![\"UTE](\"http:\/\/modisti.com\/core\/wp-content\/uploads\/2015\/12\/UTE-WASSERMANN.jpg\")
<\/p>\n<\/p>\n
ERIC LACASA – SOUNDTRACKS (CD by Herbal International) *
\n KEVIN DRUMM & LEIF ELGGREN – LIKE DUST UNDER A MOTHER’S KNIFE (CD by JMY Music) *
\n OSVALDO COLUCCINO – PARALLELO (CD by Unfathomless) *
\n UTE WASSERMANN & BIRGIT UHLER – RADIO TWEET (CD by Creative Sources Recordings) *
\n MARC BARRECA – BENEATH THE MIRRORED SURFACE (CD by Palace Of Lights) *
\n GENETIC TRANSMISSION – LAST (CD by Zoharum) *
\n MAREK X. MARCHOFF – FUNERAL MUSIK FOR YOU AND ME (CD by Zoharum) *
\n COLUMN ONE – CINDY, LORAINE & HANK (2CD by Zoharum) *
\n FJERNLYS – FOUR: ONE UNEARTHLY ROOM (2CD by Loki Found) *
\n KLAUS JANEK & MIRIAM AKKERMANN – THE TARTINI (CD by Creative Sources Recordings) *
\n MICHAEL PISARO – MIND IS MOVING IX (CD by Intonema) *
\n ANDREA MASSARIA & GIANCARLO SCHIAFFINI – CORINDILINDOLI (CDR by Setola Di Maiale)
\n ANDREA BORGHI – SALNITTER (CDR by Contour Editions) *
\n BAS VAN HUIZEN – KLUWEKRACHT (CDR by Moving Furniture Records) *
\n SERGEY KOSTYRKO & KURT LIEDWART\/MUBLES – SPLIT (cassette by Spina! Records)
\n FORESTEPPE & 231 – llllllllllll (cassette by Spina! Records) *
\n BIONULOR – TROIS VERSIONS DE LA VIE (download by Oniron) *<\/p>\n
[rssless] [\/rssless]<\/p>\n tracklist for Vital Weekly 1009:<\/p>\n 0000 Tune \n ERIC LACASA – SOUNDTRACKS (CD by Herbal International)<\/p>\n By now it seems that Eric LaCasa is someone who is a fixed artist for the Herbal KEVIN DRUMM & LEIF ELGGREN – LIKE DUST UNDER A MOTHER’S KNIFE (CD by JMY Music)<\/p>\n A somewhat older recording here, from 2007, February 24 to be precise, from a concert \n OSVALDO COLUCCINO – PARALLELO (CD by Unfathomless)<\/p>\n There is an approach to field recordings that I like to call ‘the empty room’ approach: UTE WASSERMANN & BIRGIT UHLER – RADIO TWEET (CD by Creative Sources Recordings)<\/p>\n The cover of this release is quite interesting: it looks like a field with trees in the MARC BARRECA – BENEATH THE MIRRORED SURFACE (CD by Palace Of Lights)<\/p>\n Ever since his ‘return’ to the music scene with the CD ‘Subterrane’ (see Vital weekly GENETIC TRANSMISSION – LAST (CD by Zoharum) As the title indicates, ‘Last’ is the final release by Genetic Transmission, the FJERNLYS – FOUR: ONE UNEARTHLY ROOM (2CD by Loki Found)<\/p>\n It’s been a while since I reviewed ‘Beyond The Undulant Quiescence’ by Fjernlys, KLAUS JANEK & MIRIAM AKKERMANN – THE TARTINI (CD by Creative Sources Recordings)<\/p>\n Over the years I don’t think I reviewed a lot of music by Klaus Janek, who plays MICHAEL PISARO – MIND IS MOVING IX (CD by Intonema)<\/p>\n The Wandelweiser group is a (loose) collective of composers, who deal with very ANDREA MASSARIA & GIANCARLO SCHIAFFINI – CORINDILINDOLI (CDR by Setola Di Maiale)<\/p>\n Atmospheric improvised textures by an Italian duo of Andrea Massaria (guitar)and \n ANDREA BORGHI – SALNITTER (CDR by Contour Editions)<\/p>\n Music from Andrea Borghi has been reviewed before, either his solo releases, as <\/a><\/p>\n BAS VAN HUIZEN – KLUWEKRACHT (CDR by Moving Furniture Records)<\/p>\n For about five minutes every morning I listen to the radio, and it catches my ear \n SERGEY KOSTYRKO & KURT LIEDWART\/MUBLES – SPLIT (cassette by Spina! Records) Labelboss Sergey Kostyrko and Mikroton’s label owner Kurt Liedwart team up for the BIONULOR – TROIS VERSIONS DE LA VIE (download by Oniron)<\/p>\n The label took the trouble of recording the music onto a CDR even it’s only available as ERIC LACASA – SOUNDTRACKS (CD by Herbal International) * KEVIN DRUMM & LEIF ELGGREN – LIKE DUST UNDER A MOTHER’S KNIFE (CD by JMY Music)<\/p>\n","protected":false},"author":521,"featured_media":40144,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"class_list":["post-40143","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\/40143","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=40143"}],"version-history":[{"count":0,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/posts\/40143\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media\/40144"}],"wp:attachment":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media?parent=40143"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/categories?post=40143"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/tags?post=40143"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nVital Weekly 1009<\/a><\/p>\n
\n0014 Fjernlys – The Rays
