0<br \/>\nthank you. This Australian trio consists of Tony Buck on drums, Lloyd Swanton\u00a0<br \/>\non bass and Chris Abrahams on piano and maybe keyboards &#8211; there is no actual\u00a0<br \/>\nlist on the cover. The website mentions Hammond Organ. This is their 18th\u00a0<br \/>\nrelease so far and it&#8217;s a studio recording. Mentioned is however that a typical\u00a0<br \/>\npiece by The Necks starts out with one player playing a motif, but the way\u00a0<br \/>\n&#8216;Vertigo&#8217; starts is a bit different. It seems as if we come in straight away,\u00a0<br \/>\nin the middle of proceedings and that goes on for the entire forty-some minutes\u00a0<br \/>\nof this piece. Apparently they initially wanted to have some kind of drone\u00a0<br \/>\nrunning through this, but in the end, somewhere half way through, that drone\u00a0<br \/>\nis broken up, but it returns later on. Buck plays the drone with a lot feeling\u00a0<br \/>\non the cymbals and Abrahams with some keys glued down on the Hammond, leaving\u00a0<br \/>\nhands free to play the piano on top of that, while Swanton plays the bass\u00a0<br \/>\nsteady most of the time but also finds his place to improvise on top of that.\u00a0<br \/>\nThe second half seems a bit jazzier than the denser first half, even when both\u00a0<br \/>\nsides of the open ended break in the middle are pretty much hermetically closed.\u00a0<br \/>\nThere is even a bit of distortion going on in the second half, almost like a\u00a0<br \/>\nrock band. Along with &#8216;Open&#8217; I think this is another great release of &#8216;aussie&#8217;\u00a0<br \/>\nnew jazz (although: what is &#8216;new&#8217; when you did eighteen releases so far?).\u00a0<br \/>\nLast time I said &#8216;ambient jazz?&#8217; and this time I&#8217;d say &#8216;doom jazz?&#8217;. It&#8217;s surely\u00a0<br \/>\na fantastic jazz album for anyone who says &#8216;I don&#8217;t like jazz&#8217;: these guys\u00a0<br \/>\nproof you wrong.<br \/>\n\u00a0\u00a0 The other release on Northern Spy left me somewhat confused: this is,\u00a0<br \/>\nI believe, the first time they send some music down here and maybe they have\u00a0<br \/>\nnot an idea about the kind of music Vital Weekly writes about. Itunes pops\u00a0<br \/>\nup and calls this &#8216;indie rock&#8217;, exactly the kind of thing I have no idea about.\u00a0<br \/>\nNot from anything current or old. It sure sounds very rock like indeed, punky,\u00a0<br \/>\nfeedback like, with vocals, quite noisy, but also heavy on the rock side.\u00a0<br \/>\nMaybe this is for hip people? Something I certainly consider myself not to be?\u00a0<br \/>\nPieces are long here, from five to thirteen minutes and there are only four\u00a0<br \/>\npieces. In &#8216;My Lens&#8217; it almost seems like a couple of songs stuck together.\u00a0<br \/>\nActually it&#8217;s not bad, but it&#8217;s just not something that is very much at home\u00a0<br \/>\nat Vital Weekly, I think. I am sure &#8216;indie rock&#8217; has platforms elsewhere\u00a0<br \/>\nwhere this sort of thing is covered much better. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/northernspyrecords.com\/\">http:\/\/northernspyrecords.com\/<\/a><\/p>\n<p>LEA BERTUCCI &amp; LEILA BORDREUIL &#8211; L&#8217;ONDE SOUTERRAINE (CD by Telegraph Harp Records)<\/p>\n<p>The work of Lea Berttucci didn&#8217;t go by Vital Weekly unnoticed; especially her two\u00a0<br \/>\nsolo releases as reviewed in Vital Weekly 909 and 966 were particular good. She\u00a0<br \/>\nplays the bass clarinet and works with sounds from a more electro-acoustic nature.\u00a0<br \/>\nAs an improviser she is not shy to use studio technology, such as using multiple\u00a0<br \/>\nlayers of her own playing. Leila Bordreuil is not someone I heard of before.\u00a0<br \/>\nShe is originally from France and plays the cello and has played with Marina\u00a0<br \/>\nRosenfeld, Anthony Coleman, Tom Chiu (Flux Quartet), Chris Corsano, Eli Keszler,\u00a0<br \/>\nRichard Teitelbaum and many others. She also composes pieces for the American\u00a0<br \/>\nSymphony Orchestra. In &#8216;her composed works draw from a similar texture-based\u00a0<br \/>\nmusical aesthetic while developing relationships between sound and space&#8217; and\u00a0<br \/>\nperhaps that&#8217;s something that we feel reflected in the release with Lea Bertucci.\u00a0<br \/>\nIn 2013 they recorded this on two-inch magnetic tape (I am not sure why that is\u00a0<br \/>\nmentioned or important) in a large church hall. The four pieces (spanning thirty-<br \/>\ntwo minutes) explore nature of a large space and how sound bounces around in there.\u00a0<br \/>\nThe two players play improvised music and not necessarily go for the longer, the\u00a0<br \/>\nmore sustaining tones, but also, and what seems to me the majority, the shorter\u00a0<br \/>\nmore acute sounds, making lots and lots of small gestures on both their instruments.