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VITAL WEEKLY
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number 595
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week 40
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Vital Weekly, the webcast: 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.
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PURE H - SIGNIA (CD by Pharmafabrik)
BRIAN HARNETTY - AMERICAN WINTER (CD by Atavistic) *
L.C.D.E.P - DE L'UTILITE DES CONVOYEURS (CD by Angle Rec.)
FLINT GLASS / TELEPHERIQUE - INFORMATION GIGABYTE (CD by Angle
Rec.)
GRKZGL - ESQUE (CD by Angle Rec.)
TOM HEASLEY & TOSS PANOS - PASSAGES (CD by Full Bleed Music)
*
TEMPLE MUSIC - VOLUME II (CD by Shining Day) *
SLARAFFENLAND - PRIVATE CINEMA (CD by Hometapes)
PAUL DUNCAN - ABOVE THE TREES (CD by Hometapes)
THE CARIBBEAN - POPULATIONS (CD by Hometapes)
BEAR IN HEAVEN - RED BLOOM OF THE BOOM (CD by Hometapes)
BRAD LANER - NEIGHBOUR SINGING (CD by Hometapes)
MARY AND THE BOY - MARY AND THE BOY (CD by Low Impedance Recordings)
TABATA - LAST EXIT TO BRAINSVILLE (CD by Elsie & Jack) *
SOCOS - HYPERYTHMIQUE ANALOGUE (CDR by Triple Bath) *
STIMILUS - UNTITLED LANDSCAPES ONE (CDR by ICR)
PHIL MOULYCLIFF - WRITTEN ON WATER (CD by ICR)
FAR BLACK FURLONG (CD by ICR) *
IVAN SAMSHIT - ESSENTIAL SHIT (CD by Quasipop)
EDWARD SOL - BEFORE THEY COME AND SLIT MY THROAT (CDR by Quasipop)
*
LASSE MARHAUG/ANLA COURTIS - JORDSLEV HOJALDRE (cassette by Quasipop)
NICOLAS BERNIER & SIMON TROTTIER - OBJETS ABANDONNE EN MER
(CDR by 12Rec) *
EMITER.ARSZYN.GADOMSKI - 29/30.11.06 (CDR by Sqrt Label) *
TZESNE - CLIFFS UNDER THE MIST (CDR by Mystery Sea) *
PAUL BRADLEY - SOMATIC (CDR by Con-V) *
JLIAT - THAT'S WHAT I CALL NOISE VOL. 7 (CDR by Jliat) *
BUILD BUILDINGS & MARLO BRIGHT - ISOMERS (MP3 by Standard
Music) *
PURE H - SIGNIA (CD by Pharmafabrik)
Present compilation released by Slovenian label Pharmafabrik,
is an example on how different one certain track might sound depending
on the artistic approach. "Signia" was the opening track
on the "Anadonia"-album by Slovenian sound artist Pure
H. Pure H has chosen a number of interesting artists to remix
the "Signia"-track. And despite its tribute-concept
the album is a quite varied sound experience. The link between
the main-part of the ten remixes is some heavy bass-lines, guitar-based
drones and ultraslow heavy beats. Otherwise the "Signia"-track
has been processed, broken and manipulated into expressive styles
spanning from doomy industrial, black ambient, noise to tranquilizing
ambience. Great moments come from artists such as P.C.M. delivering
a dark-toned breakbeat-version subtitled "Blue waters turn
black". Also the interesting Taiwan-based artist MoShang
impresses with his happy downbeat chill-out-track. The noisy beast
from legendary Japanese Noise-artist KK Null makes sure that the
listener will not leave the 77 minutes tribute without ear pain,
an awesome ambient noise-track and a great way of closing this
very interesting compilation. (NM)
Address: http://www.pharmafabrik.com
BRIAN HARNETTY - AMERICAN WINTER (CD by
Atavistic)
If there was a serious question mark corner in Vital Weekly, then
the CD by Brian Harnetty would be taken poll position there. Harnetty
is a college professor in Kenyon. The music he presents here uses
sounds from The Berea College (Kentucky) Sound Archives which
'hold non commercial recordings documenting more than 75 years
of Appalachian history and culture'. Harnetty takes these audio
documents consisting mainly of people talking and singing and
may or not set music to that. May, as sometimes I think he does
when he adds piano or guitar or layers them, adds some echo, and
sometimes it seems as pure and clean as possible. This leads to
a fascinating audio document which holds somewhere in between
a radioplay, a documentary, a work of music and a field recording.