\n0322 Eric LaCasa – A Hemero Phaestos 2
\n0631 Column One – Die Truhe Im Fluss #5
\n0937 Andrea Borghi – Fugqus
\n1228 Bas van Huizen – Kluwekracht
\n1536 Klaus Janek & Miriam Akkermann – Part 2
\n1843 Birgit Uhler & Ute Wassermann – Reflection
\n2150 Michael Pisaro
\n2459 Forestoppe & 231
\n2809 Osvaldo Coluccino – Parallelo 2
\n3113 Marc Barreca – Substrate
\n3428 Genetic Transmission
\n3737 Bionulor
\n3855 Kevin Drumm & Leif Elggren – Like Dust Under A Mother’s Knife
\n4207 Marek X. Marchoff – 80553,-73.91451
\n4515 Tune<\/p>\n
\n International label. ‘Soundtracks’ might be his fourth release on this label and as
\n the title suggests these are soundtracks to movies. Three soundtracks to be precise.
\n A film by the ever obscure Luke Fowler, a video by Christian Jaccard and a ‘drama’
\n by Marie-Christine Navarro. Apart from three stills, there is nothing to see on this
\n disc. Maybe these films\/drama exist somewhere in the digital domain, but I decided
\n to stick to the music and think about that. Of course we know LaCasa from his many
\n works that involve field recordings, and in ‘A Hemero Phaestos 2’ these might be
\n made in a foundry. In the other pieces it is less obvious, and sometimes I am
\n thinking this has more to do with electronic music than with field recordings.
\n Most likely however it is Eric LaCasa sticking his microphones in very unusual
\n places and taping sounds as they come through odd routes into the heads of his
\n recorders. Sometimes it sounds far away, like a motorway (the first part of
\n ‘Polymeres 2’ for instance), or (very softy) the sound of fire in the same piece.
\n Jean-Luc Guionnet plays organ in the second part of that piece, but here too LaCasa
\n adds a lot of other sounds and (perhaps) processes.\u00a0 The Luke Fowler film soundtrack
\n might be more to do with street sounds – I have no idea why I assume this, whereas
\n ‘A Hemero Phaestos 2’ has the most electronic feel to it. There are some interesting
\n combinations at work, quite some mystery as well. One never seems to be fully sure
\n what one is hearing, which I guess works always best for this kind of music;
\n no doubt these are soundtracks to more abstract visual material, and as such these
\n work fine. (FdW)
\n \u00a0\u00a0 Address: http:\/\/herbalinternational.blogspot.com<\/a><\/p>\n
\n by Kevin Drumm, playing electronics I assume, and Leif Elggren, who recites texts about
\n cutting crowns and probably much more (mothers, queens), while he sits behind a table
\n with tin crowns, which vibrates through the use of motors. This is one of those radical
\n Elggren releases, dwelling heavily on text, certainly in the first twenty or so minutes,
\n while it seems Drumm is not adding an awful lot. After that, up to say the thirty-eight
\n minute break, the music starts building and building into a mighty fine crashing noise
\n crescendo. It has two primary sources: one drone like that sounds like a guitar and
\n amplifier and one more electrical source being recorded in a space. Very stark in it’s
\n in minimalism, coming to us without much variation. In the third part (if they refer
\n to such things in this way – parts; maybe they just go by the whole notion of one piece)
\n of this, the sound drops dramatically into something that is much softer and we hear
\n the vibrating of objects on a table, but most likely upon the strings of a guitar, in
\n a very intense interplay of sounds. Here too there is not a lot of development, but in
\n these last thirteen minutes a lot more than in the twenty. It’s hard to say what each
\n of these players does within this piece; Elggren, one would assume, is the man for
\n ‘action’, the visual aspect of it all, the theatre man, while Drumm lays down the heavy
\n drone law upon this. Captivating music. (FdW)
\n \u00a0\u00a0 Address: http:\/\/jmymusic.bandcamp.com
\n <\/a><\/p>\n
\n one sets up a pair of microphones in an empty space and simply catches the emptiness of
\n the space in a recording, by using a lot of ‘gain’, the space becomes alive. Osvaldo
\n Coluccino has had two releases before (see Vital Weekly 748 and 823) of improvised music,
\n playing various acoustic objects and acousmatic music. Here he uses recordings he made
\n in the ruins of a 17th century monastery in Domodossola, North-West Italy. The work was
\n already composed between 2007 and 2009, and for whatever reason wasn’t released until now.
