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VITAL WEEKLY
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number 515
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week 9
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Vital Weekly, the webcast: as an experiment
for the time being, we offering a weekly webcast, freely to download.
This can be regarded as the audio-supplement to Vital Weekly.
Presented as a radioprogramm with excerpts of just some of the
CDs (no vinyl or MP3) reviewed. It will remain on the site for
a limited period (most likely 2-4 weeks). Download the file
to your MP3 player and enjoy!
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podcasts go here: http://ipodder.sourceforge.net/
* noted are in this week's podcast
ZAVOLOKA & AGF - NATURE NEVER PRODUCES
THE SAME BEAT TWICE (CD by Nexsound) *
INCANDESCENT SKY - PATHS AND ANGLES (CD by It's Twilight Time)
DANIELLE PALARDY ROGER - BRUIDUCOEUR (CD by Ambiances Magnetiques)
I8U & TOMAS PHILLIPS - ANTHER (CD by Petite Sono) *
BRADYWORKS & MICHAEL DONOVAN - THREE CITIES IN THE LIFE OF
DR. NORMAN BETHUNE (CD by Ambiances Magnetiques)
1/3 OCTAVE BAND - SUB LIMINA (CD by Humbug) *
RUSTLE ST. - SOBER SINCE XMAS (CDR by Humbug) *
ACID MOTHERS TEMPLE - STARLESS AND BIBLE BLACK SABBATH (CD by
Alien8 Recordings) *
ALOG - ISLANDS OF MEMORY (Mini LP by Creaked)
BORIS HAUF - CLARK (CDR by Sijis)
MOLE HARNESS - A PRESENT FROM THE FUTURE (CDR by Stray Dog Army)
*
MURMANSK (CDR by Deserted Village) *
TZESNE - ONE SIDE AND OTHER OF THE DOOR (CDR by Series Negras)
*
EGGHATCHER - CAT'S EAR (CDR by Spanish Magic) *
K MASON - KMASON1 (CDR by Spanish Magic) *
DAVID PAYNE - FEEDBACK #16 (CDR by Middle James Co) *
SAM HAMILTON - LOW HILL (3"CDR by CLaudia)
PROCESSION (3"CDR by CLaudia)
WITCHING HOUR (CDR compilation by CLaudia)
ZAVOLOKA & AGF - NATURE NEVER PRODUCES
THE SAME BEAT TWICE (CD by Nexsound)
This collaboration was waiting to happen: the leading lady of
glitch poetry Antye Greie Fuchs, aka AGF and upcoming star on
that scene Kateryna Zavoloka. These women know eachother since
2003 and they have played together in concert in France and Belgium,
developing the concept Techno Like Trees. Now this is worked out,
or rather sketched out, in fifty short, one minute pieces, each
dedicated to a certain plant. There are five subgroups: trees,
bushes, meadow, flowers and spices. The names of the plants are
sung in either German, Ukranian and English, but are usually to
cut up to be understood. It doesn't matter really, what plant
is what, unless of course you are a connoisseur of these matters
(which I am not at all). This singing is set to one rhythmic pieces
that is sometimes ongoing for a minute, but also at other times
is totally broken up, and I must admit that doesn't help to enjoy
the CD that much. The whole thing, fifty tracks in as many minutes,
is already a guarantee that for a more sketch-like approach, but
for the more chaotic pieces this makes matters even less easy.
But some flowers are beautiful blossoming and you would want to
keep that going for some more time than just that one minute.
