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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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All written by Frans de Waard (FdW), Dolf Mulder (DM) <dolf.mulder@hetnet.nl>, Robert Meijer (RM), Niels Mark (NM), Jeff Surak (JS), Craig N (CN), Boban Ristevski (BR), Maurice Woestenburg (MW), Jliat (Jliat), Freek Kinkelaar (FK), Magnus Schaefer (MSS) and others on a less regular basis.
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Lastly we have decided to remove the announcement section of Vital Weekly that is archived on our website that is older than five weeks. Since they 95% deal with concerts that have been, it’s gentle to remove the announcement and more important the e-mail addresses coming with that.
the complete archive of Vital Weekly including search possibilities:
http://www.vitalweekly.net