\u00a0<br \/>\nIf I&#8217;m honest, and I know I should be, I think I don&#8217;t always hear the big space\u00a0<br \/>\nthis was recorded in. Perhaps if this was picked up with microphones close by,\u00a0<br \/>\nas well as far away and then mixed together, I think this could have been clearer.\u00a0<br \/>\nNow it just doesn&#8217;t seem to be there that much. The four pieces are true delights\u00a0<br \/>\nof freely improvised music, and both players call and respond to each other quite\u00a0<br \/>\nwell. There is a fine, delicate play going on between these two highly gifted\u00a0<br \/>\ninstrumentalists. Perhaps a bit short, but I put it on repeat straight away. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/telegraphharp.com\/cat\">http:\/\/telegraphharp.com\/cat<\/a><\/p>\n<p>GREGORY B\u00dcTTNER &#8211; WENN UNS JEMAND H\u00d6RT &#8211; SAG &#8211; WIR HABEN EINFACH KURZ LUFT\u00a0<br \/>\nGESCHNAPPT (CD by 1000F\u00fcssler)<\/p>\n<p>On his own label 1000F\u00fcssler, B\u00fcttner has a new release with two slightly older\u00a0<br \/>\npieces and the first one is the title piece, which he translates as &#8216;if somebody\u00a0<br \/>\nhears us &#8211; tell them &#8211; we only had to catch a breath&#8217;, and its music to a performance\u00a0<br \/>\npiece by Anja Winterhalter and it&#8217;s from 2010. What the performance was about isn&#8217;t\u00a0<br \/>\nmentioned, which is perhaps a pity as now it remains a piece of music, created with\u00a0<br \/>\nthe use of cracks, hiss, pops. B\u00fcttner uses a laptop, but also field recordings,\u00a0<br \/>\nmicrophones, small speakers, objects and some treatment of all of that, again using\u00a0<br \/>\nthe laptop. That&#8217;s the kind of work we find here in this title piece and B\u00fcttner does\u00a0<br \/>\na fine job, but not something out of the ordinary I think. It fits his own previous\u00a0<br \/>\nreleases, perhaps a bit more refined, a bit more delicate, but at nineteen minutes\u00a0<br \/>\nalso perhaps a bit on the long side for what it is. The other piece on this release\u00a0<br \/>\nis &#8216;Falte&#8217;, which is over thirty-three minutes, which uses sine waves, digital crackles\u00a0<br \/>\nand white noise, which B\u00fcttner plays back over different external loudspeakers,\u00a0<br \/>\nwhich were prepared with resonant objects like tin cans, tubes, wooden boxes &#8216;to add\u00a0<br \/>\nsome natural acoustics&#8217; and also &#8220;pure sine wave without any overtones reacted with\u00a0<br \/>\nthe physical characteristics of a tin can or white noise be filtered by the resonance\u00a0<br \/>\nchamber of a plastic tube&#8217;. A work that belongs to the world of musique concrete,\u00a0<br \/>\nI&#8217;d say. It&#8217;s not easy, if not impossible at all, to tell why I enjoyed this piece\u00a0<br \/>\nover the other one. Maybe it&#8217;s because it uses sounds that I find more appealing?\u00a0<br \/>\nMaybe the whole form sound collage works better in this piece? The sine waves shift\u00a0<br \/>\nback and forth and keep changing the way the sound, sometimes close by, sometimes\u00a0<br \/>\nfrom afar and clearly cut into lots of smaller segments: just like a mighty musique\u00a0<br \/>\nconcrete piece would dictate a composer. There is nothing in here that is on an\u00a0<br \/>\nendless sustained routine or noise for the sake of more noise. Sometimes it&#8217;s loud\u00a0<br \/>\nfor sure, but then sometimes, in fact most of the times, it&#8217;s not, and it moves along\u00a0<br \/>\nbetween various degrees of audibility, thus remaining to keep the attention of the<br \/>\nlistener until the very end. This is, for me at least, B\u00fcttner at his very best.\u00a0<br \/>\nThis piece, alone, on a CD, would have been also just enough, and the title piece\u00a0<br \/>\ncould have been a 3&#8243;CDR for the die-hard fans only. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.1000fussler.com\/\">http:\/\/www.1000fussler.com<\/a><\/p>\n<p>\nKOCH &amp; BADRUTT &amp; KOCHER (CD by Bruit)<\/p>\n<p>Only two weeks I reviewed a recording from St. Petersburg by Gaudenz Badrutt (acoustic\u00a0<br \/>\nsound sources and live sampling), Ilia Belorukov (alto saxophone, objects) and Jonas\u00a0<br \/>\nKocher (accordion) and now Kocher and Badrutt team with Hans Koch on bass clarinet for\u00a0<br \/>\na recording from May 2nd 2014 in Rome. This is the world of improvised music and this\u00a0<br \/>\nconcert was nothing different. I have no idea what Badrutt does, come to think of it.\u00a0<br \/>\nThe three players here seem to have more interest in playing short sounds, rather than\u00a0<br \/>\nlong ones, and I thought that was remarkable. With the accordion it&#8217;s possible to play\u00a0<br \/>\nthose &#8216;long&#8217; sounds, and the clarinet could do variation of both; this is not the case\u00a0<br \/>\nwith this release. If there is some kind of variation then it lies very much in the use\u00a0<br \/>\nof &#8216;loud&#8217; versus &#8216;silence&#8217; &#8211; &#8216;quiet&#8217; is a better word, as it never gets fully silent.