The repeat button is always a handy feature here, but the 'next'
button also has it's proper function. Maybe an all female remix
project would be an option. (FdW)
Address: http://www.nexsound.org
INCANDESCENT SKY - PATHS AND ANGLES (CD
by It's Twilight Time)
A while ago a release by Knitting By Twilight, 'Someone To Break
The Silence' was the odd-ball that week, but even when it was
along the lines of Factory Records and 4AD it was a most enjoyable
CD, despite being far outside the musical territories covered
by Vital Weekly (see Vital Weekly 499). Here we have, on the same
label, another odd-ball, but this time the music is less pleasing,
even when it's as retro as Knitting By Twilight. Incandescent
Sky is a five piece group, with a line up of an ordinary rock
group, but also listed is the Chapman stick. Incandescent Sky
play progressive music, but that term has worn out since it was
first used, in the seventies. If you play progressive music, than
be sure it is anything but progressive by means of innovating
music. Incandescent Sky are an instrumental group that listened
carefully to examples such as King Crimson, or some such (hey,
what do I know about this?) and no doubt they are all highly skilled
musicians, but it's just not my cup of tea at all. Not then, not
now. (FdW)
Address: http://www.overflower.com
DANIELLE PALARDY ROGER - BRUIDUCOEUR (CD
by Ambiances Magnetiques)
Danielle Roger is known for her work with all-women groups like
Wondeur Brass, Les Poules and Justine. With these and many other
projects she became a leading force as a percussionist and composer
in the new music scene of Montréal since early 80s. In
recent years she concentrated more and more on composing music.
On her new cd 'Bruiducoeur' Roger presents an extensive vocal
composition, recorded live in june 2004. Its a vocal work for
two narrators, two soloists, two percussionists and a thirteen-piece
mixed choir. An oratorio to be more exact. Not a very regular
musical form. I know Florian Fricke of Popol Vuh always wanted
to write one. The oratorio is a musical composition that was at
his peak in the 17th and 18th century. Most oratorio s had religious
themes. This seems to be case with 'Bruiducoeur' also as it is
subtitled 'Prières des infidèles'. "This secular
ceremony revolves around three characters: LUI, who is dying,
scared and delirious; ELLE, who acts as an ironic witness, describing
his fears and his struggle; and the CHOIR and SOLOISTS, empathic,
representing us, the others, as we too will die one day."
For full enjoyment of this cd it helps if you understand french,
but the booklet helps as it contains the full text in french and
english. Voices sing, speak, scream. Sentences, words, but sometimes
only syllables, or just sounds. The soloists and narrators do
a great job. The whole is sparsely instrumented with percussion.
Overall the music is not very melodic. At moments medieval sounding
melodies appear at the surface, like in track one and three. Track
six starts with mongolian throat overtone singing. In general
it is a kind of 'sprechgesang' that dominates. Well you may have
an impression now of this work... (DM)
Address: http://www.actuellecd.com/
I8U & TOMAS PHILLIPS - ANTHER (CD by
Petite Sono)
Tomas Phillips is not a new name for me, but since his previous
release with Tobias C. van Veen (see Vital Weekly 499) I learned
that he has had various releases as Sea Optic, Lisbon and Eto
Ami (in collaboration with Dean King) and that there is a solo
release under his real name on Trente Oiseaux (which we probably
missed out on). These days he works with Tobias C. van Veen, Dean
King and i8u. Behind i8u is France Jobin, who had a release on
Multimedia Pandora (see Vital Weekly 216), Piehead Records (Vital
Weekly 325) and Bake Records (oddly not reviewed). Besides making
music, she also works with installations and web art, not as separate
things, but it can be seen as one big work. She has played around
the world (Mutek, Transmediale), but things have been quiet for
some time. Maybe the quiet time was used by her to record this
album with Tomas Phillips? On the cover (housed in a larger carton
box) it says 'headphone listening suggested' and normally that
is not well-spend on me, because I like to walk around when I
want when listening, or hop from chair to computer and back, but
in this case it would indeed be a good suggestion to sit back,
put that headphone on and have a careful listen. I8U and Tomas
Phillips play a nice game of silence. Even when you crank up the
volume considerably, things hoover still at the edge of silence.
Sometimes a peep comes up, white static emerge from the swamp
and something nothing happens at all. 'Merge', the final piece,
seems to the one with most activity with what seems also the track
with the most clear synth lines and what could be a slowed down
rhythm. In terms of music, regular music, this track is the most
'ambient', whereas the other two are more abstract and microsound.
