![\"MERZBOW\"](\"http:\/\/modisti.tk\/15\/wp-content\/uploads\/2015\/11\/MERZBOW.jpg\")
<\/p>\n<\/p>\n
DISTEL – ZAND (CD by Ant-Zen) *
\nKLEISTWAHR – THE RETURN (CD by Fourth Dimension) *
\nFRED LONBERG-HOLM & KEN VANDERMARK \u2013 RESISTANCE (CD by Bocian Records)
\nLE POT \u2013 HERA (CD on Everest Records)
\nHAUF\/HEATHER\/SIEWERT\/WEBER – THE PEELED EYE (CD by Shameless)
\nGERALDINE EGUILUZ & STEPHANIE DIAMANTAKIOU – PASO DOBLE (CD by Tourdebras)
\nMURDER CORPORATION – NEKRO (CD by Menstrual Recordings) *
\nMB – MECTPYO\/BLUT (2CD by Menstrual Recordings) *
\nMERZBOW – ECOBONDAGE (2LP + CD by Menstrual Recordings) *
\nADAM GOLEBIEWSKI – POOL NORTH (CD by Latarnia) *
\nFRANK RIGGIO – PSYCHEXCESS II – FUTURISM (CD by Hymen)
\nORPHX – SONIC GROOVE RELEASES PT.2 (CD by Hymen)
\nSYNAPSCAPE – RHYTHM AGE (CD by Ant-Zen)
\nGJ\u00d6LL – THE BACKGROUND STATIC OF PERPETUAL DISCONTENT (CD by Ant-Zen)
\nKOMMANDO – SKULL SNAKE (CD by Ant-Zen)
\nSOL MORTUUS – EXTINCTION (CD by Zhelezobeton) *
\nDMT – ULTIMATUM (CD by Zhelezobeton) *
\nKSHATRIY – KSHATRIY AND MUSHROOMS (CDR by Zhelezobeton) *
\nIDEA FIRE COMPANY – LOST AT SEA (LP by Recital) *
\nPSST!\u2026 WANNA BUY A RECORD (LP, private)
\nMICHAEL ESPOSITO & FRANS DE WAARD – PHANTOM PLASTIC (flexi by Korm Plastics) *
\nLLARKS – VANGUARD GHOSTS\/PRIEST (7″ by Lathelight) *
\nLLARKS – ATAVISTOV HEART (cassette by Kikimora Tapes)
\nUNFOLLOW – ZERO LIKES (cassette by Kikimora Tapes)
\nWINBREAKER – HOSTAGE (cassette by Kikimora Tapes)
\nDESTRUCTION DES ANIMAUX NUISIBLES #2 (CDR by Alteracion Records)
\nUNSTABLE LANDS – ZERO (CDR by Care Not Care) *
\nHAROLD SCHELLINX – STRING QUARTET WITH WINDOWS, OPEN (cassette by Transonic)<\/p>\n
[rssless]Vital Weekly 1005<\/a>[\/rssless]<\/p>\n tracklist for Vital Weekly 1005:<\/p>\n 0000 Tune \nDISTEL – ZAND (CD by Ant-Zen)<\/p>\n Local heroes here, Distel\u2026 well, meaning Distel is a local band (as in local to\u00a0 KLEISTWAHR – THE RETURN (CD by Fourth Dimension)<\/p>\n When I reviewed ‘This World Is Not My Home’ by Kleistwahr in Vital Weekly 947 I\u00a0 FRED LONBERG-HOLM & KEN VANDERMARK \u2013 RESISTANCE (CD by Bocian Records)<\/p>\n Vandermark and Lonberg-Holm each have numerous works out, in many different\u00a0 LE POT \u2013 HERA (CD on Everest Records)<\/p>\n \u2018Hera\u2019 is the second part of a trilogy that started with the album \u2018She\u2019, reviewed in\u00a0 HAUF\/HEATHER\/SIEWERT\/WEBER – THE PEELED EYE (CD by Shameless)<\/p>\n A new release on Shameless, a label of Boris Hauf. Around 2001-2002 he released several\u00a0 GERALDINE EGUILUZ & STEPHANIE DIAMANTAKIOU – PASO DOBLE (CD by Tourdebras)<\/p>\n A duo work of two improvisers. Eguiluz (voice) comes from originally from Mexico.\u00a0 \nMURDER CORPORATION – NEKRO (CD by Menstrual Recordings) It’s not easy to decide what should be played first, but here’s what I reasoned: I know,\u00a0 ADAM GOLEBIEWSKI – POOL NORTH (CD by Latarnia)<\/p>\n Out of Poznan, Poland hails percussion player Adam Golebiewski, who has played with Mats\u00a0 FRANK RIGGIO – PSYCHEXCESS II – FUTURISM (CD by Hymen) On the second part in his Psychexcess series Riggio picks up the trail where the first part\u00a0 \nSYNAPSCAPE – RHYTHM AGE (CD by Ant-Zen) While trying to find a proper sofa to sit down and write a couple of reviews, I found myself\u00a0 SOL MORTUUS – EXTINCTION (CD by Zhelezobeton) Three new releases by Zhelezobeton from St. Petersburg, whose interest lies very much in all\u00a0 IDEA FIRE COMPANY – LOST AT SEA (LP by Recital)<\/p>\n Last week or so I had a private discussion about a musician whose music was hardly if at all\u00a0 PSST!\u2026 WANNA BUY A RECORD (LP, private)<\/p>\n A few years I was quite fanatical when it came to searching online for all of those old and obscure\u00a0 MICHAEL ESPOSITO & FRANS DE WAARD – PHANTOM PLASTIC (flexi by Korm Plastics)<\/p>\n The fact that there is a cheeky flexi frolicking on my record player does not lessen any of the\u00a0 LLARKS – VANGUARD GHOSTS\/PRIEST (7″ by Lathelight) More music by LLarks, the latest of incarnations by Chris Jeely (formerly known as Accelera Deck,\u00a0 DESTRUCTION DES ANIMAUX NUISIBLES #2 (CDR by Alteracion Records)<\/p>\n The Spanish (or do I had to write Basque??) label Alteracion Records the album \u201cDestruction des Animaux\u00a0 UNSTABLE LANDS – ZERO (CDR by Care Not Care)<\/p>\n Music by P_Lab has been reviewed before, in Vital Weekly 911 and an earlier work with Z and Kasper T.\u00a0 HAROLD SCHELLINX – STRING QUARTET WITH WINDOWS, OPEN (cassette by Transonic)<\/p>\n In the last thirty-five or so years, Harold Schellinx has been someone whose music and writing I enjoyed,\u00a0 http:\/\/www.vitalweekly.net\/<\/p>\n","protected":false},"excerpt":{"rendered":" DISTEL – ZAND (CD by Ant-Zen) * KLEISTWAHR – THE RETURN (CD by Fourth Dimension) * FRED LONBERG-HOLM & KEN VANDERMARK \u2013 RESISTANCE (CD by<\/p>\n","protected":false},"author":521,"featured_media":39480,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"class_list":["post-39478","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\/39478","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=39478"}],"version-history":[{"count":0,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/39478\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media\/39480"}],"wp:attachment":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media?parent=39478"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/categories?post=39478"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/tags?post=39478"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n0014 Distel – In Ruins
\n0323 DMT – The Call
\n0633 Sol Mortuus – Three Skies Impossible To See
\n0941 Idea Fire Company – Lost At Sea II
\n1248 Kshatriy – Crying Mushrooms
\n1557 Unstable Land – Baba Rhun Raisin
\n1903 Murder Corporation – Nekro
\n2210 MB – Musique Belzec
\n2521 Michael Esposito & Frans de Waard – Dreams of the Incorruptibles
\n2825 LLarks – Vanguard Ghost
\n3132 Adam Golebiewski
\n3441 Merzbow
\n3749 Kleistwahr
\n4059 Tune<\/p>\n
\nour HQ) and maybe to some heroes (they are not yet on the same level as the other\u00a0
\nNijmegen band whose name also starts out with the letter ‘D’), certainly in\u00a0
\nareas where they love things dark and electronic. Distel’s debut album ‘Puur’\u00a0
\nis a classic downright (see Vital Weekly 883), which was released as a LP, CD\u00a0