\n Two pieces here of exactly the same length and the starting point for each piece seems
\n to me the sort of drone sound one gets from the empty room. That is not yet the complete
\n thing as Coluccino also has a bunch of other recordings to use here: there is dripping
\n of water, objects falling onto the floor, and everything reverberates through this giant
\n space, or maybe even various spaces of varying sizes. Set up one microphone in one room
\n and let the action take place in the room next to it: you get the idea of ancient reverb
\n techniques before they got stuck in binary boxes. There are also lots of rumbling sounds,
\n lots of vague sounds around this place, sometimes leading up to a somewhat messy sound
\n picture. Coluccino uses the collage form, in which he places various bits one after
\n another, sometimes with short silent gaps in between. It’s hard to say if he applies any
\n (computer-) processing to his music; sometimes one is inclined to think he does, but it
\n might also be very likely that he isn’t. Throughout this is a soft release, I think;
\n I am not sure why Coluccino choose to do that. It all makes up, however, a mighty fine
\n album of a highly varied bunch of field recordings, all trapped inside two lengthy
\n pieces. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.unfathomless.net<\/a><\/p>\n
\n far distance, but the more I look at this, these trees might also be sound waves, from
\n a picture of a computer screen. It is a fascinating picture and I am trying to think of
\n this in terms of the music; either a representation of the music as recorded or a score
\n to play. Birgit Uhler plays trumpet, radio, speaker and objects, and we know her from
\n her previous works in the field of improvised music. She has been playing with Ute
\n Wassermann (voice, bird whistles) for a very long time. Back in Vital Weekly 453 (which
\n might have been from 2004) I reviewed ‘Kunststoff’, which I found a bit long (one hour)
\n and too limited in what these women had to offer, variation-wise. I believe Uhler played
\n mostly trumpet back then; the extended set-up she uses these days adds more variation to
\n her playing and these days I am quite a fan of her work. This new work doesn’t disappoint
\n either. Like on that previous release, Wassermann’s voice is about an imitation of what
\n Uhler does with her trumpet and other sounds, but her voice opens up a whole world
\n of possibilities of her own, with those bird whistles. These eight pieces (forty-five
\n minutes) are quite intense in approach. There seems always something going on, even
\n when it’s nearly silent. One can do nothing else but listen closely to this music and
\n be sucked into the sound world of these two musicians. Open up your ears and mind and
\n something beautiful will unfold. At forty-five minutes I would think this is also the
\n right length. More would not be good, less also doesn’t seem right. Excellent work. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.creativesourcesrec.com<\/a><\/p>\n
\n 737) we have been on track with Marc Barreca’s new music. His origins, way back in the
\n late seventies, are in ambient music; very much along the lines of one Brian Eno, but
\n that didn’t lead up to many albums of the same kind of music. Between 1986 and 2006
\n there has been no releases, and I don’t know why, but in all those thirty years there
\n have been nine albums, including a compilation of his earliest tape releases (on Vinyl
\n On Demand, not reviewed in Vital Weekly, sadly enough), so it may occur he’s not the
\n busiest bee. For Barreca perhaps the purpose of creation lies not in the production
\n of many similar tunes but in the experiment, the invention of new sounds, new textures
\n and, above all, new ways to create music. On ‘Beneath The Mirrored Surface’ Barreca
\n works with samples he sourced from many places, field recordings, old folk recordings
\n and acoustic instruments. These are fed through Max\/msp software and that resulted in
\n hundreds of sound files, which he then plays around with using Ableton Live. All too
\n easily one could think this will bring the usual amorphous mass of sound, the long
\n omnipresent drone music that could also be made by pressing down keys on synthesizer.