I couldn't help thinking of the work of Dominique Petitgand. The
way the voices are mixed with sparse music, the intimacy of it
all, it all sounded like a US version of Petitgand. Very odd but
great CD. (FdW)
Address: http://www.atavistic.com
L.C.D.E.P - DE L'UTILITE DES CONVOYEURS
(CD by Angle Rec.)
FLINT GLASS / TELEPHERIQUE - INFORMATION GIGABYTE (CD by Angle
Rec.)
GRKZGL - ESQUE (CD by Angle Rec.)
One track is titled "Unheimliche" - in English "Not
homely". That certain title gives an impression of what to
expect on this brutal debut album by Canadian project called "L.C.D.E.P.".
Don't expect a cosy "home sweet home"-atmosphere on
this one. The man behind the project, Antoine Côté,
knows how to push the boundaries of extreme expression. Taking
its starting point in rhythmic textures the main part of the 22
tracks are built on violently distorted beats reminiscent of the
Power Noise style of projects from German Ant-Zen Recordings.
Especially projects like Synapscape and Imminent Starvation comes
close to mind during the 75 minutes exploration into evil textures.
Though L.C.D.E.P. let's the "music" (or rather: "the
noise") speak for itself. Apart from voice samples there
is no human sounds to interfere with this symphony of brutalism.
With soundscapes operating in-between harsh noise and power electronics,
" De L'Utilité Des Convoyeurs" crushes the listener
much harder than the average noise-related album thanks to the
excellent combination of ear-shattering noise-blasts and hammering
beat textures. Superb debut! As was the case with the aforementioned
album, next album wasn't created to make you feel comfortable.
Though the musical starting on this joint venture between French
artist Gwenn Tremorin (a.k.a. Flint Glass) and German project
Telepherique consisting of <http://www.discogs.com/artist/Danijela+Jochim>Danijela
Jochim , <http://www.discogs.com/artist/Klaus+Jochim>Klaus
Jochim , <http://www.discogs.com/artist/Rene+Jochim> Rene
Jochim, is quite different from the rhythmic expressions of L.C.D.E.P..
With the title "Information Gigabyte" the Flint Glass/Telepherique-collaboration
thematically focus on the dark sides of technology. With titles
likes "Information burn-out", "Terror of terabytes"
and "Internet collapse", the ground has been laid for
musical themes in the gloomy territories. The eleven works of
the album, first of all works in the ambient-spheres with only
a few interventions of rhythm textures. German voices and field
recordings of different hardware equipment counting everything
from old dot matrix-printers to noisy modems are parts of the
compositional work. Despite the elements of old fashioned technology
the atmosphere oozes of futuristic fright with sound expressions
sounding like a mixture of Pan Sonic, Vromb and Kraftwerk. Excellent
atmosphere on this one! Last album reviewed here is a 3"-CD
by Canadian artist GRZKGL. The CD titled "Esque" musically
operates in-between the two aforementioned albums. With a mixture
of post-industrial atmospheres and noisy soundscapes the music
is extremely cold and stylishly minimal. There is some rhythm
texture but in contrast to the hard pounding beat-blasts from
L.C.D.E.P, the textures moves in the subtle levels of the musical
expression. In fact the overall music style of G.R.K.Z.G.L is
more sneaking and introvert compared to the more extrovert and
expressive sonic experiences of L.C.D.E.P. Three albums of supreme
quality from the Angle Rec. label Do yourself a favor: Keep an
eye on this Canadian label!
Address: http://www.angle-rec.net
TOM HEASLEY & TOSS PANOS - PASSAGES
(CD by Full Bleed Music)
Work by Tom Heasley has been reviewed before, and usually with
that odd look in our eyes: ambient on the tuba? It is possible.
He has proven so by three great solo records. Not yet, or not
fully at least, Tom is also an improviser on the tuba and his
stack of effects. The first release on his own new label, Full
Bleed Music, sees his in a battle with drummer/percussion player
Anastasios 'Toss' Panos. Panos played in all sorts of bands and
with all sorts of people (Cliff Richard, Eric Burden, Sting, Stephen
Stills, Andy Summers and such like). Together they went into the
studio and through improvisation they played these five pieces.