\nand cassette and on three different labels by now, plus the LP also including\u00a0
\na 7″ at one point. Now they’ve signed to Ant-Zen, who release ‘Zand’ as a round-
\nup of various loose ends, picking up assorted remixes, tributes and a couple of\u00a0
\nunreleased pieces. It is stuff that fits together very well. Distel employs a\u00a0
\nseries of dark rhythms, dark synthesizers and unsettling moods to play something\u00a0
\nthat perhaps strangely (or perversely) belongs to the world of pop music. The\u00a0
\nvocals are sometimes buried a bit in the mix, which make it sound cold, distant\u00a0
\nand remote, this is something that owes to the electronic pop of the 80s, but\u00a0
\nsome of these synthesizer sounds are actually also from the world of techno\/trance,\u00a0
\nas in ‘Unfold’. Because a lot of these pieces are remixes, there are a variety of\u00a0
\nvocalists in these pieces and that adds to the diversity of the music. Perhaps\u00a0
\nsometimes one could think that the tick of the beat, the analogue synth process\u00a0
\nand reverb on the voice is a bit too much, but then there are all these voices\u00a0
\nadding a wider range to these pieces. The mastering is great here, with some\u00a0
\nmighty fine bass shaking from those speakers. This is an excellent album, forty-
\nfive minutes (so no doubt on LP one day) of bliss full angst loaded pop music,\u00a0
\nwhich nevertheless sounds highly captivating for a solo dance or two. Dim the\u00a0
\nlights and play Distel loud! (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.ant-zen.com\/<\/a><\/p>\n
\nalready noted that the music Gary Mundy recorded as Kleistwahr was very much\u00a0
\nreleased before 1990, but that in 2009 he returned with a LP for Noiseville, and\u00a0
\nperhaps some of the success of ‘This World Is Not My Home’ made it possible that\u00a0
\nnow the Noiseville LP is re-issued on CD, including two bonus pieces. Mundy’s main\u00a0
\nproject, ever since the early 80s, is of course Ramleh, whose history was already\u00a0
\nre-issued as ‘Awake’, a 8 CD set for Harbinger Sound, an excellent band in the\u00a0
\nfield of power electronics (and still among the favourites here), but Mundy had\u00a0
\nvarious side projects in those busy 80s releasing cassettes on his own Broken Flag\u00a0
\nlabel (and like the previous CD, the cover is most fitting rework of the highly\u00a0
\nrecognizable style of the label; more re-issues please!). Here we have another hour\u00a0
\nof solid noise music, with Mundy picking up the guitar and feeding it through many\u00a0
\neffects and maybe even synthesizers. Some time ago I wrote about people with\u00a0
\nguitars and doing noise, and how they all want to sound like Lou Reed’s ‘Metal\u00a0
\nMachine Music’, and maybe Kleistwahr could be seen as one of those noise mongers\u00a0
\ntoo. But there is more than just another wall of noise being cemented here. Take\u00a0
\nthe apparent random stab at an organ in ‘The Loss’, which is set against this wall\u00a0
\nof distortion. But it’s exactly the addition of elements like that makes that the\u00a0
\nnoise of Kleistwahr is so much more interesting than those current harsh noise\u00a0
\nwall types, who show no love for anything that is a bit softer, or don’t care how\u00a0
\nto make the noise a bit more engaging, a tad more interesting and Kleistwahr just\u00a0
\nunderstands all too well how to do that. As such ‘The Return’ is both a return to\u00a0
\nthe world of power electronics and looking up to a bright future! Hopefully with\u00a0
\nmore to come, old or new. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/fourth-dimension.net\/<\/a><\/p>\n
\nprojects, etc. Their collaborations are uncountable. Both know each other already\u00a0
\na long time, from again many different projects and collaborations. There is no\u00a0
\nneed to repeat that all here. What makes this release remarkable is that both\u00a0
\nexperienced players deliver their first duo-work with \u2018Resistance\u2019. It is a live\u00a0
\nrecording from 21 September 2013, when they played in a gallery in Chicago at a\u00a0
\nbenefit for the Malachi Ritscher collection. Vandermark playing reeds, Lonberg-Holm\u00a0
\ncello and electronics, which is no surprise. The surprises are the joyful dialogues
\nthey practice in their improvisations, full of fine interplay. Everything is to the\u00a0
\npoint in these excursions that come you like in one uninterrupted flow. The spectrum\u00a0
\nis very full, especially when Lonberg-Holm electrifies his cello. Constantly\u00a0 a lot\u00a0
\nis happening. The recording is beautiful and well done, so that you can enjoy every\u00a0
\ndetail of this very fruitful meeting. (DM)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.bocianrecords.com\/<\/a><\/p>\n
\nVital Weekly 968. Swiss combo Le Pot is Manuel Mengis (trumpet, Electronics), Hans-
\nPeter Pfammatter (synths, piano), Manuel Troller (guitar) and Lionel Friedli (drums).\u00a0
\nStrange, undefinable things happen here. Unexpected changes of dynamics and colouring.\u00a0
\nMelodies and rhythms that evaporate mysteriously. Yes, they search for unusual ways of\u00a0
\nstructuring a musical work. And they do hit at something, as I found myself completely\u00a0
\nfascinated throughout. For this album they started from fragments of music by Benjamin\u00a0
\nBritten: \u201ca melody from \u2018Requiem Aeternam\u2019, themes from \u2018The Beggars Opera\u2019, a song\u00a0
\nfrom \u2018A Midsummers Night\u2019s Dream\u2019\u201d.\u00a0 Alas I\u2019m not familiar with these works, so I\u00a0
\ncan\u2019t determine in what way these selections serve as starting points for their\u00a0
\nexuberant and rich improvisations. Like \u2018She\u2019 I experience their music as very spatial,\u00a0
\nlike a jump into the great wide open. That is somehow connected with their interest\u00a0
\nfor sound. But structure is equally important. The music feels very open, but at the\u00a0
\nsame time one senses all their movements are rooted in clear musical concept.\u00a0 The\u00a0
\nimprovisations were recorded during four days of playing in the church of St.Roman.\u00a0
\nThe inevitable church bells we hear in the opening of track 9. Again a very strong\u00a0
\nstatement from this combo. Can\u2019t wait for the third part of this trilogy, if not\u00a0