\u00a0<br \/>\nIt never gets super loud either, not in the sense of &#8216;noise&#8217; that is. Only on three\u00a0<br \/>\noccasions, maybe eight minutes in total things become very audible and hints towards\u00a0<br \/>\nsomething more drone\/noise like. As said it&#8217;s very hard to hear what Badrutt does here,\u00a0<br \/>\nbut these thirty-four minutes is something quite intense all together; especially the\u00a0<br \/>\nparts which appear to be very quiet require some concentration and dedication before\u00a0<br \/>\nunfolding some of it&#8217;s beauty. Probably the best thing would have been to watch this\u00a0<br \/>\nin concert, but also on CD it still has quite some beauty. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.bruit.asso.org\/\">http:\/\/www.bruit.asso.org<\/a><\/p>\n<p>LUCA SIGURTA &#8211; WARM GLOW (CD by Monotype Records)<\/p>\n<p>Now here&#8217;s a name that immediately said to me: you know me, but somehow it&#8217;s one of\u00a0<br \/>\nthose musicians that have been off my radar for some time: Luca Sigurta. He has a bunch\u00a0<br \/>\nof solo releases on Fratto9, Creative Sources, Afe Records, Dokuro, Lisca, Tulip and\u00a0<br \/>\nKarl Schmidt Verlag but if my search machine works well, I reviewed only a solo CD back\u00a0<br \/>\nin Vital Weekly 438, so perhaps I am excused that I have no immediate idea of how his\u00a0<br \/>\nmusic sounded back then. Sigurta is also a member of Luminance Radio and the noise duo\u00a0<br \/>\nHarshcore, as well as responsible for various collaborations with others. Back then it\u00a0<br \/>\nseemed to me Sigurta was connected to the world of microsound and musique concrete,\u00a0<br \/>\nbut the seven pieces on &#8216;Warm Glow&#8217; offer something else. These days he experiments with\u00a0<br \/>\nambient music, slow rhythms, has a girl singing on &#8216;Boundaries&#8217;, and enters a curious\u00a0<br \/>\nfield of trippy music. It&#8217;s not exactly trip-hop like, but thanks to the use of real\u00a0<br \/>\ninstruments (played by others, listed on the cover), Sigurta&#8217;s music becomes much more\u00a0<br \/>\nmusical. Sometimes it&#8217;s a bit jazz-like, trip-hop like but also it has enough weirdness\u00a0<br \/>\naround here, to make it just not entirely, easy accessible music. I think Sigurta thought\u00a0<br \/>\nhard about the whole nature of trip-hop, ambient, pop, melodies and concocted something\u00a0<br \/>\nthat is actually quite original, certainly in terms of crossing various genres into each\u00a0<br \/>\nother. He created a bunch of excellent moody songs, with some fine shimmering melodies\u00a0<br \/>\nburied in there. Maybe something that might be more popular, as in terms of &#8216;pop music&#8217;\u00a0<br \/>\nand this might be his new game; may there be more new music from him soon. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/monotyperecords.com\/\">http:\/\/monotyperecords.com<\/a><\/p>\n<p>YU MIYASHITA &#8211; HOMAGE (CD by Signaldata)<\/p>\n<p>A CD in a jewel case with just a small sticker on the cover and actually much of the few\u00a0<br \/>\ntext is in Japanese. This is life not made easy, me thinks. What do we know? Yu Miyashita\u00a0<br \/>\nis the composer of the music and &#8216;Homage&#8217; the title of the release, and the label is\u00a0<br \/>\nSignaldata. Itunes tells us the titles of the pieces, which are homages to Leonardo\u00a0<br \/>\n(Da Vinci? The computer music magazine?), Ionesco, Goethe, Novalis, Shusaku and Michael.\u00a0<br \/>\nThe same website also tells us that Yu&#8217;s work is inspired by the late 90s world of glitch\u00a0<br \/>\nmusic. That indeed is something I can vouch for when playing this release: this could\u00a0<br \/>\nhave been on Ritornell, Mille Plateaux&#8217; subdivision for all thing weirder, stranger but\u00a0<br \/>\nstill very much part of the world of computers. But actually, Yu Miyashita is already\u00a0<br \/>\npart of that scene, as his &#8216;Noble Niche&#8217; was released on the revived Mille Plateaux in\u00a0<br \/>\n2011 &#8211; see Vital Weekly 790. Here Yu is less noisy and works around with loops of sounds,\u00a0<br \/>\nrather than rhythms and hence me thinking that this would be better suited on Ritornell.\u00a0<br \/>\nIt&#8217;s all in the details maybe? When Yu uses more beats he actually works as Yaporigami &#8211;\u00a0<br \/>\nmore minor details I guess. From &#8216;Noble Niche&#8217; to &#8216;Homage&#8217;: it seems worlds apart. From\u00a0<br \/>\nsomething quite &#8216;noisy&#8217; to\u2026 just where exactly? One could say this is &#8216;ambient&#8217;, but there\u00a0<br \/>\nis more to that than just that. It&#8217;s not just a few layers of sounds, working together to\u00a0<br \/>\ncreate a warm bed of ambient patterns, but rather the elements of noise have been softened,\u00a0<br \/>\nslowed down and melted into something that is partially quite beautiful and part haunting,\u00a0<br \/>\nthanks to the various layers of voices he sometimes uses. It owes to the world of skipping\u00a0<br \/>\nsounds (think Oval circa &#8217;94 Diskont&#8217;), but also to Fennesz on darker days, shoegazing and\u00a0<br \/>\nmalfunctioning software. It is perhaps not something you haven&#8217;t heard before but it&#8217;s\u00a0<br \/>\nnevertheless of a great quality. Maybe someone should invest a bit more in design? (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/signaldada.buyshop.jp\/\">http:\/\/signaldada.buyshop.jp\/<\/a><\/p>\n<p>ERYCK ABECASSIS &#8211; ILUMEN (CD by Entr&#8217;acte)<\/p>\n<p>You may recognize this name as a member of Kernel, in which we also find Kasper Toeplitz\u00a0<br \/>\nand Wilfried Wendling and normally he plays the bass in whatever form plus electronics.