\n That’s not the case here with these twelve pieces by Marc Barreca. Instead these pieces
\n are hectic and nervous, crammed blocks of sounds, out of which elements pop up and
\n disappear. Sometimes it seems they are thrown together, but if you listen closely,
\n you will notice repeating sounds, or even something that resembles a rhythm, no matter
\n how chopped up these might seem. Barreca waves a delicate of web of many sounds; it
\n seems there are always a lot of these sounds playing, and usually it all seems very
\n abstract, but there is also an occasional hint towards a melody, such as in ‘Vermillion
\n Star’. Sounds are very rarely traced back to their origins, but in ‘Black Chilton’
\n we hear the violin, again chopped up, nervous, but still: a violin. This album lasts
\n over an hour and takes the listener on an extended trip, through moods, textures and
\n ideas; Barreca plays around with the notions of ambient music, and takes it all a bit
\n further. Out of the safe confines of ambient music, but also out of the whole notion
\n of microsound (too hectic) and musique concrete. It is ambient music that is forward
\n thinking, not rehashing old ideas. Maybe there is something new to add to the genre?
\n Let’s hope Barreca will explore the roads further and that he won’t let us wait
\n another lengthy amount of time. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.palaceoflights.com<\/a><\/p>\n
\n MAREK X. MARCHOFF – FUNERAL MUSIK FOR YOU AND ME (CD by Zoharum)
\n COLUMN ONE – CINDY, LORAINE & HANK (2CD by Zoharum)<\/p>\n
\n musical project of Tomasz Twardawa, who has released a whole bunch of CDRs on Die
\n Sch\u00f6ne Blumen Musik Werk, which I didn’t hear. I have no idea how this music
\n developed over the past twenty years, but the fifteen pieces on this release (which
\n were already recorded in 2007\/2008, curiously enough: when did this project end,
\n I wondered) show an interest in the cruder forms of musique concrete: Genetic
\n Transmission tapes metal objects, and presents these via loops to the listener.
\n Those loops are just what they are: loops. That is all perhaps not so musique
\n concrete, but at the same time he also has some sort of electronic process going
\n on, reversing sounds, pitching them up and down and such like and that is of course
\n very much musique concrete. Genetic Transmission has that odd mixture of mild
\n industrial music (the metal loops), ambient sound (the use of sound effects to
\n create sustaining textures) and the world of electro-acoustic music (the applied
\n process). It’s an interesting sound, perhaps a bit old-fashioned these days,
\n owing more to the late 80s when the industrial posse discovered Pierre Henry,
\n but Genetic Transmission adds a nice touch of himself to it. Maybe at sixty-three
\n minutes I found it all a bit long, and not always with enough variation, but surely
\n for about forty-five minutes I was all fascinated by this music, after that my
\n interest had waned.
\n \u00a0\u00a0 The Genetic Transmission album was mastered by Marek X. Marchoff, who also has a
\n new album out, called ‘Funeral Musik For You And Me’, the less personal follow-up to
\n ‘Funeral Musik F\u00fcr Jenny Marchoff’, which I believe I didn’t hear. I know Marchoff
\n from his work with Different State and 23 Threads, but this music is quite different.
\n The cover says ‘brain waves, elektro space, enormous consciousness’ and the seven
\n titles seem to refer to geographical locations; or maybe not. I am not sure. The
\n music seems to be all made with electronic instruments, mostly analogue synthesizers
\n and a sequencer. Any rhythms used, which is actually not a lot, come from the same
\n synthesizers and throughout the music can be classified as ‘austere’ and somewhat
\n bleak. Maybe it’s implied in the title of this that this is not some fun music and
\n as such it fulfils its character very well. Repeating figures are played in slow mode
\n and set off different pictures of all things grey (not black actually), but no doubt
\n the fact that looking outside and seeing this grey and rainy day doesn’t help. This
\n is certainly pleasant music, but it’s something I like very much; it’s bleakness and
\n desolate feeling. Only the final piece, ‘6937’n 73.9833’w’, has a kalimba like loop
\n and a saxophone on top of that, which works quite all right, and lifts the mood a bit.