Or perhaps I should say passages? I must say it's not always an
affair with positive results. Perhaps I am a bit tired of regular
improvisation, or perhaps I heard too many onkyo music by now,
but Heasley and Panos play their instruments in regular fashion,
albeit in an improvised manner. They bang and blow along, seemingly
on end, or without a beginning. No doubt they are skilled musicians
- their other work has proven so - but I maybe missing a point
in this jam. The best piece was I think 'Zephyr' where the two
hold back and listen to eachother in a slow, loaded piece. Important
about improvisation is to listen to the other. Fun to do, fun
to hear, but not always for others to engage in. (FdW)
Address: http://www.tomheasley.com
TEMPLE MUSIC - VOLUME II (CD by Shining
Day)
It might be that I missed out on the first Volume of Temple Music,
but here is the second volume. Temple Music is Stephen Robinson
and Alan Trench, joined here by Julie Brackenbury and Tracy Jeffery.
Their instruments are apparently some ol synthesizers, guitar,
wind instruments, vocals and metallic percussion. Welcome to the
world where we write magick ov instead of magic of, the world
of Aleister Crowly's Do What Thou Wilt, and if thou wilt thou
sound like Current 93, folk noir, but to be fair, Temple Music
also play a more 'experimental' tune. Experimental to the folk
noiro's of this world, but the doodling on some metal plate, with
a 20 millisecond reverb is hardly experimental. It has that vague
ethno tribal rumble that this kind of music sometimes has. This
release, even when entirely not my cup of anything, is not bad
at all, even when I don't digest this kind of stuff on any daily
basis. There is at least variety among these pieces, the former
mentioned experimental doodlings, ambient passages and the folk
noir songs. It makes this a dark, semi-gothic release, that surely
will finds its way to the fans, but didn't win me over. (FdW)
Address: http://www.shiningday.pl
SLARAFFENLAND - PRIVATE CINEMA (CD by Hometapes)
PAUL DUNCAN - ABOVE THE TREES (CD by Hometapes)
THE CARIBBEAN - POPULATIONS (CD by Hometapes)
BEAR IN HEAVEN - RED BLOOM OF THE BOOM (CD by Hometapes)
BRAD LANER - NEIGHBOUR SINGING (CD by Hometapes)
It's good to be recognized as an autorithy, but sometimes this
autorithy fails. Some weeks ago I lumped various 'questionmarks'
in one corner even they had nothing to do with each other, here
are five from one home, that leave a big questionmark above this
head. All five deal with rock music, albeit of an alternative
kind. Now, let me state I like rock music, even of an alternative
kind. Last week I headed out to see Jonathan Richman, which I
thought was great, and in a certain all of these five releases
are along similar lines of alternative singer songwriters. I can
like it, but it doesn't make me exactly an expert. There are differences
between the lot, that much is clear. Slaraffenland, the only non
US band on Home Tapes from this lot for instance, is a band in
which all members also play a wind instrument, so there are large
sections of them blowing the horns. Paul Duncan and Brad Laner
are both loners, and especially Duncan's voice is not the best
in the world (in my world that is, as in the alternative rock
scene there is surely a different standard), whereas his music
is quite nice, with lots of slide guitar and americana influences
and which seems far away from his debut album 'To An Ambient Hollywood'
(see Vital Weekly 410, as we reviewed this kind of music of course
before, without gaining any sort of expertise), to which this
new one seems more normal than that one... Laner (who was once
in Savage Republic, Medicine, Lusk and Electric Company) stays
close to the Beach Boys sound, and brings quite a mature album.
Also Bear In Heaven take their inspiration from the past, but
they are the only one that tap from a different source: psychedelic
west coast music seems to me their inspiration, partly at least.
That leaves The Caribbean, which is the one that I heard, thought
was nice, but there was nothing to remark about. That happens.
You hear something, like it but have no particular point of reference
for it, and such is The Caribbean. Perhaps all of this shows Vital
Weekly shows the need for alternative rock reviewer? I took these
five CDs to work today, and nothing else, and I must admit I had
a nice time with them, playing parts a couple of times, but throughout
I couldn't honestly say wether these stand out from their genre
or not. For what it is worth: I liked them. (FdW)
Address: http://www.home-tapes.com
MARY AND THE BOY - MARY AND THE BOY (CD
by Low Impedance Recordings)
"Mary & The Boy" - Judged by the lyrics, dealing
a lot with religion, the "Boy" in this rather strange
project name could be Jesus. Just a wild guess! Never the less
this a quite interesting band consisting of three members, that
apart from Mary and The Boy also counts an exotic dancer. "Mary
& The Boy" is an offshoot of the Greek theatre group
"Mougra Band" formed back in 2004. That the band took
its starting point in dance shows and theatre is quite obvious
as you listen to the project's self-titled album "Mary &
The Boy". No matter what, this is quite unusual sound experience.
