BAD KHARMA – KOSMOS (6 CD-R set by Open Circuit)
ROSS BOLLETER – Crow Country (CD on Pogus)
ASHRA – SAUCE HOLLANDAISE (CD by Serie Poeme)
KID 606 – PS I LOVE YOU (CD by Mille Plateaux)
SCHLAMMPEITZIGER – AUGENWISCHWALDMOPPGEFLOTE (CD by A-Musik)
SHALABI EFFECT (CD by Alien8)
FON – FAKT (CD by Werkzeug)
NEIL CAMPBELL – ITINERANT STRING SECTION (CDR by Freedom From)
DONNACHA COSTELLO – GROWING UP IN PUBLIC (CD by Force Inc.)
RICHARD CHARTIER – SERIES (CD by 12K/Line)
INU-YAROH – ADAPT (CDR by Under the Sun Records)
NORTH STAR – TEMPEST (CD by Space Monster Optional Entertainment)
BAD KHARMA – KOSMOS (6 CD-R set by Open Circuit)
Well, it is not everyday that I have to review a sixpack of CD’s (when will
someone review the 50 CD set by Merzbow???), so it took me quite some time.
This is of course somewhat of an anthology of Bad Kharma’s work, dating
back to 1997. The CD’s have individual titles and I’ll simply start with
the first, which is called Kadat. It features three tracks, all of which
are pretty noisy, with heavy cutups. Some more silent part intersect the
blasts of noise and function as important compositional elements. The same
can be said for sudden pans or sounds cutting in on one side of the stereo
spectrum. The good thing about these tracks is the use of concrete sounds
(sometimes voices), alternated with electronics. This makes the range of
perception a lot wider and even invites associations sometimes. A good
noise work. Krshna is the next CD, with one track of almost an hour. It
starts pretty relaxed, but after about 3 minutes all hell breaks loose.
Pure electronic noise, not unworthy of Merzbow’s attention. At some points
the original material surfaces, which is kind of fun, regarding the abuse
it underwent. So this this one is pretty extreme, although there are
actually some moments of relative quietude. To be honest, it’s good as
well. After this Kutaar is like an oasis of rest. Four tracks of drony,
guitar based music, slowly building up and weaving overtones. Track one is
an almost ambient work with a somewhat melancholic atmosphere. Track two is
high pitched, almost piercing in the beginning, but gets darker later on.
There is more quiet with machines rasping the strings. Number four reminds
me of the work of Branca, layering all the sounds into a dense wall and
then taking it down again. CD four, Kabel, consits of five pieces,
constructed by drones and loops, created by feeding cable noises through a
broken delay unit. Distorted electronic sounds, hums, hisses, it’s all
there.Sattrangely enough, this is not a very noisy affair. The sounds are
layered, but stay on the gentle side. The sound is quite direct, without
too much obvious editing or addition of FX. It is like a combination of the
first and the third CD and so far I like this one best. But that was before
I heard Kurude, the fifth in the set. A strong album with a variety of
sound sources, varying from electronics to field recordings and actions
with things, either combined or not. Noisy elements are still present, but
mostly in the background. The compositions are exciting and surprising. In
these tracks there are parts where at times sound worlds are layered in
such a way that an amazing depth is created. It seems that everything of
the former albums comes together in this one. So let’s see what Karbon has
to offer us. This last one was created with a Powerbook and a Korg Polysix,
which makes me expect electronics, which is only partly true, because
obviously it is posibble to use samples on a Powerbook. So much for my
great expectations… However, most of the tracks are based on electronic
drones, to which samples, loops and other sounds are added. The general
sound is pretty ‘dirty’, which is quite refreshing, regarding their
origins. Again this album combines things from the former and again it is
done in a more subtle and original way. In all this set gives a very good
overview of Bas Kharma’s work in all of its different aspects. For some
this may exactly be the problem, for me it’s just fine. (MR)
Adress: opencircuit@staalplaat.com
ROSS BOLLETER – Crow Country (CD on Pogus)
Four pieces for solo instruments (piano, prepared piano, pianola, double
bass and accordion) and one composition for double bass and (prepared)
piano make up this sympathic cd by the australian composer and zenmaster
Ross Bolleter. Except for double bass and some tpawork all instruments are
played by the composer.