This trio of tracks is a pretty strong collection that deserve
to be listened too with headphones indeed and a good glass of
wine within reach and two candles in an otherwise dark room. (FdW)
Address: http://www.petitesono.com
BRADYWORKS & MICHAEL DONOVAN - THREE
CITIES IN THE LIFE OF DR. NORMAN BETHUNE (CD by Ambiances Magnetiques)
This cd introduces the newest work of canadian composer Tim Brady,
played by his ensemble Bradyworks and baritone Michael Donovan.
It is a one-act chamber opera written for voice, electric guitar,
piano, percussion, saxophones, string quartet and tape. The work
is inspired on the life and work of Norman Bethune (1890-1939)
who was a talented surgeon and medical inventor who left his comfortable
life in Montréal to fight with the Republican International
Brigade in Spain in 1936, and finally to join the Chinese Army
in early 1938.
For this composition Brady used writings of Bethune that are sung
by baritone Donovan. The opera has three parts, each one representing
a phase of the life of Bethune: Montréal, Madrid and Chin
Ch'a Chi. Evidently the texts play a central role in this work
and because of that the voice of Donovan also. The composition
and the instrumentation fulfill a serving role in evoking Bethune's
life through the texts. Brady makes good use of the different
instruments
from the ensemble. It's a very colorful work and very well arranged
and performed. And the composition is a successful dramatization
of the story. Track eight for instance is almost rock-music reminding
of the work of Louis Andriessen. Through tape Brady introduces
sound-material that evokes the different geographical locations.
For my ears this is most apparent in the part that tells of Bethune's
chinese adventures. I needed repeated listening before this opera
began to talk to me. But in the end this thoroughly composed opera
revealed its beauty for my ears. (DM)
Address: http://www.actuelled.com
1/3 OCTAVE BAND - SUB LIMINA (CD by Humbug)
RUSTLE ST. - SOBER SINCE XMAS (CDR by Humbug)
The 1/3 Octave Band are from New Zealand and perhaps never reviewed
in Vital Weekly before, but not unnoticed by yours truly, who
has a weakness for lo-fi drone music from that specific country.
When their CD started I thought I was dealing with a mispressing,
and was given some new age like CD, but it's cheating intro as
the first piece blasts quite soon into what we should expect from
guys like this: a mean drone affair played on a bunch of guitars
set to long sustaining sounds, feeding it through some echo and
distortion. This free-floating membership band drags in some percussive
elements, which add to the free floating atmosphere of the music.
Towards the end of the final track the new age element returns,
but it's with a blink of the eye. It's been a good hour underway,
taking the listener on a headtrip of psychedelic music and it
ends with a good nice soft spirit. It's been awhile since I delved
deeper in the New Zealand, but it's good to be back.
On a different medium, the CDR, we find Rustle St, which is a
duo of Greg on guitar, keyboards, softsynths, percussion, environmental
recordings and saxophone and one Jill on piano. The eight pieces
on 'Sober Since XMas' were recorded in the weeks after Christmas
2004 and they all breath a very loose atmospheric sound. Each
piece tinkles away with seemingly unrelated sounds and instruments
and sounds are played with a great amount of delay machines in
a rather improvised way. Perhaps no-one remembers but this reminded
me a bit of the A Tent record that was once released by Cherry
Red. That was a little bit more jazzy than Rustle St. but throughout
it captures a similar atmosphere of emptiness. I say emptiness,
but it's a captivating atmosphere altogether, an organic flow
of sounds, bird whistles and electronic sounds. Very nice winter
music. (FdW)
Address: http://www.tibprod.com/humbug.html
ACID MOTHERS TEMPLE - STARLESS AND BIBLE
BLACK SABBATH (CD by Alien8 Recordings)
It seems there is not a month without an new AMT release. On this
one Kawabata Makoto and his merry stoner-men pay homage to the
arch fathers of heavy rock Black Sabbath. The smart digipack cover
mirrors the famous cover of Black Sabbath's debut LP using the
same font and coloring and as such is a nice pastiche to the famous