\nonly for understanding why these choose for the \u2018trilogy\u2019-format. (DM)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.everestrecords.ch\/<\/a><\/p>\n
\nof his projects on this label. And that was it. Not that Hauf turned away from music.\u00a0
\nFar from it. But Shameless no longer seemed a useful outlet. But now it is again, with\u00a0
\nan excellent first release by The Peeled Eye. The quartet consisting of Martin Siewert\u00a0
\n(guitar), Christian Weber (bass), Steve Heather (drums) and Boris Hauf (baritone sax,\u00a0
\npiano), make a powerful and convincing statement. They are a \u201cnoisecore doomjazzquartet\u201d\u00a0
\nin the words of Hauf himself. They construct thick and noisy musical pieces. Seven in\u00a0
\ntotal. Sometimes all seem to follow their own individual path, resulting in a wonderful\u00a0
\ncacophonic whole, as in the opening track \u2018Kind of\u201d. Evidently free jazz is an ingredient\u00a0
\nin their music. Also the prominent sax playing by Hauf clearly comes from a jazz attitude.\u00a0
\nLike in \u2018Heavy Quarters\u2019 where his playing is embedded in a slow but brutal sounding\u00a0
\nrock environment. The intro and the outro of same piece illustrate their interest for\u00a0
\npure sound textures. \u2018Diiisko\u2019 has Hauf and Siewert in a fine battle. In all pieces they\u00a0
\nsound very tight and together. Complexity and rock primitivism are in a perfect blend\u00a0
\nhere. This is not just a hell of noise, but free rock at his best. (DM)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.shamelessrecords.rocks\/<\/a><\/p>\n
\nDiamantakiou, playing upright bass, is originates from Marseille (France). They started\u00a0
\ntheir collaboration in 2012 in Montreal, where both have their base. Diamantakiou is\u00a0
\nalso member of te ensemble Rubedo\u2019ro , led by Eguiluz. As a duo they take themes from\u00a0
\njazz standards as a starting point for their free improvised excursions. For their first\u00a0
\nrelease \u2018Paso Doble\u2019 they made recordings in February-March 2014 in the studio, using\u00a0
\nthemes from Mingus, Ellington and Bach. Their improvisations breathe a delicate and\u00a0
\nfragile atmosphere. They are full of subtle movements and gestures. Beautifully sung\u00a0
\nby Eguiluz who has a characteristic and recognizable voice. Also the playing by\u00a0
\nDiamantakiou is fine. A rich and solid work. (DM)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.tourdebras.com<\/a><\/p>\n
\nMB – MECTPYO\/BLUT (2CD by Menstrual Recordings)
\nMERZBOW – ECOBONDAGE (2LP + CD by Menstrual Recordings)<\/p>\n
\nmore or less, Ecobondage, being already re-issed before, and I am sure I heard MB’s\u00a0
\n‘Mectpyo\/Blut’ before too (as a bootleg, download or otherwise), so why not start with\u00a0
\nthe all new work released by Murder Corporation, which is the musical project of Moreno\u00a0
\nDaldosso, who started to play as Murder Corporation in 1992, ‘nearly as a joke’, after\u00a0
\nhearing heavy metal, punk, hardcore, EBM and then industrial music, and taking inspiration\u00a0
\nfrom Merzbow, Boyd Rice, William Bennett and Kevin Tomkin (and yes, I am not sure about\u00a0
\nthat ‘nearly as a joke’ either). Murder Corporation uses tapes, noises, short waves and\u00a0
\ndistorted voices, along a sampler Akai S01 and tone generator. Much of this is of the\u00a0
\nheavy, minimal variation type of noise, but that’s not the case throughout. Murder\u00a0
\nCorporation can be stunningly silent, which is a great thing. ‘Horror Trip’ sounds far\u00a0
\naway, like a motorway recorded from a great distance, the title track with the clicking\u00a0
\nof a camera and moaning like some recording of a porno production, but it’s set against\u00a0
\nthe monotony of ‘Roleplay’, which sounds like being trapped in a washing machine for\u00a0
\nthirteen minutes. The ‘quiet’ pieces (i.e. the ones without noise and distortion) are\u00a0
\nthe ones I preferred: it is here were Murder Corporation shows his real talent in\u00a0
\ncreating some truly unsettling music; odd, alien and downright scary music, like an\u00a0
\nexcellent score to a horror movie. That would a career-path for him to follow! I really\u00a0
\nhope Maurizio Bianchi will live to be very old, and that he will produce many more\u00a0
\nrecords, but I also really hope that by the time he’s left this planet, somebody will\u00a0
\nwrite a book about him; actually not that I care about his life that much, but a book\u00a0
\nthat explores all of his releases in depth, and makes all the right connections between\u00a0
\nthe various releases and re-releases there have been (something similar would be great\u00a0
\nfor Conrad Schnitzler, but that’s a different story), as I know I lost track.\u00a0
\n\u00a0\u00a0 ‘Mectpyo\/Blut’ came out in 1980 as a ninety-minute cassette and between that and this\u00a0
\nofficial double CD Banned Production and Bacteria Field released it on cassette, but also\u00a0
\ncame out as a double LP by Marquis Records and a single LP in Japan on no particular label.\u00a0
\nThis release marks the transition from using the name Sacher Pelz to M.B. and was his\u00a0
\nfirst official release as M.B. (or MB, whatever you prefer). Four pieces here, each about\u00a0
\ntwenty-two minutes (hence this being a c90 when it came out, and most suitable for a 2LP\u00a0
\nre-issue – one day?), and in each of these pieces MB plays around with some low fidelity\u00a0
\nmeans, such as spinning records by hand and taping them to reel-to-reel machines, cutting\u00a0
\nthem into crude loops and playing around with these. Each of these pieces could be divided\u00a0
\ninto separate pieces of music itself – ‘Musique Belzec’ even contains a piece with ‘sampled’\u00a0
\nrhythm loop. It’s not as distorted as some of his later work, and also the use of effects,\u00a0
\nsuch as his much beloved delay pedal on his later records from his early days. The music\u00a0
\nis very atonal, devoid of much composition and sometimes way too long staying within a few\u00a0
\nlimited sounds. Boring? Yes, perhaps indeed, but there is always something captivating I\u00a0
\nthink about what MB does, and such subjective ‘good’ or ‘bad’ are somehow irrelevant; it\u00a0
\neither grabs you and you love it, or you stay stone cold and hate it. No prizes to win on\u00a0
\nwhich side I am.