The instruments used are preferably in bad condition. This means the
instruments have to be damaged, even ruined or in a very degrading state.
Old and retired instruments seem to fascinate Bolleter. “I respectfully
approached the Ruined Piano in the tractor shed at Nallan Sheep Station and
took hold of the fall to lift it. It was so rotten it came away in my
hands.” Bolleteer is not interested in producing a comical effect or
gimmick funny to hear the first time and boring when listening to it for a
second time. No, this absolutely not the case. “Unfinished Business” for
ruined piano is in the end a serious piece. The fascination of Bolleter has
also something to do with doing the impossible: playing music on unplayable
instruments. Or in another example: in the piece “That Time (Simulplay II)”
two musicians – Ross Bolleter on piano and prepared piano and Ryszard
Ratajczak on double bass – play simultaneously but unable to hear each
other, as hundreds of miles of separate them. Their music is transmitted
live to an audience that undergoes one musical experience. Yes to my
surprise I must say that this great piece is really ONE and very enjoyable
because of the intense playing of both musicians, especially Ratajczak. So
making – or let happen – an interesting musical experience under conditions
that make this very difficult or that are not under control can have end up
in some very personal and interesting music. Zen and the art of composing
…?.(DM).
Address: www.pogus.com
ASHRA – SAUCE HOLLANDAISE (CD by Serie Poeme)
The cornerstone of Kosmische has been its love affair with that situation
of journeying.
Joel Vandroogenbroeck wanders around the world, Timothy Leary launches
seven up on a “trip,” Hartmut Enke travels deep within and the Tempel is
removed from Ashra at one point. Tearing up the plans, tearing down a
temple’s walls? It is not for nothing that London’s April live action saw
no old songs performed. Beginnings and endings – though not just yet, for
that last bit. Kosmische is utterly suited for the compact disc because it
can be set to repeat infinitely. Kuckuck’s final sound was that of the
cuckoo clock. Time and circles. Of course the beat is everpresent and
metronomically so; the rhythms could be extended indeed for weeks and this
time the trip is clean and clear. This message floats in the
slowly-seeping water – launched through that ocean of time, to some one,
for something – knocking against the glass in errant percussion and muffled
drip of sea seeking some other level than its own. What was the song that
played when your child was conceived? Or when you first lost your
burgeoning virginity? Another message, a different bottle. And the
question that started the journey itself is another matter
in itself. (DC)
Address: <http://www.maninkin.de>
KID 606 – PS I LOVE YOU (CD by Mille Plateaux)
Kid 606 has become a phenoma in the glitch world were the differencies are
sought with a microscope. His live appearances earlier this year here in
Europe showed us a young man (well, two, as he played with Lesser in his
set) who was poking fun at the genre by using hip hop beats, but who also
showed us capable of doing some more serious stuff. Now he has his full
length on Mille Plateaux, whose ideas of poking fun and being an
intellectual at the same time, have appealed to the young Kid. No doubt Kid
606 had the Beatles in his mind when he was looking for a title for his CD,
while he takes his ideas from mostly from popmusic, either as a direct
source of inspiration or uses the sample as a form to deliver comment on
popmusic. The CD is like his concerts: at times minimalistic beats, attempt
at techno pieces and the usual more daring microscopic events. Even when he
managed to do a very nice CD, the overall feeling I had was like: hmmm is
this it? Nice, but it never goes beyond the ordinary, new frontier being
demolished. It’s a rather ‘sweet’ candy this one. (FdW)
Address: www.mille-plateaux.com
SCHLAMMPEITZIGER – AUGENWISCHWALDMOPPGEFLOTE (CD by A-Musik)
More more and more Chermann fun, as our good ‘ol Square Tooth would call