\n That seemed most welcome after forty-five minutes of despair.
\n \u00a0\u00a0 I never quite figured what Column One is about; throughout their many years of
\n existence I quite enjoyed what they do, but ask me ‘what are Column One’s ideas and
\n intentions’, I wouldn’t know. There is always an element of collage to their music,
\n plunderphonics, magick, and field recordings and, who knows, some thematical\/conceptual
\n approach in their pieces. Apparently they worked for ten years on ‘Cindy, Lorraine &
\n Hank’, and we see the group in the biggest line up: Rene Lamp (singing glass), Robert
\n Schalinski ((zither piano, flute, gongs, saw, synth, acoustic devices, voice, field
\n recordings), J\u00fcrgen Eckloff (piano, synth, source donation), Andrew Loadman (montage,
\n field recordings) with Nada and Rasmus Schalinski (voices); even Reinhold Freidl from
\n Zeitkratzer is enlisted as a guest, among others. The eclectic approach of Column One
\n is something one can easily see in the ninety plus minutes of this work and all of
\n their interests easily flow into each other. There are parts in which Column One acts
\n as a band, playing together some improvised music (such as in ‘Warsaw Part 1 and 2’,
\n and which is a lovely title if you know your history), blending into collages of field
\n recordings, modern classical music, and then, as easily, into a montage of voices
\n (speed up), electronics and Dixie land; then a bit of ambient with sighing into a
\n microphone, and sometimes most of this seems to be happening within the space of one
\n piece. In a way one is reminded of the very first records by Psychic TV, but then less
\n the singing of pop tunes. But otherwise, this is very much all over the place and it
\n makes up music that has very much that great radio play like quality. This is best
\n enjoyed as one continuing piece of music, as an extended radio drama; not a lot of
\n text, but lots of pictures are emitted through these waves. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.zoharum.com<\/a><\/p>\n
\n from Leipzig. That was in Vital Weekly 718, and I predicted the return of ambient
\n house back then. Cosmic music was already making waves and it would not be for long
\n and musicians would add beats to that cosmic tune and we’d be enjoying a rehash of
\n the nineties ambient house. Maybe that didn’t happen at the same full scale as I
\n thought it would be (never have me working for a record label again: I’m not the
\n best A&R manager). Here we have, after five years, a new album, which comes with
\n a bonus CD with remixes. It seems to me that Fjernlys moves away from the beat
\n oriented music and ends up with some more gothic sound. The vocals are deep,
\n majestic even and embedded in a field of ambient inspired synthesizers. Beats as
\n such, one of the main ingredients of ambient house obviously, are not present to
\n a great extent. These eight pieces are more ‘songs’ than ‘pieces’, if you get my
\n drift. His previous release wasn’t about ‘dancing’ either, but seemed to be more
\n ambient than this one. Only in ‘A New Plane’ we recognize some of the ‘old’ sound.
\n Otherwise these songs are quite moody and dark. This time it is more Staalplaat
\n than Silent Records, if you get my drift. It’s all again very retro in approach;
\n the ‘f’ on the CD itself is of course a reference to musical notion but it reminded
\n me also of the logo of Factory Records.
\n \u00a0\u00a0 The second CD has five lengthy remixes, by Kammarheit, S.E.T.I. (twice), Herbst9
\n and Peter Bj\u00e4rg\u00f6 and it lasts in total thirty-seven minutes. I already wrote a lot
\n on the subject of remixes and I feel that if they don’t take the original into an
\n absolutely new territory, one could ask: what’s the point? I wouldn’t have mind
\n hearing a great techno take on the Fjernlys original, a bouncing ambient house
\n version that emphasizes the word house or maybe some big beat version. That doesn’t
\n happen in these five remixes, which all seem to stay quite close to the original
\n music of Fjernlys: dark, atmospheric, emphasizing the electronics more than the
\n vocals, add a bit of rhythm, but never a lot of these. For the true fans, as they
\n say in these cases. I like the original as it is. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.loki-found.de<\/a><\/p>\n
\n processed double bass. In Vital Weekly 962 there was his release with Claudio
\n Rocchetti, a tour document of their concerts in the Far East. Here he shows up with
\n a recording from 2012 where he performs with Miriam Akkerman who plays processed
\n flute. I never heard her work before. I had no idea what to expect here and when I
\n heard this I could not have imagined it would sound like this. The release is by
\n Creative Sources Recordings, which, in my book, means this is all about improvised
\n music, and surely this is too, but it sounds quite different. I have no what kind
\n of processing these two musicians apply to their instruments, but effectively they
\n create loops of the lowest fidelity possible. One hardly recognizes the double bass;
\n it results mostly into a deep dark rumble. With the flute it is actually not a lot
\n different. It barely resembles a flute in part one; it does to some extent in part
\n two. The two pieces, around twenty minutes each, are more creations of ambient
\n industrial music, creating dense fields of utter vague sounds, and sometimes one
\n thinks; oh a flute! It sounds like music of early zoviet*france being recorded on
\n a cassette with dirty recording heads. I must say I very much enjoyed this release.