heavy rockers. The album itself features two very long tracks
of which the first, Starless And Bible (actually a King Crimson
reference) Black Sabbath, starts off with a slow simple heavy
guitar riff that goes on and on and on and on, over which Makoto
adds furious high speed guitar soloing that goes on and on and
on and on (you get the idea). The track slowly builds up to more
guitar and drum frenzy (with two drummers, but they're playing
the same beat) and the occasional synthesizer swoop. Perhaps this
would be interesting if it lasted for 5 minutes, but it goes on
for 35 minutes! The second track, Woman
From A Hell, is in fact much like the first one,
only considerably faster. Of course Vital readers (and listeners)
are accustomed to long, slow evolving tracks, but this does not
automatically make not good music. Nor is it an excuse for this
sort of self-indulgence, reminiscent of 70s long-haired druggy
super-bands with ego-building guitar-solo's. In that sense the
tribute to Black Sabbath works. On the other hand, musically the
Sabbath debut LP beats this one hands down, and your money is
probably better spend on a copy of that one. For the ultimate
hardrock tribute, maybe the next AMT album should feature drumsolo's
only. Fanatic AMT will probably embrace this album as yet more
proof of the band's brilliance, but let's face it, AMT's brilliance
has been killed years ago by exactly this sort of aural masturbation.
Address: http://www.alien8recordings.com
ALOG - ISLANDS OF MEMORY (Mini LP by Creaked)
Alog is a Norwegian duo of Dag-Are Augen and Espen Sommer Eide,
they had a nice album the previous year on the label Melektronikk,
and also three more albums on Norway-based label Rune Grammofon,
which I haven't heard. There are 6 tracks on the 'Islands of memory'
EP, being somewhere between blurry rhythmic music and atmospheric
humming ambience. Sometimes it's a bit abstract, but mostly it's
well balanced sound, with it's childish naivety or sincerity reminding
of Mum, but in a more experimental-ambient context, somehow still
being poppy. Nice release in the very amusing catalogue of Creaked
Records. (BR)
Address: http://www.creakedrecords.com
BORIS HAUF - CLARK (CDR by Sijis)
The activities of UK born worldtraveller Boris Hauf are numerous:
playing with Efzeg, with TV Pow, with Lozenga and even a Berlin
based classic rock cover band The Understated Brown, he also finds
time to produce his own solo things. Armed with his laptop he
sets out to produce a fine bunch of microsounding glitch ambient
or whatever you call it, but here on 'Clark' he comes up with
something that sidesteps that: his own version of techno music.
Stripped bare of all unnecessary elements, adding his own sometimes
creepy sounds, such as the high pitched frequencies in 'Hit Me
With Your Pet Shark' (all titles seem to me related to popsongs,
like 'Annie, Are You Puking On Elvis' or 'Ken Doll In The Wind'),
which gives this dance music a weird twist and certainly makes
this less useful for your next rave. It's more like after party
music, when you have left the real party behind, and on a late
night train going home, still being in the mood for some more
techno related music. The train goes past sparsely lit cities
with great speed and you can also sit down and listen, while your
feet tap away with the rhythm. Certainly weird enough for techno
music, but pleasant enough to be throughout entertaining and breaking
away from well-covered territories of microsound. Very nice indeed.
(FdW)
Address: http://www.sijis.com
MOLE HARNESS - A PRESENT FROM THE FUTURE
(CDR by Stray Dog Army)
Stray Dog Army is a label run by James Brewster, who is also the
man behind Mole Harness. I didn't hear his first album 'All Your
Memories Return At Once', which was released in early 2004 on
Float/Silent Age. It was made with a 'basic sampler', but for
his second record he uses the computer. Not that I initially thought
so. I started playing this and thought this was all made with
guitars, electric and acoustic, and some delay machines. But not
so, it seems, and that is quite an achievement. Mole Harness uses
the original played sources on indeed a guitar and bass, but he
layers the processed parts into some wonderful nice ambient music.