it. Schlammpeitzger have been around a while to do their tricks of very
basic electronica, and their latest CD is no different. Totally crazed
rhythm stuff played on old keyboards, childish melodies and totally layered
(every inch of the tape, and no doubt this was recorded on magnetic tape,
to keep in spirit of it’s ancient feel, is filled with additional layers of
sound). Simply wacky stuff. Nothing new happening under this horizon, but
you get an amusing 45 minutes – of course the length of an ancient LP. Fun
fun fun, everybody’s got to have fun. (FdW)
Address: www.a-musik.com
SHALABI EFFECT (CD by Alien8)
I never thought about the Shalabi Effect, maybe the salami variant of the
Doppler Effect? No, Shalabi Effect are not called after some mysterious
audio effect, but after bandleader Sam Shalabi. Together with the for me
unknown Anthony Seck and Will Eizlini and the known Alexander St-Onge, he
made this double debut CD. According to the wrap around of the CD this
should appeal to fans of No Neck Blues Band, AMM, Pink Floyd and Taj Mahal
Travellers. Me liking at least two of those, think this is a strange
combination, but hey, it could work. Eclectism is in, in every field of
art, not the least in music. Tracks here are loosely improvised on
multi-track, but mixed with great care, leaving out the tedious bits (I
assume this of course, as I haven’t sat next to te mixing desk) and to
bring structure in the pieces. Many of them operate from a tabla/percussive
rhythm and repeating guitar patterns that sound a little bit mediaval.
Added are scraping sounds, curved sounds of the synth, and small textural
sounds. The overall effect is a pleasent, almost dreamy set of music, that
nicely floats by, while watching the rain fall outside. Shalabi Effect
don’t loose themselves in endless, undynamic improv sessions, but in
closed, confined pieces of music. I am still puzzled what the effect is,
but it has certainly to do with trance… (FdW)
Address: www.alien8recordings.com
FON – FAKT (CD by Werkzeug)
I have been trying to read the press info that I got with this CD, but it’s
very hard for me to understand what it is about. The cover doesn’t give you
much information, so maybe I be solidair with the average listener this
time, and just write my impressions of the CD. Fon’s second CD is an
extension of the first, which was a firm statement of microwave. Pieces of
pure tone/sine wave experiments set against more beat oriented material.
Fon repeat this on their new CD, which seems even more stripped bare of
anything that is unnecessary. This means more minimal, maybe to a point
were it doesn’t get any more less – their next CD will tell us, I think –
without being a bore of just a rhythm turned on, or some low end rumbling.
I can imagine that DJs that dare would love to see of this stuff on vinyl,
so maybe that would Fon’s next logical step. (FdW)
Address: www.restate.org
NEIL CAMPBELL – ITINERANT STRING SECTION (CDR by Freedom From)
I am lover of very lo-fi music, from almost everything on Corpus Hermeticum
to a whole bunch UK people, like Richard Youngs, Ashtray Navigations, Simon
Wickham-Smith and Neil Campbell. His LP ‘These Premises Are No Longer
Bugged’ is a classic: very noisy lo-fi pieces, loops of shortwave, guitar
and violin, recorded in a rather amateurish vein make it into a classic of
the genre. Here is a live CD with three recordings of 1996. The CD opens
with a 20 some minute piece of mostly shortwave from the start, but with
added sounds of scraping. Although at superficial hearing a minimal piece,
sounds are constantely faded, and new ones arrive on the spot. The second,
‘London 14 July 1996’, is a more plain noise affair. The shortwave loops
here are similar to the old Consumer Electronics, and can hold less of my
attention. The final piece is based around drones and a set of small,
nerving sounds. Neil shows that this kind music can be performed live, and
is not limited to the bedroom only. (FdW)
Address: <sonitus7@juno.com>
DONNACHA COSTELLO – GROWING UP IN PUBLIC (CD by Force Inc.)