\n It didn’t sound like something out of the book of improvisations, but something out
\n of the archives of a band that recorded hissy cassettes in the early 80s. Obviously
\n a sound I grew up with. This is one of those releases that shatters all expectations
\n and that’s something I always enjoy a lot; here it results in something that I very
\n much like, music wise. This music reminded me of so many things and yet coming out
\n of an entirely different world. Highly recommended. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.creativesourcesrec.com<\/a><\/p>\n
\n quiet music. Michael Pisaro is one of them. In many of his pieces silence plays an
\n important role, but it’s not exclusively about that. ‘Mind Is Moving’ had already
\n eight pieces, which were already composed between 1995 and 1996, and they were for
\n various instruments (classical guitar, four classical bowed instruments, voice,
\n oboe and trumpet). These pieces were exploring overtones and resonance. The ninth
\n was already sketched back then, for electric guitar, but first completed in 2011.
\n As a small tribute to Keith Rowe there is also the use of radio sounds, stones and
\n whistling. Denis Sorokin, with whom Pisaro also made some changes to the piece,
\n which was recorded in St. Petersburg, performs it on this disc. This lasts some
\n forty-two minutes and it is indeed a very quiet work, but unlike the work of some
\n of his peers, one doesn’t have to turn up the volume. Everything happens with
\n refined slowness. A pluck on a string, quietness, sustaining sounds from
\n amplification and a bit of radio, followed again by silence. A series of short
\n sounds on various strings, followed by some feedback and, as always, more silence.
\n This is all very contemplative music; there is nothing in here to offend the casual
\n listener. This is music one plays for its sheer beauty; at least that’s what I did.
\n A grey day, coffee within reach, a great book on music and this CD on repeat for
\n at least three times. There are worse things in life! (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.intonema.org<\/a><\/p>\n
\n Giancarlo Schiaffini (trombone). Schiaffini was a member of the legendary Gruppo
\n di Improvvisazione Nuova Consonanza from 1972 until 1983. Also he has a career as
\n a composer of modern music. Andrea Massaria is a guitarist from Trieste and started
\n in the 90s from what I can trace. In their open, free floating improvisations they
\n make extensive use of effects and extended techniques. This makes their sound far
\n more broader than just trombone and guitar, turning it into an electro-acoustical
\n kind of music where it is not always evident that it all starts with trombone and
\n guitar. Also the vocal contributions by Tiziana Ghiglioni in ‘Chirullimaconi’ and
\n Silvia Schiavoni in ‘Ho veduto Volare’ are manipulated. This makes their music of
\n a very abstract nature. Point of departure however is a poem by Fortunato Depero
\n ‘Verbalizzazione astrate di signora’ that is transposed intuitively into music.
\n Space is the dominant metaphor that comes to my mind listening to their music and
\n can be applied to all of their echoing excursions. One can feel improvisation is
\n the way by which these pieces come into being, starting in one piece from an idea
\n by Massaria, and in another one from an idea by Schiaffini.\u00a0 I experienced their
\n interactions – recorded live during a concert in Trieste – most enjoying in the
\n opening track ‘Chirullimaconi’. There is a laid back feel to their music as both
\n musicians take time to develop their movement in sound. On the other it was hard
\n work for me to find orientation in their unconventional musical universe. (DM)
\n \u00a0\u00a0 Address: http:\/\/www.setoladimaiale.net
\n <\/a><\/p>\n
\n well as Vipcancro, the group he is a member of – see for instance Vital Weekly 785,
\n 862, 868 and 872). In his solo work computers and Max\/Msp play an important role.