\n\u00a0\u00a0 The artist himself on his ZSF Produkt label first released Merzbow\u2019s \u2018Ecobondage\u2019 in\u00a0
\n1987, and it is probably a very long album, clocking in at over an hour or so. I remember\u00a0
\ngetting this record, trading with Merzbow directly (LP against Dutch smut magazines, which\u00a0
\nI always thought was a great deal) but not necessarily remember this as a bad pressing.\u00a0
\nNow it’s re-issued as a double LP with no bonus material, so the new pressing has no doubt\u00a0
\nwith more dynamics. Along with this comes a CD with the entire double LP as two long pieces\u00a0
\n(instead of three as was the first CD issue, released in 1995 on Distemper, it’s sole release\u00a0
\non this label actually). This is Merzbow in one of my favourite periods, this mid to late\u00a0
\n80s period. He’s not yet the noise artist he became later, either with all his guitar effects
\ntransforming acoustic sounds, or with his laptop, effectively reaching for the same noise,\u00a0
\nnor playing around with the EMS Synthi-A. In stead he plays percussion and records himself\u00a0
\na couple of times, banging sheets of metal, adding tape-loops of a rather obscure nature,\u00a0
\nsome hand spun records and the noise is very much of a different nature than on many of\u00a0
\nhis later work. This is the great times of ‘Enclosure’ or ‘Storage’, where metal plays an\u00a0
\nimportant role, scraping and rubbing sheets together to create nasty patterns, or rather:\u00a0
\nnon-patterns. A curious web of sounds that are not always related, even have an odd\u00a0
\nrelationship but which work together actually quite well. Everything comes in what seems\u00a0
\nto be a never-ending stream of sounds, where sounds pop up for a while and then are moved\u00a0
\nto the background somewhere and something moves along. An excellent interplay of disparate\u00a0
\nsounds, conjuring flickering images of an equally unrelated kind. If you like Merzbow,\u00a0
\nbut you think he’s doing his overload noise a bit too much on repeat these days, then it’s\u00a0
\ncertainly a wise thing to invest in this true 80s beauty which was until now hard to get:\u00a0
\nbut here it is again, in full beautiful glory! (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.menstrualrecordings.org<\/a><\/p>\n
\nGustafsson, Fred Lonberg-holm, Ken Vandermark, Yoko Ono, Thurston Moore and many others\u00a0
\nand, as far as I can tell, this is first solo album. “In his work he focuses on the ultimate\u00a0
\nextension of the potential of the drum set and percussion instruments as to their anatomy,\u00a0
\nsound and expressiveness, which results in a direct and intense sound language”, as it’s\u00a0
\ndescribed by the label. The recordings were made on a ‘jazz drum kit with conventional\u00a0
\nmicrophone system’ and it’s a rather short album, thirty-four minutes, with rather short\u00a0
\npieces, seven in total. The music is rather intense, with lots of stuff happening in each\u00a0
\npiece, and none of this is very rhythmical. One can hear this is a drum kit (jazz or\u00a0
\notherwise), with toms and cymbals and such like, but it’s played with objects on those\u00a0
\ndrum elements, with bows, with stones, Styrofoam and all such like. In a sense this radical\u00a0
\nimprovisation, and has very little to do with the world of free jazz (for instance) and\u00a0
\neverything with free improvisation, and while at times it is all quite heavy, such as the\u00a0
\nfeedback like cymbal play in ‘Half Blame’, it also sounds conventional. Other drummers,\u00a0
\nlike Christian Wolfarth or Michael Vorfeld do similar improvised music. This says nothing\u00a0
\nabout the quality of what Golebiewski does here: these are seven excellent pieces of music,\u00a0
\nsome of which is very radical in sound approach and sets a great calling card for Adam\u00a0
\nGolebiewski’s work – watch out him: he might be going places. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.latarniarecords.pl<\/a><\/p>\n
\nORPHX – SONIC GROOVE RELEASES PT.2 (CD by Hymen)<\/p>\n
\nleft off, which is, beyond doubt, a good thing. The extremely well designed aural landscapes\u00a0
\nare again breathtaking and the compositional diversity makes the album one captivating\u00a0
\nexperience from beginning to end. Meandering between glitchy IDM, high-end industrial sub\u00a0
\nbass mechanisms, vocal driven repetitive structures and acoustic atmospheres without lingering\u00a0
\nfor too long in any of those areas, Riggio clearly is master of his own realm and retains a\u00a0
\nversatile flow without allowing the album to succumb to wayward schizophrenia. And there really\u00a0
\nis an sense of proficiency underlying every single part of Futurism, to the extent that the\u00a0
\nalbum has rich moments in which it is pleasantly overwhelming, but remains quite disciplined\u00a0
\nat the same time. Still I believe I will have to give it a lot more spins before can honestly\u00a0
\nsay I\u2019ve taken it all in.