The whole digital/computer notion appears in such a way that it
is hardly noticed. The eight pieces float gently by in a harmonic
and atmospheric way. The weather is cold outside, but sunny and
Mole Harness delivers a perfect soundtrack for such conditions
and it's a beautiful sunday morning wake up record, recovering
with a hangover. (FdW)
Address: http://www.straydogarmy.co.uk
MURMANSK (CDR by Deserted Village)
Just the bandname and label's website: that's all what is mentioned
on the cover of the latest release by Murmansk, released on their
own Deserted Village label. The story is perhaps known by now:
the members of this Irish band met for the first time during a
workshop by AMM's Eddie Prevost and since then they play their
own brand of improvisation music. The two pieces captured here
are of course live recordings, perhaps in front of an audience,
perhaps not, but goes back to their first release 'End Of Navigation'
release for Humbug (see Vital Weekly 415) in that respect that
their music is much more present, upfront and at times considerable
noisy. The AMM inspired silence that was a little present on the
previous release (see Vital Weekly 464) is reduced here in favor
of the more noise related approach, especially in the second piece.
I assume they play guitars, bass and perhaps some few wind instruments.
Murmansk has grown more into something of their own, which is
always a good thing. This release shows them balancing on the
edge of some silence and many louder moments. Quite captivating.
(FdW)
Address: http://www.desertedvillage.com
TZESNE - ONE SIDE AND OTHER OF THE DOOR
(CDR by Series Negras)
The music of Spain's Tzesne has been reviewed before (Vital Weekly
461, 470 and 492), and 'One Side And Other Of The Door' has been
released a while ago, but only now landed here. This new(er) release
lies in the extension of the first two, with the 7" reviewed
in Vital Weekly 492 being the oddball so far. It's hard to tell
what Tzesne does sound-wise, as all of his sound-sources are highly
obscured by an extensive use of synths, samples and sound effects.
In this one piece that lasts sixty minutes everything melts together
in a highly organic way. Tzesne takes the listener on a journey
through a vast empty post nuclear landscape. A desolated world
in which the maggots are the only ones that survived. You can
hear them creeping on the floor of empty factory. Machine hum
still occurs waiting for it's final breath. This is not ambient
for the weak of hearth, but a dark soundscape for the more adventurous
science fiction lovers, those who love drive by machine parks
late at night when the lights shine and the roads are empty. Certainly
with a highly cinematographic character. When we do look from
the objective outside to the music of Tzesne we can't say that
he's walking terrible new paths of the musical evolution, as this
music has been developing since the mid eighties, but Tzesne does
a fine job. (FdW)
Address: http://www.seriesnegras.org
EGGHATCHER - CAT'S EAR (CDR by Spanish Magic)
K MASON - KMASON1 (CDR by Spanish Magic)
Just what exactly Spanish Magic means in Australian, I don't know,
but it's the name of CDR label from downunder, which focusses
on releasing experimental music from not just downunder. For instance
Egghatcher, aka Robert Horton, who played in one of San Francisco's
first punk band The Aplliances (in 1979) and who now plays in
bands as Kyrgyz, Beautiful Friend, Infinite Article and Broken
Mask and who made a duo CD with Tom Carter of Charalambides. On
his solo work as Egghatcher, Horton plays computer, vibrators,
el toothbrush, vibrator q tip, guitar, whistling kelp horn, can
o air and bowed appalachian dulcimer among many others. Despite
this extended list of instruments used, the pieces sound relatively
sparse and towards the end quite drone related. The first four
reminded me of the more experimental work Richard Youngs (around
his 'House Music' release). Whereas the first four pieces are
concentrated and to the point, the last four are more expanded
and drone related. All eight pieces are made through methods of
improvisation it seems to me, but in the end-process everything
has been edited on a computer, to gain some level of control over
the pieces. Quite an enjoyable release.
K Mason makes his debut with 'KMason1', and we know nothing about
him, other than he's from Tasmania. Here too the name Richard
Youngs springs to mind, but on a slightly different level. Mason
plays guitar, along with a bunch sound effects and some singing
of some kind. To this he adds rudimentary percussion and plays
his own brand of lo-fi folk rock. Sometimes things are bit too
experimental to be 'just' lo-fi rock, such as in 'Non Song 1',
but it's exactly this sense of experimentalism that makes this
into a pretty worthwhile release. Not singular lo-fi folk, not
too experimental or free floating improvised. Again, quite enjoyable.