\n The title translates as ‘saltpetre’ and ‘refers to the medieval theological
\n principle according to which creation is carried for contraction’. There is not
\n a lot of information on the cover (besides a label statement, which I thought was
\n a bit odd) as to what kind of sounds that he uses. The level of abstraction is
\n very high with this kind of music; certainly with the kind of extensive treatments
\n Borghi gives his original sound material. My best guess would still be that it’s
\n some kind of field recordings that go into one of the chain and via the extended
\n tools Borghi built with Max\/Msp something entirely alien is received at the output
\n end of things. If you want, you can recognize the sound of dripping water, slowed
\n down like a jackhammer. Maybe I am entirely wrong of course, but that’s what it
\n sounds like. The music is very much inside the stratosphere of musique concrete,
\n galaxy: digital treatments. At one point we called this microsound, clicks ‘n
\n cuts or even noise, and the heavy textures, rambling noises of loose fittings in
\n the ceilings and sometimes consecutive sounds that form the occasional rhythms
\n may be something that you heard before, but Borghi does a fine job. The six pieces
\n here are concise and condensed: it’s never too long. That makes the album perhaps
\n a bit on the short side, clocking in at just less than twenty-six minutes. However,
\n I am not sure if I would this any longer. It is, in all its briefness, just right.
\n Not too long, to the point and more would probably destroy the built tension
\n curve here. (FdW)
\n \u00a0\u00a0 Address: http:\/\/www.contoureditions.com<\/p>\n
\n every now and then that are a special days, for secretaries, TV, Indonesian Kitchen
\n or Aids day (which happens to be the day you read this – I looked it up). Not on the
\n radio last Saturday was the fact that day was CDR day, for the second time. I have
\n no idea who invented it, and normally I don’t care about special days (birthday and
\n 1000th issue days included), especially when they are for hip media, like vinyl or
\n cassettes, but let me applaud the CDR, that much neglected and despised medium. Very
\n much like the uberhip cassette, the CDR is a print-on-demand format, allowing anyone
\n to burn some of his or her own music on a CDR and sell it, in any small number. The
\n CDR is the perfect testing ground for new music, quick ideas and concert recordings.
\n They sound better than cassettes and songs are (usually) easier to locate, so I am
\n slightly oblivious as to why so few people love such a medium (oh yeah, they wear out,
\n right? Like there are no scratches on my ‘beloved’ vinyl). I am proud to say Vital
\n Weekly never looked down upon this medium, and treated it with much respect. Moving
\n Furniture Records started out as a CDR label, even when they branched out later to
\n cassettes, vinyl and real CDs these days, they never forgot about their roots. For
\n the occasion of CDR day they release ‘Kluwekracht’ by Bas van Huizen, who was once
\n from the lovely city of Nijmegen, but is these days based in Xi’an, China. He used
\n to have his own CDR label, Etherkreet and the last time I heard his music it was
\n way back in Vital Weekly 743, when I reviewed ‘Glasgrazer’ (even for Dutch people he
\n surely has weird titles). Here we have eight pieces called ‘Kluwekracht’, plus a coda
\n and a remix. As Basi Goreng, Van Huizen plays ‘beat based electronic music’ and as
\n Shogania ‘experimental noise’, but under his own name it’s all about using the guitar,
\n voices and singing bowls, which he all puts into a pot, called the computer no doubt,
\n and starts a slow meltdown to steam up some excellent ambient drone music; music that
\n is not about lulling the listener into a deep sleep, but Van Huizen keeps the listener
\n awake and, more importantly: the listener keeps listening. Most of the times these
\n guitar sounds are heavily orchestrated and manipulated into grainy textures, almost
\n like word- and drum less shoegazing. The music is throughout quite sharp and direct:
\n it sticks right into ones brain, there is no escape from this. One could argue that
\n since that last release, which is about five years old now, the development in Van
\n Huizen’s music is very limited; I have no idea why that is. Maybe Van Huizen was busy
\n with other projects; maybe he didn’t do any new music at all? Who knows? Who cares
\n either, now he’s back? As this is released on CDR, it might very well be a temporary
\n report, a sketch for now, a comeback album or simply something he wanted to share
\n with his friends. This is an edition of 50 copies, with an A5 cover. Great welcome
\n back release. (FdW)
\n \u00a0\u00a0 Address: http:\/\/movingfurniturerecords.bandcamp.com\/
\n <\/a><\/p>\n
\n FORESTEPPE & 231 – llllllllllll (cassette by Spina! Records)<\/p>\n
\n first time with a joint recording, made last summer. I know Liedwart’s music as
\n relatively quiet, so I must admit I was a bit surprised here, with the noisier outing.