\n\u00a0\u00a0 Another second release in a series is \u00abSonic Groove Releases pt.2\u00bb by Orphx. I\u2019ve been\u00a0
\nintrigued by Oddie\u2019s work since I first heard Vita Mediativa and this disc is not going to\u00a0
\nchange that. The album sets out into a somewhat subdued techno pulse, to be pervaded by post-
\nindustrial thrusts a few minutes in. However, the roughness throughout the album remains quite\u00a0
\ntempered, punchy & technoid. And whereas it certainly fortifies some of the tracks to an\u00a0
\nindustrial extent, at no point does the noise and distortion saturate the dynamics completely,\u00a0
\nwhich makes it quite a easy listen, especially if compared to the already mentioned classic\u00a0
\nVita Mediativa. Although this is mainly a compilation of previously released EPs on, no surprise,\u00a0
\nSonic Groove, the eldest 12″ dating back to 2012, the sound and style is quite homogenous and\u00a0
\nin that respect this might have simply been a new album and I would not have noticed. The\u00a0
\nunreleased track \u00abHungry Ghosts\u00bb is then a fitting conclusion to an already enthralling album.\u00a0
\nAnd then about its looks: I can\u2019t pinpoint why exactly, but the artwork of both the previous\u00a0
\nand this part of the series is really amongst the most interesting\u00a0 and effective sleeve\u00a0
\ndesigns I\u2019ve seen in years. This alone, I feel, is a reason to purchase both parts. (PJN)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.ant-zen.com\/<\/a><\/p>\n
\nGJ\u00d6LL – THE BACKGROUND STATIC OF PERPETUAL DISCONTENT (CD by Ant-Zen)
\nKOMMANDO – SKULL SNAKE (CD by Ant-Zen)<\/p>\n
\na perfect spot in the vast lobby of the remote Azorian hotel where I\u2019m currently staying.\u00a0
\nAlmost perfect, since all of a sudden the background music turned from a lull of ambient chords\u00a0
\nto loungy house beats accompanied by soulful vocal stabs. No better option than to drown it\u00a0
\nout with the new Synapscape album \u2018rhythm age\u2019. There are no surprises, nor would we want any\u00a0
\ndifferent; Synapscape has their specific brand of rhythmic industrial that just bangs on track\u00a0
\nafter track and sports the occasional vocal part and lashing breakbeat every once in a while.\u00a0
\nWhat struck me though is that compared to predecessor \u2018Traits\u2019 this album seems a just little
\nbit mellower and the rhythmic parts sound less emphasized by distortion. Which is not to say\u00a0
\nthat that they don\u2019t have that typical Synapscape drive to them. Nor does the album lack the\u00a0
\nnecessary tracks that do blow your sock off with sledgehammer pounding. Hang on, no, maybe\u00a0
\nit\u2019s not even the distortion, but overall I felt sounded less evil and perhaps more \u2018angry\u00a0
\nengineering meets future science\u2019, if that makes any sense at all. Anyway, definitely more\u00a0
\nthan a decent bang for your buck.
\n\u00a0\u00a0 \u00abAscending\u00bb, the track that opens the sixth Gj\u00f6ll album cracks on very promising with its\u00a0
\nmodulating synth drone and ominously whispered Icelandic lyrics. I actually saw the two lads\u00a0
\nperform this track live at Maschinenfest 2k15 last week, which really had that low end come\u00a0
\nout just the way it should. After diving right into power electronics with powerful vocals on\u00a0
\nthe second track, the album takes quite an unexpected turn on the third track. A rhythmic guitar\u00a0
\nriff seems to be setting the tone for some heavy duty machinery to take the stage, but the\u00a0
\nopposite happens and everything fades down to a very minimal electronic beat, some noise and,\u00a0
\nagain, spoken Icelandic – which personally I find a fascinating language and had me play this\u00a0
\nspecific track over and over. The riff then returns in a dubby way here and there. Strangely\u00a0
\nfascinating and quite a bold move I think. Then halfway through we\u2019re treated to a collaboration\u00a0
\ntrack with 2kilos & More, featuring the booming voice of Black Sifichi, upon which we sink deep\u00a0
\ndown into ecstatic noise\/drone epos \u00abLife as Randomness\u00bb and the violence of \u00abIn Defense\u00bb.\u00a0
\nEspecially these two tracks, I felt, conveyed an immense sense of power, a beguiling place where\u00a0
\ncapability and compositional skill meet. Quite a diverse album and an interesting one at that.
\n\u00a0\u00a0 Daniel Hofmann = 50% Thorofon = Kommando, a project that actually predates Thorofon. I can\u00a0
\nmake it quite simple for us all by saying simply: if you\u2019re into Thorofon, or for instance early\u00a0
\nHaus Arafna, Subliminal or Genocide Organ for that matter, it\u2019s ridiculously safe to assume you\u00a0
\nwill probably like this too. It has the angsty vibrato synths wailing away, wonky and guttural
\npulsating rhythms and those typical modulated vocals. To me it\u2019s the impetus of those slow\u00a0
\nmechanical thrusts that pleasantly reminded me of the reason why I started listening to (post-)\u00a0
\nindustrial in the first place many years ago. After slowly melting your mind with the first 8
\nmoderately paced tracks of the album, \u00abCrosses\u00bb floors it and just stomps away as if there\u2019s no\u00a0
\ntomorrow. I had not heard anything from the hands of mr. Kommando before listening to this album\u00a0
\nactually, but now I feel commonsensically obliged to check out the rest of his catalogue. (PJN)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.ant-zen.com\/<\/a><\/p>\n
\nDMT – ULTIMATUM (CD by Zhelezobeton)
\nKSHATRIY – KSHATRIY AND MUSHROOMS (CDR by Zhelezobeton)<\/p>\n
\nthings dark and atmospheric, and who always surprise me with another bunch of new Russian\u00a0
\ndiscoveries. For instance Kein, from Yekaterinenburg, who was in the 90s in the ‘atmospheric\u00a0
\nblack metal band’ Thy Repenetance, and later on had such projects as Scratching Soil, Carved\u00a0
\nImageOf Emptiness, Church Of Howling Dog, as well as being a member of Prognostic Zero and Zinc\u00a0
\nRoom (and yes, I think some of these names are a bit silly). Sol Mortuus is his latest solo\u00a0
\nproject and this time around, on ‘Extinction’ it is all about ‘life in decay, under a dying sun’\u00a0
\nand to that end Kein uses a variety of instruments, such as cello, mandolin, blockflute (which
\nproper name is actually recorder), kaluka, vargan, buben (I have no idea what these three are,\u00a0
\nbut the latter two might be a Jew harp and a small drum) and percussion. Somehow the music Sol\u00a0
\nMortuus created sounds very Russian: there is the ominous big drones, created through the\u00a0
\nextensive use of reverb on acoustic instruments, and throughout he also uses cleaner versions\u00a0
\nof these instruments to play along, especially when he starts his more tribal drum patterns.\u00a0
\nTopped with something that one could perhaps call ‘overtone singing’; it calls for the darkness\u00a0
\nof the Russian soul, long winter nights, endlessly cold plains, and perhaps even some kind of\u00a0
\nancient form of tribalism, shamanism or some such. While not entirely well spend on me, I played\u00a0
\nthis with some interest and actually enjoyed it quite a bit.
\n\u00a0\u00a0 From the Russian desolate landscape we land in social realist industrial workforce with DMT,\u00a0
\nwhose ‘Ultimatum’ is the second release in a series called ‘Die Zeichen’ (the signs), which is,\u00a0
\nif I’m correctly informed, to ‘publish the archival works of Russian post-industrial projects’\u00a0
\n(and done along with kultFRONT) and this time it’s the music of Dmitry Tolmatskiy, who died in\u00a0
\n2009. In the 90s he was very active as a journalist, but privately occupied himself with\u00a0
\nelectronic music. This compilation spans sixteen of these pieces from 1999 to 2008, including\u00a0
\na live piece with Alexei Borisov. This is quite a mixed bunch of pieces. Rhythms play an important
\npart in this music, hard and vicious like a solid industrial dark wave act, but then also at times,\u00a0
\nrhythms are shut down and there is more room for electronics and experiments. The balance however\u00a0
\nis in favour of the loud rhythmic pieces, which remind me at times of Esplendor Geometrico, but\u00a0
\nsome of these pieces are perhaps a little bit disorganized: once a rhythm is set in motion, add\u00a0
\nsome sounds while this goes, but that in itself doesn’t bring a great piece of music, necessarily.\u00a0
\nAt close to seventy-five minutes and some of these pieces being a bit overlong, it is quite a\u00a0
\nstretch, but it surely has it’s moments.