\u00a0<br \/>\nBut he changed his modus operandi these days and works with modular synthesizers, along\u00a0<br \/>\nwith other electronics and a laptop, &#8216;as an assistant of analogs and (almost) no more\u00a0<br \/>\nlike sound generator&#8217;. Over at https:\/\/vimeo.com\/133389246 you can see what that all looks\u00a0<br \/>\nlike, plus how he combines a bunch of pieces we find on &#8216;Ilumen&#8217; into one piece. As I noted\u00a0<br \/>\na few weeks ago, the modular synthesizer is these days the new laptop: everybody has one,\u00a0<br \/>\nand it calls for some critical notion. Like many others in the past on the laptop, doodling\u00a0<br \/>\naway, the modular synthesizer can also be a machine, which invites to doodling. Lots of\u00a0<br \/>\nknobs and cables and results are quickly generated. But are they good? I guess much of that\u00a0<br \/>\ndepends on how one chooses to work; if there is a strict policy of &#8216;no editing&#8217;, then this\u00a0<br \/>\nmight easily lead to &#8216;difficult to listen&#8217;. However if editing is allowed than surely there\u00a0<br \/>\nis a world to win. I am not entirely sure of course, but somehow I believe Abeccassis is\u00a0<br \/>\nsomeone who edits his music before releasing it. It sure sounds like that. His music walks\u00a0<br \/>\na fine line between &#8216;loud&#8217; and &#8216;quiet&#8217; and is mostly, if not entirely, to be found in the\u00a0<br \/>\nworld of electronics. It is music with certain heavy weight to it, with oscillators working\u00a0<br \/>\nover time, a deep furious bass, high-pitched frequencies, minimalist moves and all such\u00a0<br \/>\nlike, all cut together like a fine musique concrete composition, but sometimes with the\u00a0<br \/>\nforce of noise music. A powerful release, top heavy, and good quality noise music with some\u00a0<br \/>\nconsiderable thought: that&#8217;s how we like these things! (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/entracte.co.uk\/\">http:\/\/entracte.co.uk<\/a><\/p>\n<p>MARTIJN TELLINGA &#8211; POSITIONS (CD by Cronica)<\/p>\n<p>The press release for this is very lengthy, even when it doubles with information to be\u00a0<br \/>\nfound on the cover of the CD. There is also some information on the composer, but it leaves\u00a0<br \/>\nout what I know him best for. I am sure for him that&#8217;s ancient (or perhaps irrelevant)\u00a0<br \/>\nhistory, but maybe it is for readers a few lines to connect. Martijn Tellinga I know best\u00a0<br \/>\nfrom the time we spend in an office together, working for Staalplaat, and him presenting\u00a0<br \/>\nlots of music he created as Boca Raton, one of which I even released. Tellinga also had\u00a0<br \/>\nhis own label, Stichting Mixer, which acted as a publishing house for cross-over between\u00a0<br \/>\nbeat oriented music and musique concrete. Tellinga later on went to the Institute for\u00a0<br \/>\nSonology in The Hague and established himself as a serious composer of new music, dividing\u00a0<br \/>\ntime between Amsterdam and Beijing. His current work, and I didn&#8217;t hear any of his work\u00a0<br \/>\nsince ten years or so, is all about composing and performing &#8216;musical proposals and\u00a0<br \/>\nacoustical situations&#8217;, &#8216;rendering an on-going meditation on the rudimentary condition of\u00a0<br \/>\nthe sonic arts&#8217;. It is &#8216;drawn from a reduced formalist-seeming vocabulary&#8217; but his &#8216;scores\u00a0<br \/>\nare often open-ended, simple rule-based system providing performers with a template for\u00a0<br \/>\nlistening, acting and interacting&#8217;. The five long pieces that we find on &#8216;Positions&#8217;\u00a0<br \/>\ncertainly could all be linked back to all of this. There is for instance &#8216;Truth, Exercise\u00a0<br \/>\nFor A Listener&#8217;, which can only be recorded with a handheld device, so the engineer is\u00a0<br \/>\npart of the execution of the piece (and thus sounds sometimes far away). &#8216;Positions,\u00a0<br \/>\nFor Those Involved&#8217; is a piece for audience making sounds for themselves, and there are\u00a0<br \/>\nno musicians. That&#8217;s the kind of music one can expect here. The press text mentions some\u00a0<br \/>\nnotes by Michael Pisaro and although it&#8217;s not mentioned, maybe Tellinga feels these days<br \/>\nconnected to the Wandelweiser group of composers? His music would certainly fit in that\u00a0<br \/>\nwith these