(FdW)
Address: <spanishmagic@hotmail.com>
DAVID PAYNE - FEEDBACK #16 (CDR by Middle
James Co)
In Vital Weekly 484 I wrote about the music of one David Payne,
who presented his version of feedback music (and who is also a
member of Offensive Orange). I assume that once again for this
highly limited and highly handmade package, Payne uses no overdubs
but records everything straight to tape (the hiss indicates a
tape rather than computer means). And once again, I must say I
think there are strong similarities to some parts of the work
of Arcane Device, especially routing the music around, creating
rhythmic pieces, still similar to 'Diabolis Ex Machina'. What
sets Payne apart from the world of other no-input mixer musicians,
is the fact that he knows how to create a raw, industrial sound,
that however is quite captivating, because of the rhythms he creates
and the noise he puts up is under control - a sometimes rare feature
in the world of noise. Maybe some better means to record his work
and some better presentation and things could actually work out
quite well for him. (FdW)
SAM HAMILTON - LOW HILL (3"CDR by CLaudia)
PROCESSION (3"CDR by CLaudia)
WITCHING HOUR (CDR compilation by CLaudia)
Three new releases on the New Zealand CLaudia label, two of them
are compilations, and one is by Sam Hamilton. For reasons unclear
to me, his 3" CDR contains just one nine minute piece, for
which he lists guitar, voice, computer and drums, and all of these
instruments are to be recognized in this strange curious piece
of computerized noise, guitar strumming and playing the cymbals.
There is some sort of cut-up collage like elements to be discovered
here, which reminded me of the first solo CDs of Dean Roberts.
A nice mixture of glitch music, improvisation but also in a strongly
composed manner. Quite nice, but unfortunately with only one track
only as an introduction. Would be interesting to see what else
he can do.
The next release is a 3" CDR compilation, called 'Procession',
and although this isn't stated anywhere, I assume it deals with
processing sounds on a computer. For each of the five pieces it
lists instruments, such as guitars, rubber hands, polystyrene
cup, glockenspiel or santur (ok, whatever that may be), but also
the computer is listed on four out of five (the piece by Helga
Fassonaki uses the aforementioned santur, ebow and bow). As one
can imagine this is a glitchy affair of carefully processed sounds,
in which occasionally one hears the 'real' instrument sipping
through the static hiss, crackles and whatever plug ins are running
amok this time. This is quite a nice affair, what these five people
come up with (Nigel Wright, Adam Willetts, Tim Coster, Helga Fassonaki
and Mark Sadgrove), although when heard superficially it might
not be easy to recognize the difference between the various pieces
and the various composers.
The other compilation deals with 'field recordings of night-time',
and by hearing them (and reading the extensive liner notes to
them), they seem to be rather unedited. The night-time is the
time of the day to sleep, have sex, stroll around (for you insomniacs).
Some of these pieces are quite nice, certainly when it involves
real field recordings (as in the field, outside), such as the
chirping of insects, rain, or the contact microphone wedged into
a door frame collecting sounds from the fresh water steam that
runs down the valley next to the house, which I'd like to hear
more than the snoring of Phil Dadson (for fifteen minutes). I
don't exactly understand where the 'witching' comes in, or when
this is best heard, but I heard it pretty much during the day,
so perhaps some of the deeper meaning went by me. But throughout
quite a silent affair this CD, which makes it pleasant backdrop
for whatever you doing, day or night. Also enclosed are P. Westbourne,
Un Ciego, Lau Nau, Tim Coster, Richard Francis, Felicity Ford
and Paintings Of Windows. (FdW)
Address: http://www.cmr.co.nz
correction: the release by Joel Stern and Jim Denley reviewed here last week is released by Split Records, not Abjectleader Records.
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