\n\u00a0\u00a0 In Vital Weekly 933 I reviewed a re-issue of the first release by Sergey Uak-Kib, or rather the\u00a0
\none he recorded as Kshatriy. I had reviewed some of his more recent releases, but never his second\u00a0
\nrelease, which is ‘Kshatriy And Mushrooms’, which was given away in very small quantities back then.\u00a0
\nMuch of his music is very drone based, very electronic and most likely originates in gathering\u00a0
\nfield recordings being transformed extensively. In his more recent works this seems to be very much\u00a0
\nin a dronal meltdown that leads to very dark pictures of sound, much bass end, very little light\u00a0
\nand high-end, but in the pieces on this release, dealing with mushrooms (in all it’s forms present\u00a0
\nin the title: growing, flying, curious, crying, angry psychoactive, walking, magic and dying) there\u00a0
\nis much more light allowed. Picture hazy sunlight coming through these trees, close to each other,\u00a0
\nand you picking mushrooms in the early hours of the day. That kind of light is what this music has,
\nhazy but light, and at times the shadows brings in a bit of darkness. There is quite some cosmic\u00a0
\ndelight in this music, not of the nicely arpeggio variety, but experimental, moody and still\u00a0
\ndelightful. A special mushroom indeed. It’s great to see this in print again. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/zhb.radionoise.ru<\/a><\/p>\n
\nreviewed in these pages although he could have been; he’s grown into more mainstream music\u00a0
\ncircles these days, but his music, we both agreed upon, was just very lame cosmic, third rate\u00a0
\nTangerine Dream drivel. Perhaps these days it helps to water down your style, and have a quasi-
\ninteresting hook (‘look: all modular synthesizers’), be an imitation of something else, from way
\ndown the line. Anyway, not so interesting, this story, but that unnamed artist is not on par\u00a0
\nwith say with Idea Fire Company: that’s something we both agreed upon. I told this before and\u00a0
\nsince I am never tired of repeating myself: why isn’t the Idea Fire Company on the same level\u00a0
\nas some of those post cosmic, ambient, industrial acts? Is the band old hat, or just old? Too\u00a0
\nunderground? Or Scott Foust too eccentric? The latter would certainly be a main attraction, I’d\u00a0
\nsay. Over the past 25+ years the duo of Karla Borecky and Scott Foust plus assorted guest players\u00a0
\nhave released some 12 albums and a plethora of cassettes, a 7″ and some CDRs, and when time allows,\u00a0
\nI’d like to play them all in a row, not in any particular order actually. In recent years the\u00a0
\nfocus, certainly on LPs, shifted from the use of synthesizers, sound effects and radio towards\u00a0
\nthe extended use of piano (played by Borecky, who did a fine solo piano LP, see Vital Weekly 963)\u00a0
\nand Foust on synthesizer (here on one piece), trumpet and radio (twice). The music now has a much\u00a0
\nmore acoustic character, especially when trumpet and piano are the only instruments. Of course\u00a0
\nFoust is not really a trumpet player (or rather: he is the perfect non-musician in the best Brian\u00a0
\nEno sense of the word), but it’s Borecky’s piano playing that creates the foundation for Foust\u00a0
\nto let himself go with his curious playing of instruments. The way it’s recorded, it sounds like\u00a0
\na microphone is stuck up next to the piano and it records the piano very well; Foust is hovering\u00a0
\nabout with his trumpet and produces his synth\/radio sounds from the backside of the room. It gives
\nthose elements a remote quality. This is all very much in the world of low fidelity and in the\u00a0
\npast I may have remarked that there is a world to gain for the Idea Fire Company in a studio with\u00a0
\ngreat microphones and a B\u00f6sendorfer grand piano (the Rolls Royce of piano’s as Palestine would say),
\nbut these days I am inclined to think something may get lost (at sea?) if they would do that. Much\u00a0
\nof their music gains so much more this deliberate lo-fi quality. It remains intimate, personal and\u00a0
\npartly obscured. I am biased of course; a long-term fan-boy if you want, and I don’t care. I know\u00a0
\nyou don’t care either: I am merely preaching to the converted here, those ‘in the know’; the big\u00a0
\nbad world doesn\u2019t care about Idea Fire Company. Screw the big bad world. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.recitalprogram.com\/<\/a><\/p>\n
\ncassette releases that I once owned, but was too lazy to put in an mp3 form on my iPod. Along the\u00a0
\nway I bumped into a few that I knew but never actually heard as well as various tapes and labels\u00a0
\nthat were entirely new to me. It filled up a hard drive full of music, which I am still trying to\u00a0
\nwade through, if time allows me. And even at that there is still tons of stuff from those lively 80s\u00a0
\nthat I never heard of and which all of a sudden pop up, out of nothing. ‘Psst\u2026 Wanna Buy A Tape?’\u00a0
\nwas such a tape, released by El Frenzy Productions, the label run by Bing Selfish, who is described\u00a0
\nby The Wire as “Essential for anyone who thinks that rock, politics and humour can’t occupy the same
\nmental and aesthetic space”, and which came back then with an underground comic, also called El Frenzy.\u00a0
\nThis LP is abridged version of that cassette and you could think: oh damn, incomplete product, surely\u00a0
\nsome musicians will be disappointed to have been left out? That is, until you realize that much of\u00a0
\nthe music is the work of Bing Selfish anyway, and some of these with his close friends such as Amos,\u00a0
\nsometimes known as L. Voag, the Homosexuals or Xentos, and that he is one of the more difficult\u00a0
\npeople to pin in the world of underground music. One of the reasons this release may not have been\u00a0
\non my radar before is that it operates in the world of lo-fi rock music, post-punk improvisation and\u00a0
\ndownright weirdness. Nothing so much about electronics, home-taping and such notions (the ones I was\u00a0
\nall into back then), but all about squats, small studio’s and alternative strategies into the world\u00a0
\nof rock music; people who believed something else, different, out of the ordinary (and even punk was\u00a0
\nsomething ordinary by then) was possible, past such things as ‘musician hero’ or ‘fan’, in which all\u00a0