A quick description of the expression is something like dark cabaret
with stylish elements of Industrial and Noise rock. Despite the
electronic approach there is much weight put on acoustic elements
such as piano and guitars, just like the electronic parts quite
often sound like processed harpsichords. Dominating the album
though, is the vocals, first of all the female vocals but also
in interaction with a male vocal. The sound production itself
reveals the theatrical atmosphere; the works on the album sound
like they had been performed live on stage. The drama of the music
also comes clear as the relatively quite ancient atmosphere suddenly
bursts into an infernal chaos of noisy guitars and electronic
experimentalism. As said, this is a very unusual and quite fascinating
album. (NM)
Address: http://www.lowimpedance.net
TABATA - LAST EXIT TO BRAINSVILLE (CD by
Elsie & Jack)
SOCOS - HYPERYTHMIQUE ANALOGUE (CDR by Triple Bath)
Over the years there have been various solo releases by Tabata,
former guitarist of Zeni Geva (alongside KK Null) now of Leningrad
Blues and Acid Mothers Temple, where he plays around with his
guitar an effects, improvising on notions of noise and psychedelic
music. I played this new CD with my mouth open, I must admit.
Not of excitement, but I couldn't believe this. The improvisations
are quite poor, merely sending some sound through some sound effect
that's the extent of it. Some tracks, like 'Siberia' are just
the sound effects looping around, and that I could easily rate
as one of the better tracks. I have no idea what Tabata is after
with this one, but it certainly didn't please me one bit. Tedious,
boring, pointless.
A bit on similar lines is the CDR by Socos. He started to play
music at the age of fifteen, was a member of various bands, of
which '3rd Man Element' is his most recent band. 'Hyperythmique
Analogue' is his solo guitar release on which he also improvises,
but in a more regular way. Medieval like tunes most of the time,
but played a bit more furious, also at times. Highly ambient music,
not too dissimilar to say very early Durutti Column, but without
the Hannett touch of production. It's quite nice as background
music, nothing offensive or oddly shaped, but also nothing particular
interesting. Just something you can put on and forget about when
it's over. But throughout more coherent in approach as the Tabata
release. (FdW)
Address: http://www.elsieandjack.com
Address: http://www.triplebath.gr
STIMILUS - UNTITLED LANDSCAPES ONE (CDR
by ICR)
PHIL MOULYCLIFF - WRITTEN ON WATER (CD by ICR)
FAR BLACK FURLONG (CD by ICR)
Perhaps you think along similar lines as I do: is ICR a drone
label? It seems so from the outside, perhaps, with works by Colin
Potter, Paul Bradley and certain Nurse With Wound releases. But
these three new releases may proof me either wrong, or show the
extended ICR concept. To start in the most 'conventional' of the
three is to start with Stimulus. They exist since 1995 and have
had a bunch of releases, mainly on CDR but also on CD and vinyl
through Beta-lactam Ring. It's been a while since I last heard
anything from them, but these six untitled cuts are prototypes
of ambient industrial drone music. Using a variety of instruments,
such as cello, accordion, trombone, drums, cymbal, electric guitar,
bass and organ in combination with loads of computers, effects
and field recordings they craft together very late 80s industrial
mood music. Scraping the strings, feeding the signals to all sorts
of processors, creating a dense atmospheric sound landscape, they
create a mighty fine work - if perhaps a bit unsurprising. Think
old Illusion Of Safety, Maeror Tri, Beequeen or Noise Makers Fifes
and you a pretty much in the right alley.
Phil Mouldycliff's career spans thirty years, even he's perhaps
a bit known for some collaboration with Colin Potter and as a
curator of 'Debris Field' (see Vital Weekly 532). Now he presents
his first solo record, which is an affair that has two main roads.
There are three tracks of him solo on the autoharp, keyboard,
samplers and such like and three pieces which are a combination
of real instruments and environmental sounds. The three strict
solo pieces are close to the idea of drone music, but unlike Stimulus,
much more silent and careful. I am not sure if Mouldycliff is
also the performer on the other pieces presented here, especially
on 'A Speculative Atlas (For David Mitchell)', which is a long
piece for wind instruments, percussion and perhaps a bit of electronics.