more silent composers. Tellinga&#8217;s pieces are part minimal, such as &#8216;Three\u00a0<br \/>\nModulators, For Trombones&#8217;, which employs slow moving, long sustaining trombone sounds,\u00a0<br \/>\nsuch like &#8216;Branching Into Others, For A Large Instrumental Field&#8217;, which is for more\u00a0<br \/>\ninstruments and who location is wide apart in an auditorium. These pieces I really enjoyed;\u00a0<br \/>\nit reminded me of Phill Niblock. The other pieces worked less for me. The absence of\u00a0<br \/>\nmusic and everything being in favour of an idea rather than music is nice, certainly when\u00a0<br \/>\nit&#8217;s presented in the context of a live &#8216;concert&#8217;, however broad that might be in this\u00a0<br \/>\ncase; it&#8217;s perhaps too much John Cage, Fluxus and &#8216;happenings&#8217; to me. I know that sound\u00a0<br \/>\nmay equal music, but I rather sit down and be enchanted by musicians doing whatever is\u00a0<br \/>\npossible with sound. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/cronicaelectronica.org\/\">http:\/\/cronicaelectronica.org<\/a><\/p>\n<p>WIL BOLTON &#8211; INSCRIPTIONS (CD by Dronarivm)<\/p>\n<p>Itunes opens up and says this is indeed &#8216;Inscriptions&#8217; by Wil Bolton and it&#8217;s classified\u00a0<br \/>\nas &#8216;new age&#8217;. Who does that? Maybe someone who wants to pull a great prank? That might be\u00a0<br \/>\npossible of course. Or perhaps someone seriously thinks Bolton&#8217;s music should be linked to\u00a0<br \/>\nthe world of new age? Maybe it was done in an effort to bring this music a wider audience?\u00a0<br \/>\nOf course Bolton&#8217;s music isn&#8217;t noisy, and surely something highly ambient, but new age?\u00a0<br \/>\nThat seems a bit too far off the mark I think. Take &#8216;Hedera&#8217;, the second piece, with its\u00a0<br \/>\nlong sustaining sounds, piano tones, a bit of guitar tinkling and something that could be\u00a0<br \/>\nthe layered trombone sounds &#8211; or any other set of wind instruments. It sounds great and\u00a0<br \/>\nsurely nothing like some cheesy new age. Bolton effectively uses field recordings and lots\u00a0<br \/>\nof guitar, both treated and untreated and that sometimes leads to gloomier trips, such as in\u00a0<br \/>\n&#8216;Cathedral Lines&#8217;, with washes of dark drones tumbling ashore. More delicate music and yes,\u00a0<br \/>\none could wonder: didn&#8217;t we hear more like this from Bolton before? Yes, we did and perhaps\u00a0<br \/>\nit&#8217;s time to change the tune a bit, choose a new set of sounds, a limitation perhaps of\u00a0<br \/>\nsounds; I don&#8217;t know exactly but it could be interesting to make a move. For the grey\u00a0<br \/>\nSunday afternoon, &#8216;Inscriptions&#8217; however seems to be just the right soundtrack. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/dronarivm.com\/\">http:\/\/dronarivm.com<\/a><\/p>\n<p>HAKOBUNE &amp; DIRK SERRIES &#8211; OBSCURED BY BEAMS OF SORROW (CD by Paddy White Mountain)<br \/>\nCHIHEI HATAKEYAMA &#8211; FIVE DREAMS (CD by Paddy White Mountain)<\/p>\n<p>Dirk Serries&#8217; musical projects have been going for about thirty years now, and gone from\u00a0<br \/>\nVidna Obmana to Fear Falls Burning and, more recently, his own name. In more recent years\u00a0<br \/>\nhis music isn&#8217;t reviewed a lot in Vital Weekly, mainly because they are released on highly\u00a0<br \/>\nlimited edition pieces of vinyl (for which the promotion is digitally, which of course is\u00a0<br \/>\nsomething we don&#8217;t do, etc.). Takahiro Yorifuji works as Hakobune, who has been around for\u00a0<br \/>\na few years now and who is someone who knows how play some mighty atmospheric pieces of\u00a0<br \/>\nmusic. The cover doesn&#8217;t reveal much about the nature of the compositions or working\u00a0<br \/>\nmethods. It would seem to me that this is the work of the exchange of sound files rather\u00a0<br \/>\nthan sitting down, face to face, in a studio. Maybe it&#8217;s Hakobune who takes the guitar\u00a0<br \/>\nplaying of Dirk Serries apart, deconstructs it and feeds it to a different line of sound\u00a0<br \/>\neffects (analogue or digital) and makes it sound more and more glacier like, drone inspired,\u00a0<br \/>\ndark on the ambience side of things. Maybe these processed sounds went back to Serries and\u00a0<br \/>\nhe added some of his playing on top? Whatever method applied here, it is the result that\u00a0<br \/>\ncounts of course. Four pieces, all in the twelve\/thirteen minute range and all variations\u00a0<br \/>\nto the notions drone and ambient. There is a shimmering melodic mood to these pieces;\u00a0<br \/>\nespecially the final piece, &#8216;Obscured&#8217;, has a beautiful orchestral texture to it. Foghorn-<br \/>\nlike strings and wind instruments, reminding me of a Gorecki or Part piece, but to a lesser\u00a0<br \/>\nextent this goes for all four of the pieces. Maybe that is the intention from these players:\u00a0<br \/>\nto play something that is slightly reminiscent of modern classical music? It all makes\u00a0<br \/>\nquite beautiful music, one that fits the rapidly early nights and dark days.