Costello hails from Dublin, so his relationship with Declan MacManus is
easily made (Declan being the son of an Irish folksinger, but hey you knew
that of course), were he got an university degree in philosophy and at that
place he got interested in Reich, Cage, Xenakis – all of which are
mentioned, but I failed to see why. His music is that of minimalism of the
beat scene – techno with occasional dub elements thrown into the mix.
Relaxed stuff here on my private dance floor, yet I don’t see this going
big on the raves. Not important if you’d ask me, as I think this is a very
relaxed, very straight forwarded, and very pleasent record. (FdW)
Address: www.force-inc.com
RICHARD CHARTIER – SERIES (CD by 12K/Line)
Taylor Deupree’s excellent label 12K got a baby, and the name is ‘Line’.
Here Taylor is allowed to step out of the minimalistic, more or less beat
oriented microscopism, and do more linear, non-beat directed, or not per
se, music. The second release soon is by Immedia, who terrorize music by
searching the mistakes inhabited in the world of digitalia. The first one
is by Richard Chartier, whose work grows more minimal, yet gains more power
every time. From his first releases on Intranstive, Meme and Microwave to
this one is like walking backwards. From beats to pure tones, whereas it’s
usually the other way round. The music here is at most times virtually non
present. At the very best you get some high end tone, and everything else
is hidden away. If you put on the recommended headphones, you discover pure
beauty. It lives, it grows, there where you think there is just silence.
Highly inaccessible music, that requires concentrated listening – maybe not
as much as the first Bernard Gunther, but it gets close (luckily this is
half the length of the first Gunther, so I wasn’t as exhausted as when I
listened closely that masterpiece). Moving away from the glitchwerkers,
into the arms of Lopez, Meelkop and Gunther (and the others, who I never
mention – sorry). I drowned in it while playing it. Very very nice stuff.
The series are limited to just 500 copies, and I bet they will not last
very long. (FdW)
Address: www.12k.com/line
INU-YAROH – ADAPT (CDR by Under the Sun Records)
“You should tone up Bass of your audio!” The thrum of a warble mixes with
bells and samples which are not immediately apparent. We need more people
named “Do-It” in the charts. The heart of the matter waves from speaker to
speaker. There is an immediate sense of exertion and focus intact. Woofer
chases tweeter as the sounds throttle and wail.
The end is on a high note, and quite literally so.
Address: <Fh4m-bndu@asahi-net.or.jp>
NORTH STAR – TEMPEST (CD by Space Monster Optional Entertainment)
Although North Star has released several albums showcasing their
musicianship, their music was nevertheless plagued by dreadful vocals. I
found it unbearable to listen to any North Star release more than once.
Trying to tune out Joe Newman’s voice, I longed for an all-instrumental
North Star album. Finally my wishes were granted. Tempest is simply the
best North Star release ever! Who can argue with ten impressive
instrumentals ranging from Kevin Leonard’s Keith Emerson chops to Joe
Newman ‘s sitar raga?
Tempest is chock full of surprises. The biggest being Joe Newman’s solo
Raudra, an exquisite Indian raga composed and performed by Joe Newman.
Newman literally shines on the sitar. This one track is alone worth the
price of the disk! Other musical treats include the experimental Bathroom
by the Bongos (I’m sure that there is an interesting story behind the
title), Kevin Leonard’s keyboards on Getting’ Gigue Wit It, the dance funk
of Plastic Bombastic, and Dave Johnson’s tribute to his mom and sister
Goodbye Mom.
Perhaps Dave Johnson’s five-year-old son Max says it best, “North Star is
totally awesome, cool dude”. Do not pass on this one.
Address: [Space Monster Optional Entertainment, P. O. Box 43, Glen Mills,
PA 19342,
USA, www.audiogalaxy.com/bands/northstar ]