This is almost a serious modern classical piece, and it could
have been 'piece for wind instrument and tapes' - this is altogether
an entirely different thing than the other five pieces on this
release, and marks a big change in the world of drone heads. This
is a great CD, due to its variety in approaches, but still making
a coherent sound of stillness and atmospherics.
If we take 'A Speculative Atlas (For David Mitchell)' as a starting
point for the next release than we get Far Black Furlong. They
are a band of oboist Mark Baigent, dulcimer player John Letcher,
flautist Amanda Votta, guitarist Ian Tengwall, Andy Cotterill
on electronics, along with composer Richard Moult and poet Bryony
Lees. Outside in Clun Forest - and I mean outside - they performed
much of this work, thus adding the outside world as part of the
music. The six pieces, I am told, describes 'tides from the summer
breeze through barley, to the shimmering stretch of a vast ocean
extending to the shifting birth pages of stars'. It seems to me
that the music is largely improvised but in a quiet and peaceful
manner. Perhaps a little less modern classical than the Mouldycliff
piece, although they get close. And in a good ICR (and Die Stadt)
mode there is a limited CDR of music from the CD that is remix/reworked
by Cotterill. Perhaps because he doesn't seem to be very present
on the CD (or the electronics are save for some delay that is
used), he gets his way in a full out treatment of the material,
adding spooky electronics to the material, or perhaps feeding
the material through electronics. Long sustaining sounds that
sound a bit creepy like a wait for something veil and nasty to
happen, which of course (spoiler coming up) doesn't happen. However
the drone like character of this piece brings us back to the start
of this review. ICR does drone music of an outstanding kind, but
it's not at all exclusively to that, and offer various fresh views
on the subject at hand. (FdW)
Address: http://www.icrdistribution.com
IVAN SAMSHIT - ESSENTIAL SHIT (CD by Quasipop)
EDWARD SOL - BEFORE THEY COME AND SLIT MY THROAT (CDR by Quasipop)
LASSE MARHAUG/ANLA COURTIS - JORDSLEV HOJALDRE (cassette by Quasipop)
It might be no surprise or something new that I confess to like
popmusic, especially new wave of the eighties. So when I played
the 'Essential Shit' by Ukranian band Ivan Samshit, and read about
their history, I was delighted. Between 1987 and 1997 they recorded
'12 or even more' albums, but they were not all released. This
CD are the best tracks from the albums that weren't released.
Ivan Samshit play popmusic with a strong new wave edge and a bit
of electro-pop influence. Especially here they sound particularly
nice, as a combination of Depeche Mode's lighter side and Gary
Numan's earlier edges. But it's not easy to like this over my
old heroes. Partly because I heard so many of this kind of electro-pop
music, and partly because of the language barrier. I assume they
sign in Ukranian, which is hardly, at least for me, a sing-along
language, whereas the true power of 'Everything Counts' lies in
that instant recognizable quality. Maybe if I play this on repeat
it will help, and there lies the last problem: in 1985 I could
spend one week with one new record that I just purchased after
much consideration (and much listening in the record store), a
situation that is now completely and totally changed. Let's put
it on the ipod for a while.
Edward Sol has already released a bunch of works on Quasipop,
and it's surely something that is not alike the previous release
by Ivan Samshit; Quasipop is a wide term. Edward uses an electric
guitar and pedals, turntable, minidisc, contact microphone, objects,
analogue devices and a computer. His work is partly rooted in
musique concrete and partly in lo-fi drone music. It started out
with a low humming sequencer affair in the first piece that is
mildly industrial music. I am afraid I am less positive about
the other three tracks. They seem to be put together in a rather
haphazard manner, through methods of improvisation and appear
to have no head or tail. The typical CDR project me thinks.
Perhaps Quasipop assume that a cassette player is no longer part
of the Vital HQ, but it still is, albeit unconnected to the amplifier.