\nof that would merge together. This is the world of free jazz, improvisation, odd rock, outsider art,\u00a0
\nThis Heat, The Homosexuals, Die Trip Computer Die, Recommended Records and if you dig into this world,\u00a0
\na whole alternative universe opens up; if you dug into this world before and you missed out on say\u00a0
\nthis excellent outsider rock tape compilation then I’m sure this is your thing. Playing music, doing\u00a0
\nwriting,drawing comics and everybody is an artist – not because you want to acquire fame for 15 minutes\u00a0
\nlike everybody seems to want these days, but because you have something of importance to share. No\u00a0
\ncomic book this time, but a lovely 16 page stencilled booklet (in very few colours) in which Kosten\u00a0
\nKoper interviews Big Selfish in a most unusual manner, but which offers lots of insight in those crazy\u00a0
\ntimes, which, sad as I think it is, will not return. This particular version of the 80s: how much I\u00a0
\nmiss them! (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/psstwannabuyarecord.wordpress.com\/<\/a><\/p>\n
\ncaptivating eeriness of this single-tracked spectre. The text \u00abDreams of the Incorruptibles\u00bb I reckon\u00a0
\nan excerpt of which one can find printed as liner notes on the sleeve, is the eighth part in a series\u00a0
\nof essays about Electronic Voice Phenomena and elaborately considers the possibility of part of the soul\u00a0
\nbeing trapped in a dreaming state inside the body, in case the deceased who are deemed \u2018incorruptible\u2019
\n– i.e. the dearly departed whose dead bodies seem to be subject to little or no decomposition. Science\u00a0
\nis still out on that one, but it is a mysterious background story that colours the experience of the\u00a0
\npiece of sound art imprinted on this floppy plastic square. The track launches into a collage of noise\u00a0
\nand click loops scattered across the channels with sudden intermezzos of lo fi-recorded voices, whose\u00a0
\nmerit I imagine must be their phantasmal origin or at least something EVP related. The different phases\u00a0
\nof the track each have a pleasant way of filling up the audio spectrum with a decent amount of low-end\u00a0
\ngush that has layers of respiring noise stacked on top of it. Check it out, preferably after dark. (PJN)
\n\u00a0\u00a0 Address:\u00a0http:\/\/www.discogs.com\/artist\/1214261-Michael-Esposito<\/a><\/p>\n
\nLLARKS – ATAVISTOV HEART (cassette by Kikimora Tapes)
\nUNFOLLOW – ZERO LIKES (cassette by Kikimora Tapes)
\nWINBREAKER – HOSTAGE (cassette by Kikimora Tapes)<\/p>\n
\nSeptember Plateau and a plethora of other names), who’s two lathe cut 7″ records were reviewed in Vital\u00a0
\nWeekly 982. Jeely is someone who likes to play the guitar (as we will see), but on the lathe cut 7″\u00a0
\nthere is less evidence of that. No titles on the actual piece of plastic, so I am not sure which side\u00a0
\nis what, but maybe the piece with the more or less organ-like drone sounds is the piece called ‘Priest’\u00a0
\nand then the other side must be ‘Vanguard Ghosts’. That one sounds like a bunch of low-resolution guitar\u00a0
\nloops being played together, with tons of laptop processing. A highly minimal piece of music, with\u00a0
\nshifting loops, going back and forth at the same time. ‘Priest’ too sounds processed, with some highly\u00a0
\nfuzzy drum sounds and hazy organ chords, both of which are drenched with the same minimalist approach\u00a0
\ntowards composition as the piece on the other side. Shoegazing bytes the processing, senses working\u00a0
\novertime? Highly atmospheric, and both are gorgeous computer pieces. The download contains two extra\u00a0
\npieces of fuzzier guitar drones. Something may be lost in the world of lathe cuts however.
\n\u00a0\u00a0 Also by Llarks, but then on a cassette is ‘Atavistic Heart’, and the Canadian label Kikomora calls\u00a0
\nthis for ‘fans of Flaying Saucer Attack, Sunn O))), Ride, Mark McGuire’ and probably all of those\u00a0
\nshoegazing, psychedelic guitar slingers. And indeed the role of the guitar in these eight pieces is\u00a0
\nomnipresent. Jeely strums it, plays solo’s, derives drones from them; it cries, whispers, howls,\u00a0
\nbursts and rings. There are (as far as I can tell) no other instruments involved, and Jeely knows\u00a0
\nhow to create a wall of sound with just six strings and no doubt a whole bunch of boxes on the floor.\u00a0
\nOddly enough do these pieces sound like something else, hardly like the 7″, save perhaps for ‘Echo\u00a0
\nEntaglment’, but here too there is always that bit of guitar. But as said something may be lost in\u00a0
\ngetting it transferred to lathe cut vinyl and here on tape sounds in glorious shining analogue fuzz.
\nQuite an excellent album of heavy and moody guitar music. Certainly a must have for those who miss\u00a0
\nout on new releases of Jeely’s earlier incarnations.
\n\u00a0\u00a0 Maybe if you call yourself ‘Unfollow’ and your release ‘Zero Likes’, you deliver some kind of\u00a0
\ncomment on the nature of social media? Behind Unfollow we have Tony Boggs, who, as Joshua Treble, was\u00a0
\nonce one half of Desormais, along with Mitchell Akiyama. With him he also worked as Letters Letters.\u00a0
\nUnfollow is the new solo vehicle and the label says about this debut that it “was recorded as Tony’s\u00a0
\nbrother spent his last days in Hospice; sampled life support machines and nurse’s whispers inter-splice\u00a0
\nhazy drones and jaded lo-fi beats. Unfollow zooms in, giving us a dimly lit skeleton; dizzying motorik\u00a0
\nbeats and paranoid textures undulate freely beneath the steady pulse”. I must admit that’s not how\u00a0
\nI heard it, especially that thing about life support machines and whisper’s and such like. Had I not\u00a0
\nknown all of this I would believe Boggs’ intention would have been to create some more experimental\u00a0
\nform of dance music, yet all of this still being on the danceable side of things. There is maybe\u00a0
\nthe odd hiss here and there, but otherwise it’s indeed all about straightforward dance rhythms and\u00a0
\nsynthesizer sounds. A bit dub inspired something, as in ‘Play The Wall’, otherwise straightforward\u00a0
\nfloor material of a more minimalist nature. Maybe it’s all a bit heavy, topic wise, but without that\u00a0
\ncontext I thought this was a highly enjoyable release!