<br \/>\n\u00a0\u00a0 Labelboss Chihei Hatakeyama also has new release available and this one too is about the<br \/>\nuse of a guitar. A novel, \u2018Ten Nights Of Dreams\u2019 by Soseki Natsume, inspires the music.\u00a0<br \/>\nThe basis of this release was already recorded in 2008 during a single day session, using<br \/>\nan electric guitar and a reverb unit. Over the years Hatakeyama has been working on editing\u00a0<br \/>\nthis material and now releases this five-part work. The sound of the guitar is very hard\u00a0<br \/>\nto recognize, as Hatakeyama transformed it into a wonderful glacier like sound mass. Only\u00a0<br \/>\nin the closing piece, &#8216;May&#8217;, we recognize the guitar, but it has that metallic reverb ring\u00a0<br \/>\nto it. The five pieces are named after months, &#8216;January&#8217;, &#8216;April&#8217;, &#8216;July&#8217;, &#8216;February&#8217; and\u00a0<br \/>\n&#8216;May&#8217;, but if one was to do a blind test and guess the month based on the music, I don&#8217;t\u00a0<br \/>\nthink one wouldn&#8217;t do very well. &#8216;July&#8217; or &#8216;January&#8217;: the differences are in the detail.<br \/>\nMaybe all of this is of less importance for the listener; maybe the whole thing about titles\u00a0<br \/>\nis private matter for the composer of the music. As I was busy talking with people at home\u00a0<br \/>\nand on the phone for some time during the day, I had this release on repeat for at least\u00a0<br \/>\nfour hours, including time when I was doing nothing at all, and just listening to the music.\u00a0<br \/>\nThat was all together a great experience, and not for a single moment I had the impression\u00a0<br \/>\n&#8216;oh I heard this, so let&#8217;s play something else&#8217;. This was perhaps not a &#8216;new&#8217; release\u00a0<br \/>\nin terms of &#8216;innovation&#8217; but it was another wonderfully beautiful release by this\u00a0<br \/>\nJapanese master. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/whitepaddymountain.tumblr.com\/\">http:\/\/whitepaddymountain.tumblr.com\/<\/a><\/p>\n<p>LOREN CHASSE &#8211; THE ANIMALS AND THE SHADOWS (CD by Semper Florens)<br \/>\nAIDAN BAKER &#8211; ELEMENT (CD by Teta-Morphosis)<br \/>\nFIVE ELEMENTS MUSIC &#8211; OBOROT (CDR by Still*Sleep)<\/p>\n<p>These three came in one parcel and might be released by one and the same person, albeit by\u00a0<br \/>\nthree different sub divisions? The &#8216;mother ship&#8217; might be Semper Florens, which releases music\u00a0<br \/>\nthat is inspired by the use of field recordings. Loren Chasse from the USA is someone who has\u00a0<br \/>\nbeen working inside that particular musical area for quite some time, but for whatever reason\u00a0<br \/>\nhe never released a lot of music. Maybe he&#8217;s just very critical of his music and that leads to\u00a0<br \/>\njust a few releases? I don&#8217;t know. Likewise I must admit I have very little idea as to what it<br \/>\nis that Chasse does to create his music. Surely there is some field recording going on here &#8211;\u00a0<br \/>\na bunch of locations are mentioned on the cover (the Florida Gulf coast, Lava Beds National<br \/>\nPark, California, Chinatown, Los Angeles, Lower Lewis river Falls, Washington, Elowah Falls and\u00a0<br \/>\nrevival drum shop, Oregon), which brings some of the usual suspects: water recordings and wind.<br \/>\nBut there is also the use of instruments to be noted. Percussion is something I believe to hear,\u00a0<br \/>\nmaybe a guitar or some other string instrument. The music is quite intimate I think: Loren Chasse\u00a0<br \/>\nkeeps everything quite close to each other and close to home. It never bursts out in something\u00a0<br \/>\nentirely different, or there are sudden moves to make a totally new gesture. Obviously there is\u00a0<br \/>\nalso some kind of sound processing going on here, but here we have more questions than answers:\u00a0<br \/>\ndigital, analogue, real-time human intervention? Hard to say, again. Sometimes I think there is\u00a0<br \/>\nsome sort of sound being played by Chasse, at home, or somewhere outside and he&#8217;s taping the\u00a0<br \/>\naction on the spot. Maybe there is some sort of conceptual edge to his work? There is something\u00a0<br \/>\nhere that reminded me of the work of Small Cruel Party, a similar mystique in using sounds and\u00a0<br \/>\ninstruments, melting these together, creating some finely woven dense patterns. Very quiet music,\u00a0<br \/>\nsometimes of the edge of nothing being there and ultimately quite a great release.