They send a CDR version of a cassette only release by Lasse Marhaug
and Anla Courtis. To release it in that format is a brave thing
to do, I think. They did some recording together in 1998, which
was shelved until now. Together with two new solo pieces it comes
in the old form of a cassette. The interesting thing about this
is that its not the full blown noise attack, but rather a low
volume drone affair. A heavy long sustaining wall of sound, from
sources unknown, work on the brain. I was wondering if they had
the cassette format in mind when they were recording this. I am
listening to the CDR, but I can imagine that the sound will be
a bit muffled when played on a cassette and that the hiss will
create an additional texture of sound. Quite a pleasing work of
ambient industrial music. (FdW)
Address: http://www.quasipop.org
NICOLAS BERNIER & SIMON TROTTIER - OBJETS
ABANDONNE EN MER (CDR by 12Rec)
'Objects left behind in the sea' is the translation of the title,
and that evokes images here, of driftwood, sunken ships, beaches
with found objects and such like. However it's not that Nicolas
Bernier and Simon Trottier stood by the beach to tape all of this.
Bernier plays laptop and is known from his work on No Type and
Ekumen and Trottier is a guitarist from 'white noise ensemble'
and together they created the four songs on this album, using
computers, field recordings (no sea insight however) and guitars.
This is not an unusual combination these days, even when Trottier
likes folk melodies. Things tinkle nicely away here on the acoustic
guitar while they are put to a hot bed of electro-acoustic sounds.
The latter takes care of making things not too soft, or downright
ambient, but in stead there is some urgency about these pieces
which makes them much more experimental than would expect. Not
really songs, still soundscapes, but a lot more musical than pure
field recordings. Quite a nice release, defying categories and
make four strong points themselves. (FdW)
Address: http://www.12rec.net
EMITER.ARSZYN.GADOMSKI - 29/30.11.06 (CDR
by Sqrt Label)
The trio of Tomasz Gadomski on percussion, Marcin Dymiter on guitar
and Krzystof Topolski go by the name Emiter.Arszyn.Gadomski and
hail from Poland. In 2006 they played for two days in St.John
Church in Gdansk, using both the acoustics of the church as well
as allowing sounds from the workers who were renovating the church
at the time. Not mixed says the cover. Dive deep into the world
of improvised music here. I have no clue about the background
of these players, but as far as I can judge by these recordings
they are accomplished players/improvisers. Elsewhere in this issue
I mutter about improvisers not listening to eachother, but nothing
so here. These three musicians are highly skilled for the task
at hand. They do listen to eachother, respond when necessary,
set a new line when needed and shut up when it's time to do so.
The natural reverb of the church adds an interesting sonic depth
to this record that works really well. A strong and varied disc
of improvised music of the highest quality. (FdW)
Address: http://sqrt-label.org
TZESNE - CLIFFS UNDER THE MIST (CDR by Mystery
Sea)
From the Basque territory hails Tzesne, who has
been a regular feature in Vital Weekly for he has had releases
on Drone Records, Tibprod, Antifrost and his own Series Negras
label. It was perhaps only a matter of time before his name would
pop in the Mystery Sea catalogue, as Tzesne plays unearthly and
under-worldly drone music. If I understood correctly he uses field
recordings here from an old 'marine bottom located in the region
of Salas De Los Infantes' in Burgos, which he then in the studio
processed to this three piece suite. It's I think for Tzesne quite
a relaxing and calm work and doesn't quite has the the louder
undercurrents that some of his previous work had. Maybe he was
trying to make a work that fitted the label, but in any case these
three flowing (pun intended) pieces are drone like in the highest
degree, spacious and moving, soft and not outspoken. Music that
goes well with nocturnal walks along cliffs, although it might
also be too spooky. Nothing new under the ambient sun of Mystery
Sea (or should that be moon?), but one of the better works in
their catalogue. (FdW)
Address: http://www.mysterysea.net
PAUL BRADLEY - SOMATIC (CDR by Con-V)
After playing music all day, at night I want to sleep and I don't
need music while I'm asleep. I am not sure if Paul Bradley's 'Somatic'
release is intended for use while awake or asleep. But safe to
say I heard it when I was firmly awake (well, I think). Maybe
it refers to the point of day when it was recorded, or it uses
field recordings taped at night? We are not told. Bradley is one
of the drone masters from the UK, with a long line of releases
behind his name, mainly on his own Twenty Hertz label, but also
on Mystery Sea and Alluvial. I think he's well aware of the traps
of drone music and that he's not so keen on producing works that
may sound too similar. Thumbs up for that. The backbone of this
piece is of course the mighty drone, organ like (but apparently
cello, voice and objects are used), fed to a resonator or two,
to get a variety of pitches. On top there is some sort of rain
fall sounds, which are very much on top of things, giving a nice
crackling sound, which is what breaks this away from the normal
drone routine. The other, if partly only, difference is that Bradley
works through three distinctly different passages. It makes a
great release. Changes or progression in drone might not be easy,
but it's possible. (FdW)
Address: http://www.con-v.org
JLIAT - THAT'S WHAT I CALL NOISE VOL. 7
(CDR by Jliat)
Noise noise noise we are looking for a good time. Wild noise.