\n\u00a0\u00a0 Windbreaker from Chicago (West Side to be precise) is the nom de plume for Nick Read, who was once\u00a0
\na member of Thrill Jockey’s Lazer Crystal, and ‘Hostage’ is also a debut. I never heard of Lazer Crystal\u00a0
\nbefore, so I have no idea how this fits in. It kicks off with ‘Robert’s Cup’ and with a great acid 303\u00a0
\nsound, but also some synthesizers being played on top. Here too we have dance music, inspired by the\u00a0
\nworld of acid, disco, electro and techno, with a fair bit of cosmic synthesizers on top. The music of\u00a0
\nWindbreaker is less minimal than that of Unfollow, and adds a bunch of melodic touches to the music.\u00a0
\nHere too I thought this was highly entertaining music. Certainly, and that goes for Unfollow as well,\u00a0
\nstuff you can put on reverse a couple of times, while doing chores around the house. There is both room\u00a0
\nfor the accessible beats and the some what more experimental sounds, sometimes buried a bit below in\u00a0
\nthe mix, and which one can pick up if the volume is up a bit more. ‘Statt’ is one such piece and
\nWindbreaker at it’s most ‘experimental’ (this to be taken lightly of course).
\n\u00a0\u00a0 These are the first three releases by Kikimora Tapes and offer an excellent showcase of alternative\u00a0
\npop tunes. That’s how I like these best! (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/lathelight.org\/lathelight.html<\/a>
\n\u00a0\u00a0 Address:\u00a0http:\/\/kikimora-tapes.bandcamp.com<\/a><\/p>\n
\nNuisibles #1\u201d in 2012. The second edition is released three years later. The trio Miguel A. Garcia,\u00a0
\nEnrique Zaccagnini on electronics and noise and Marta Sainz on voice and effects create a lot of noise.\u00a0
\nThe album consists of 15 tracks, called Destruction 3 \u2013 17 in 37 minutes. The album is a real kaleidoscope\u00a0
\nof noisy music. The alternation between violent harsh noise and noise with more space because of the mix\u00a0
\nwith a lot of reverb make this album to an interesting entire album. The tracks with white noise completed\u00a0
\nwith some edited musique concrete sounds are really fresh. \u201cDestruction 15\u201d is different than most of\u00a0
\nthe other tracks, because the singing aka chanting refers to Eastern or meditative sounds. The album\u00a0
\n\u201cDestruction des Animaux Nuisibles #2\u201d is an intense album to walk around in different noisy worlds. (JKH)
\n\u00a0\u00a0 Address:\u00a0http:\/\/alteracion-records.blogspot.com<\/a><\/p>\n
\nToeplitz in Vital Weekly 863 and this time around the two members that make up the core of P_Lab, Paul\u00a0
\nCollins (synthesizers, effects) and Adrien Lefebvre (synthesizers, laptop, field recording) team up with\u00a0
\nEgmont Labadie, from the Mainstream Ensemble, on electric guitar and effects and ‘Zero’ is their first\u00a0
\nrelease, recorded earlier this year in Paris. Unstable Lands describe their music as ‘electric\/electronic
\nimprovised music in the abstract-ambient modal mode’, which I guess makes sort of sense. In each of the\u00a0
\nfive pieces the mood is dark and gloomy, especially due to the guitar playing more or less ambient passages,\u00a0
\nin the best Robert Frippertronic tradition: slow, cascading, tumbling, rising and decaying. The other two\u00a0
\nmembers embed these guitar sounds in a bed of more drone like sounds, the oscillators of the synthesizers,\u00a0
\nthe stretched out sounds from manipulated field recordings; that kind of thing. Developments are quite slow,\u00a0
\nbut I guess that’s the whole idea behind this. Minimalist yet significant changes over the course over a\u00a0
\nlonger piece, and then creates something that is also interesting to hear for the unsuspecting listener.\u00a0
\nUnstable Lands succeed quite well at that, I must say. Their pieces have a sufficient amount of variation\u00a0
\nthat makes that one keeps listening until the very end of this. Perhaps all of this is not something that\u00a0
\nis highly ‘new’ per se, but it is surely something that is well made. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/unstablelands.bandcamp.com\/releases<\/a><\/p>\n
\neven when there is a long gap somewhere in the middle. In the early to mid-80s he wrote for Vinyl, a Dutch\u00a0
\nmagazine on ‘new’ music, and it was usually about the people I’d like to read about (Cabaret Voltaire,\u00a0
\nStockhausen, Gilbert & Lewis) in a very intelligent way, as well as being a musician himself, first with\u00a0
\nThe Young Lions and later on solo for Amphibious Records. Then he was ‘gone’ for a long stretch, but re-
\nsurfaced in 2011 when the Ultra movement was re-vitalized, and Schellinx wrote an extended book about that\u00a0
\nDutch musical movement. Since then I also come across some of his music again, now more immersed in\u00a0
\nimprovisational and conceptual projects. Cassettes play an important role, him being closely connected to\u00a0
\nRinus van Alebeek. ‘String Quartet With Windows, Open’ is one of his more conceptual pieces, in which he\u00a0
\nuses “four independent but closely related voices, each of which is generated and visualized on a laptop\u00a0
\ncomputer by an HTML5 script acting on a composed set of 1024 violin phrases, that in turn were created from\u00a0
\na library of violin samples played and made available by a musician that I only know by his moniker: ldk1609″\u00a0
\nas he writes on the cover. This string quartet lasts for twenty-four hours, to be played in a room with open\u00a0
\nwindows, so that the environmental changes become a very important feature in the music. The piece got it’s\u00a0
\npremiere in Brussels this summer, below the tracks ‘Belgian railways leading to & fro the Brussel-Kappellekerk\/
\nBruxelles-Chapelle railway station’, and has additional violin sounds by others, but also other guests joined\u00a0
\nin on sopranino sax, ‘outside spray can’, little Korg organ and other instruments. The piece itself is\u00a0
\nsomething Schellinx edited at home, and played back in the space. This cassette is an hour long, edited from\u00a0
\nvarious bits of the entire performance. That seems a good thing: no matter how interesting this all sounds,\u00a0
\nI can’t imagine in these busy times someone having time to hear all of the performance. These edited\u00a0
\nhighlights (?) give you enough idea of how the entire thing sounded. What we have here is a highly Fluxus\u00a0
\nlike piece of music. Seemingly random violin bits merge with outdoor sounds, cars, trains, people and all\u00a0
\nsuch like, while other players add little bits of their own. Exactly like the package promises actually.\u00a0
\nBut that doesn’t justify what I just heard, which is something with development, with consideration for the\u00a0
\ncomposition; to follow the course of a day and edit the highlights into a logical, ordered piece. From just\u00a0
\na bunch of violin sounds (at night I presume), adding more and more instruments as time lapses, until there\u00a0
\nis the busy Brussel nightlife. It ends there oddly enough, but maybe the suggestion is that this should be\u00a0
\non repeat for a long time, thus emulating the twenty-four hour cycle every hour? An excellent release, all\u00a0
\naround, and on repeat. (FdW)
\n\u00a0\u00a0 Address:\u00a0http:\/\/transonic-records.bandcamp.com\/<\/a><\/p>\n