<br \/>\n\u00a0\u00a0 Over the years Aidan Baker has many releases under his own name but also as Nadja, ARC and\u00a0<br \/>\nother guises, but somehow the majority doesn&#8217;t seem to make it to these pages. The thing I learned\u00a0<br \/>\nby looking at discogs is that &#8216;Element&#8217; is Baker&#8217;s first solo release, from 2000 and the music\u00a0<br \/>\nwas recorded in 1997 and 1998. Teta-morphosis is a sub-division of Semper Florens and deals with\u00a0<br \/>\nre-issues of classic drone\/atmospheric music releases. Trained as a flute player, Baker later\u00a0<br \/>\ntaught himself to play the guitar (as well as keyboards and drums), which seems to be his primary\u00a0<br \/>\ninstrument here. A couple of years ago I saw him perform live for the first time and his ambient<br \/>\nmusic worked really well in concert. It perhaps made me look at some of the earlier stuff a bit\u00a0<br \/>\ndifferent. In this first release Baker doesn&#8217;t have yet the level of ambient control he has in\u00a0<br \/>\nhis later pieces. The use of sound effects seem to me a bit cruder, especially in a piece like\u00a0<br \/>\n&#8216;Element #2&#8217;. Whereas these days the guitar is almost &#8216;removed&#8217; the music and long sustaining\u00a0<br \/>\npatterns remain, the six strings here are more easily part of the game. Carefully strumming,\u00a0<br \/>\ngoing through lines of delay machines (&#8216;Elemental&#8217;), to create a slightly psychedelic ambient\u00a0<br \/>\nmusic. Sometimes, as in &#8216;Element #3&#8217; and &#8216;Element #2&#8217;, a bit too loosely organised and one tends\u00a0<br \/>\nto wander of and forget the music; Baker doesn&#8217;t hold attention there. &#8216;Elementary&#8217;, the fifth\u00a0<br \/>\npiece was originally eleven minutes, but comes here with a long bit of silence in the middle and\u00a0<br \/>\nsome bonus music at the end. That&#8217;s a nice gesture I guess?<br \/>\n\u00a0\u00a0 The final release might be from the label boss himself, who goes by the name of [s]. (that\u00a0<br \/>\nincludes the . at the end), and who sometimes works as Five Elements Music, but also Sister\u00a0<br \/>\nLoolomie for the somewhat stronger forms of ambient industrial music and Exit in Grey. As Five\u00a0<br \/>\nElements Music his interest lies more in the ambient variations of ambient industrial music.\u00a0<br \/>\nFor the four pieces on this release he uses a vinyl player, radio coils, metal, wood, stones,\u00a0<br \/>\neffects. On his previous releases [s]. melted all of that to some highly distilled, quite dark\u00a0<br \/>\ndrone music, but in these pieces there are faint traces of rhythmic particles (which I guess are\u00a0<br \/>\nhard to avoid when using a turntable), of rotating hiss, of metallic object dangling in the wind\u00a0<br \/>\nand field recordings of an indefinable nature. Some of these sounds are pitched way down, to get\u00a0<br \/>\nthe max out of the lower regions of the sub-sub bass sounds and you know what you get: a high\u00a0<br \/>\nquality, dark drone release. Maybe it is all a tad noisier than some of his earlier work but of\u00a0<br \/>\nequal fine quality. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.semperflorens.net\/\">http:\/\/www.semperflorens.net<\/a><br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.tetamorph.ru\/\">http:\/\/www.tetamorph.ru<\/a><br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.ss.semperflorens.net\/\">http:\/\/www.ss.semperflorens.net<\/a><\/p>\n<p>THE DEAD C &#8211; PALISADES\/T.I.F.F. (7&#8243; by Il Dischi Del Barone)<\/p>\n<p>There was a time when I was very much into the whole lo-fi, noisy improvised music from New\u00a0<br \/>\nZealand, and actually I still might be, when time allows me to play some of the music I have\u00a0<br \/>\nstored here. Corpus Hermeticum was an important label for me in that scene and the main operator,\u00a0<br \/>\nBruce Russell, an important person to follow. It&#8217;s through that connection that I became more\u00a0<br \/>\nfamiliar with his group The Dead C, which includes also Michael Morley and Robbie Yeats. Most\u00a0<br \/>\nlikely for many other people it was the other way around: through The Dead C they learned about\u00a0<br \/>\nthe other work of Russell. The Dead C is a free noise rock group, with lots of emphasis on the\u00a0<br \/>\nguitar and drums, playing some highly space craze music, with especially the guitar howling\u00a0<br \/>\nthrough a wall of feedback. It also may have the idea of a song structure, even side A cuts\u00a0<br \/>\nout rather abruptly here. When I played this I realized it was quite a while since I last played\u00a0<br \/>\nany music by this band, or in fact something similar from down under. I played this loud and\u00a0<br \/>\na couple of times and found the whole psychedelic noise quite refreshing, especially after so\u00a0<br \/>\nmuch &#8216;careful&#8217; music for the rest of the day. Great 7&#8243;! (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.iddb.se\/\">http:\/\/www.iddb.se\/<\/a><\/p>\n<p>MTO &#8211; MARY=X (7&#8243; lathe cut by Static Caravan)<\/p>\n<p>Here is a new name for the Modified Toy Orchestra, who now go by the name MTO. I think this is\u00a0<br \/>\non 45 rpm, as it already sounds quite dramatic at this speed. It&#8217;s about Mary Bell, the second\u00a0<br \/>\nwife of Richard Feynman, the US physicist, working on the