Tell it all about noise. Noise keeps swinging. We're the Pet Shop
Noise. Noise don't cry. Three imaginary noise. Noise noise noise.
Noise Will be Noise. Noise And Girls. Here come all the noise.
Runaway noise. Noise! City noise don't die. Country noise. Noise
scout'n. Beijing noise. Speakeasy noise. Lonely noise. Pretty
noise. Butchy noise. Santiago noise. Dancing with the bad noise.
Mando Boys War Hymn. Claw Noise Claw. Beastie noise. Noise bands.
That's what I call noise. (FdW)
Address: http://www.jliat.com
BUILD BUILDINGS & MARLO BRIGHT - ISOMERS
(MP3 by Standard Music)
Although the credits suggest it, this is not a collaborative work
between Build Buildings, a.k.a. Been Tweel and Marlo Bright from
Minsk. Tweel was reviewed before in Vital Weekly but Bright is
a new name. He has a release on his own website available for
download. As said they don't work together, but take songs from
eachother and rework them, from a plain remix to a total deconstruction.
Bright does four pieces and Tweel three. When I first played this,
I didn't gave the cover a particular look (nor I read the information),
and I easily mistook this for a collaborative album. For reasons
I am no longer sure of, I expected this to be along the lines
of Highpoint Lowlife or Expanding Records, but much to my surprise
it's not like that at all. There is much more to it, with lots
of cracked instruments, plug ins running amok, but also little
melodic forms taking shape, guitars, drones, ambience and all
such like. Quite glitch like, but with a strong sense, or rather
love, for pop like structures, but in a sort of twisted manner.
Quite a nice release, if perhaps, not entirely new. (FdW)
Address: http://www.standard-music.net
1. From: echomusic <echomusicrecordings@yahoo.com>
mecha/orga live in Berlin
Thursday, October 4
(also participating: Alcalica)
@ESCHSCHLORAQUE
Rosenthaler Str. 39 - 2. Hinterhof
10178 Berlin - Mitte
Friday, October 5
(also participating: Minn Minn Lights)
@Salon Bruit
Kastanienallee77
U2 Eberswalderstrasse or Rosenthaler Platz, Tram Schwedterstrasse.
Entrance 3 euros
2. From: "Niels Mark" <vitalweekly@gmail.com>
Ultra_FM - podcast presents incredible music from a world beyond FM
In October, Ultra_FM (issue #7) puts focus on the Audio/Visual label COCOSOLIDCITI. The show presents a mix of dark and complex ambience from sound artists DAVID KRISTIAN & RYOSAKE AOIKE, hip hop-based electronica by ANDREW COLEMAN ( a.k.a. ANIMALS ON WHEELS) in collaboration with cLOUDDEAD-rapper DOSE-ONE, and otherworldly shoe gaze-electronics from the New Media Art-prize winning album "We are all drifting" by Australian project PRETTY BOY CROSSOVER. Plus more.......
Download us for FREE on: <http://www.myspace.com/ultra_fm>www.myspace.com/ultra_fm
3. From: Sindre Bjerga <sindrebjerga@hotmail.com>
SINDRE BJERGA / ANDERS GJERDE / STEN OVE
TOFT (all playing solo sets)
UK TOUR 2007
6. Oct. - St Aldhelms Church POOLE
(with Dead Wood, No Context, Jason Kerley)
FREE entry Starts 7:00 sharp
7. Oct. - Uthropia @ Engine House, Greenwich
LONDON
(with On Fire)
Suggested donation £4
8. Oct. - Chameleon @ Raffles Gallery NOTTINGHAM
Donation
9. Oct. - The Adelphi HULL
(with Elektrodiesel)
£3 / £2 (conc.)
10. Oct - The Snuff Trap BLYTH
(with Culver + others)
FREE entry
11. Oct. - Chillingham Arms NEWCASTLE
(with Culver)
£4
13. Oct. - Where the monkey sleeps GLASGOW
(with Cheer and Noma)
Donation
--
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