\n They use modular synthesizer & synthesizer (that’s what it says on the cover),
\n electronics and light electronics. That results in four noisy and minimal pieces of
\n electronic music. It scratches and peeps, it bursts with low end sound and in ‘Under
\n Left’ there is a bit of light, albeit not a lot. This perhaps exactly the kind of
\n thing that people release on a cassette: an impromptu noise session, straight forward
\n and no bullshit.
\n \u00a0\u00a0 Mubles from the Basque country appear on the other side. Mubles is Miguel Angel De
\n Blas, Miguel A. Gracia, Kakofunk, Al Karpenter and Loty Negarti. Their music can be
\n called ‘demented free rock’ at their best. I am not always a big fan, I must admit.
\n In this twenty-two minute piece, ‘Oh Pequeno Muble’, Garcia mixes together a bunch of
\n recordings from the band into a highly lo-fi affair. Maybe some of these tracks didn’t
\n consist of hardly any sound, yet had all the more hiss, I wondered. One hears guitars,
\n percussion, and vocalisations, which grow in intensity throughout the piece (not so
\n free then, this music?), but just as easily disintegrates as well. I have no idea what
\n to make of this. It’s quite enjoyable, for now. Would I want to hear a whole lot?
\n I doubt that.
\n \u00a0\u00a0 The other new release by Spina! Records is by Igor Klochikhin from Berdsk and 231,
\n “a family group from Saint-Petersburg” (and not be confused with Pacific 231). Klochikhin
\n is a history teacher and he records in his bedroom, using cassettes, toy instruments,
\n field recordings, while the family do “from time to time home art with their children,
\n calling this manner of their lifestyle as mom-and-pop”; they already have seven albums
\n out in the last three years. I am not sure how this collaboration was made, in person
\n or via mail exchange. This is quite strange music. It sounds like someone set up a
\n microphone in a space and everybody makes some sounds, in other rooms. Trying out that
\n guitar in one, while someone else knows how play a few chords in another. Children talk
\n through this, there is a bit of percussion by them, etc. Two times nineteen minutes of
\n this. One could do an extended piece on creation, naivety, art brut, outsiders, or
\n simply put it down as people have a great laugh at all of that. One could easily say
\n this is all bullshit. I was reminded of some of the work of Dominique Petitgand,
\n especially with those children voices; I quite enjoyed it. Just with Mubles (even when
\n this is entirely different), I enjoy this but I may not necessarily want to hear a lot
\n of this. Great idea though. (FdW)
\n \u00a0\u00a0 Address: http:\/\/spinarec.bandcamp.com<\/a><\/p>\n
\n a download. Maybe to trick us into reviewing it? I have reviewed Bionulor’s music before,
\n and I quite enjoyed his take of the dark drone, Stephan Mathieu inspired sound recycling.
\n I would have put this aside, but I was also bit curious what this was about. Much to my
\n surprise there are six pieces here and the total length is eight minutes – I can do this
\n easily (and this is by no means an invitation to send me more download music, mind you!).
\n This is Bionulor’s third release with music from theatrical performances (see also Vital
\n Weekly 901), in this case Yasmina Reza’s play ‘Trois Versions De La Vie”, and I have no
\n idea why this is all so brief. Was there no need for more music? Bionulor, who uses ‘100%
\n recycled sounds’, takes whatever sounds and in these six brief pieces he doesn’t use the
\n long form drone music trick, but rather has it all a bit more playful; like loading up
\n sounds into a sampler and playing the keyboard a bit more randomly. There are piano
\n sounds, something of a more electronic origin and some sound effects. Everything is a
\n bit sketch like here – no surprise there with six pieces in eight minutes. A bit short,
\n granted for that reason a review, but one wonders: why so brief? (FdW)
\n \u00a0\u00a0 Address: http:\/\/onironlabel.com<\/a>\n <\/p>\n","protected":false},"excerpt":{"rendered":"