first atom bomb and always wanting\u00a0<br \/>\nhis wife&#8217;s attention on the &#8216;infinite mysteries of calculus&#8217;. This song has a very sorrowful<br \/>\ntune and a highly processed voice, making it neither male or female, so it&#8217;s not easy to see\u00a0<br \/>\nwho is actually lamenting or singing here. It seems like a song, which doesn&#8217;t really start,\u00a0<br \/>\nbut keeps repeating itself, like the mystery starts over and over. The other side has it&#8217;s title\u00a0<br \/>\nlifted from a news broadcast observing &#8216;the faces of the doomed astronaut&#8217;s families during the\u00a0<br \/>\nspace Shuttle Challenger disaster in 1986&#8242;, and Feynman was part of the government committee to\u00a0<br \/>\nresearch this disaster. If &#8216;Mary=X&#8217; can be seen as song, then this side, &#8216;The Breath They&#8217;ve\u00a0<br \/>\nBeen Holding&#8217;, is even more sorrowful and more an abstract piece, that disguises at the start\u00a0<br \/>\nas a song, but follows the disaster and is an electronic anthem for all things disastrous.\u00a0<br \/>\nIt slowly dissolves in weightless space. The lathe cut here is a fat baby, and the sound quality\u00a0<br \/>\nis actually quite good. The cover looks like a chalkboard and refers to Feynman as a teacher.\u00a0<br \/>\nThis is limited edition of 100 copies. What more do you need from a great label, than so much\u00a0<br \/>\nbeauty on a 7&#8243; sized platter? (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/www.staticcaravan.org\/\">http:\/\/www.staticcaravan.org<br \/>\n<\/a><\/p>\n<p>\nGARY FISHER &#8211; JOINED APART (CDR, private)<\/p>\n<p>Here&#8217;s a new name: Gary Fisher is from Salford in the UK and he has been playing out and about\u00a0<br \/>\nsince a few years and studied sound arts in London&#8217;s College of Communication. I understand from<br \/>\nthe information that he likes &#8216;exploring found sounds, objects and materials; amplification of\u00a0<br \/>\nobjects and surfaces and instinctive play versus considered deliberation&#8217;, which he puts together<br \/>\nas sound compositions. I am not sure if there is any use of &#8216;real&#8217; instruments. Sometimes it sounds\u00a0<br \/>\nlike that, but for all we know these might be sampled lifted from other sources, such as vinyl\u00a0<br \/>\n(as, yes, there is some occasional vinyl sort of hiss to be noted). The ten pieces on his privately\u00a0<br \/>\nreleased &#8216;Joined Apart&#8217; all play the moody touch of music. It&#8217;s all a bit dark, using various\u00a0<br \/>\ndegrees of sound processing, both from the analogue and digital domain (such as the time stretching\u00a0<br \/>\nof &#8216;Ten Stage Phaser Version 1&#8217;) and usually Fisher uses minimal means to achieve what he wants.\u00a0<br \/>\nHe has quite some nice sounds at his disposal and through uses them with quite some imagination.\u00a0<br \/>\nIt&#8217;s atmospheric and ambient, most of the time, but it also uses more forceful electronics from\u00a0<br \/>\ntime to time. So that&#8217;s all not bad at all, but I also noted that some of these pieces were just\u00a0<br \/>\na bit too long for the minimalism they had. After a few minutes one gets the gist of the music,\u00a0<br \/>\nbut then didn&#8217;t seem to evolve beyond that point. Then it seemed that some of these pieces were\u00a0<br \/>\nnothing more than a bunch of great loops stuck together. Especially in the longer pieces such as\u00a0<br \/>\n&#8216;Falling Piano Dream&#8217; this seemed to be the case and those dragged a bit on. But that is stuff\u00a0<br \/>\nthat needs time to develop, I think. There is lots of good stuff happening here and there is\u00a0<br \/>\nroom for improvement, both in music and presentation. A promising start. (FdW)<br \/>\n\u00a0\u00a0 Address:\u00a0<a href=\"http:\/\/gary-fisher.com\/\">http:\/\/gary-fisher.com<\/a><br \/>\n<\/span><\/p>\n<p>http:\/\/www.vitalweekly.net<\/p>\n","protected":false},"excerpt":{"rendered":"<p>ASMUS TIETCHENS &#8211; ORNAMENTE (ZWISCHEN NULL UND EINS) (CD by Line) * THE NECKS &#8211; VERTIGO (CD by Northern Spy Records) * PC WORSHIP &#8211;<\/p>\n","protected":false},"author":521,"featured_media":38743,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"class_list":["post-38741","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-publications"],"_links":{"self":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/38741","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/users\/521"}],"replies":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/comments?post=38741"}],"version-history":[{"count":0,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/38741\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media\/38743"}],"wp:attachment":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media?parent=38741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/categories?post=38741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/tags?post=38741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}