CELER – DISCOURSES OF THE WITHERED (CD by Infraction Records) *
CELER – THE EVERYTHING AND THE NOTHING (CD by Infraction Records)
CELER – NACREOUS CLOUDS (CD by And/Oar)
PIERRE BASTIEN – VISIONS OF DOING (CD by Western Vinyl) *
“BLUE” GENE TYRANNY – THE SOMEWHERE SONGS (CD by Mutable Music)
NILS BULTMANN – TERMINALLY UNIQUE (CD by Mutable Music)
FULMINATE TRIO – SAME (CD by Generate Records)
DANIEL PADDEN – PAUSE FOR THE JET (CD by Dekorder)
AUDELA – NOW ALL IS SILENT / INITIATION (Double CDR by Plague Recordings)
MANIFESTO – CORE (CDR by Plague Recordings)
SWARMS – THE SILVER HOUR (CD by Vendlus Records)
PRONOUNCED “SEX” – XXX (CD by Interregnum Records)
STAG HARE – BLACK MEDICINE MUSIC (CD by A Star Records) *
WOO – COME BLUE (CDR by A Star Records)
WYLD WYZRDZ – WE ARE EVERYONE (CDR by A Star Records) *
ANDERS DAHL – RGB TAPES (CDR by Con-V) *
AMK/JEPH JERMAN – SPLIT (CDR by Cohort Records) *
LUGANO FELL – RUN TEENAGERS, RUN (CDR, private) *
DOORNEN – AIDS LOVES YOU TO DEATH (3″CDR by Scrape) *
XABIER ERKIZIA – [SPAM DETECT] (CDR by Hamaika) *
THE DEAR LISTENERS – VALLEN (3″CDR, private) *
.CUT & MAGGOT BREEDER – LA VOIE SACREE (3″ CDR by Walnut + Locust) *
CELER – DISCOURSES OF THE WITHERED (CD by Infraction Records)
CELER – THE EVERYTHING AND THE NOTHING (CD by Infraction Records)
CELER – NACREOUS CLOUDS (CD by And/Oar)
On the risk of sounding like a real old man, I have this small story. When I was young (yes, Granddaddy, go on), you’d save up all your money, bought the first LP by The Undertones and listened to that single LP for weeks, until you had enough money to buy something else. Years later I bought that Undertones LP on CD and found out it was only twenty-eight minutes. Perhaps that’s why I could still sing along every song and knew which was the next song in line, even when I hadn’t heard it for years. That seems light years away from say receiving promo’s from Celer, the duo of duo of Danielle Baquet-Long (pianos, words, custom electronics, tape-loops, theremin) and Will Long (pianos, custom electronics, tape-loops, arrangement diagrams and splicing), who just send me three CDs at once. I checked out wether they were all in our six months range, and not trying to pass one new and two old releases, but they are all indeed released in last two months. Beats me where all the confidence comes from, or perhaps they have paid along with releasing this. The one time before I heard of Celer, was when I reviewed their collaborative release with Mathieu Ruhlmann (see Vital Weekly 628), but now, three more hours of Celer, I know almost everything. By and large there are strong similarities in these three releases, as well as some differences. The two albums for Infraction reflect the first four years of Celer, and the (limited to 300 copies) ‘The Everything And The Nothing’ is the more experimental work, of the ‘Discourses Of The Withered’ (which is limited to 500 copies). Throughout both of these (earlier) works long, sustaining sounds play an important role. Highly atmospheric, with deep shifts in sound, all built around long, repeating loops. On ‘The Everything And The Nothing’ this is sometimes interrupted by samples that are of an ethnic nature, apparently field recordings from India and Nepal, or clearly instrumental breaks. That may add to the more experimental tag, that die hard ambient lovers would no doubt put on this, but I think it nicely breaks with the tranquil character of the music.
In a way, music wise, its not much different with their ‘latest’ (released one month after the previous two) release ‘Nacreous Clouds’: here too highly ambient loops are created to make the music. Its played by cello, violin, piano, bells but also household sounds, the wind, walking gravel streets and such like, but if you wouldn’t know this, you could as easily mistake this for a bunch of slow arpeggio’s played on an analogue synthesizer. But it’s not. Celer created loops of everything and playing three to six on their reel-to-reel recorders, ‘connected to both our laptops and channeled back out into a Kaiser filter’, they say. Perhaps the ‘Kaiser filter’ makes that these thirty-seven (!!) tracks sound quite similar with sonic differences to be spotted through a microscope. It moves like the clouds, like those mentioned in the title, which occur in winter time. Not entirely winter time here (will it ever be again?) yet, and not many clouds on a beautiful autumn day (my kind of weather), but if I would open up a window things would certainly get chilly in here, and this could be a great sound track. I must admit that I thought all three albums were beautiful examples of somewhat darker ambient music, but after more than three hours I had a strong urgency to hear something entirely different. Maybe The Undertones come in handy. (FdW)
Address: http://www.infractionrecords.com
Address: http://www.and-oar.org
PIERRE BASTIEN – VISIONS OF DOING (CD by Western Vinyl)
Despite his releases on Rephlex, the Aphex Twin label, I must say I’m not too familiar with the music of Pierre Bastien. I believe it was last year when I first a concert by him, which was indeed very nice to watch the interaction between the player of the trumpet (Bastien) and his mechanical orchestra surrounding him. I think there was a visual component to it, but I don’t remember it very well. I usually tend to focus on the music itself. Maybe the visuals were by Karel Doing, a dutch film maker. Bastien and Doing have been working together since close to twenty years, both in the studio and in concert, so Bastien wanted to say thanks by dedicating this record to his friend. Nine pieces, created for films. There is indeed a strong, sound track like quality to be spotted in these pieces. The trumpet plays an all important role in the pieces, usually adding that lazy, jazzy texture to the music, but whatever happens in the background is hardly jazz like. The mechanical orchestra, created with rotating devices and mecano, add a nice atmospheric texture, like an early black and white film on industrial life. Relaxing music that also without the visuals works rather nicely. Music to sit back and relax and enjoy. Warm mechanics at work. (FdW)
Address: http://www.westernvinyl.com
“BLUE” GENE TYRANNY – THE SOMEWHERE SONGS (CD by Mutable Music)
NILS BULTMANN – TERMINALLY UNIQUE (CD by Mutable Music)
Two new CDs from the Mutable Music label of Thomas Buckner. One by veteran ‘Blue, Gene Tyranny’, the other one by the young talent of Nils Bultmann. Tyranny is presented here by two of his compositions: ‘The Somewhere Song’ (1987-2001) and ‘The Invention of Memory’ (2003-2005). The first one is written for baritone (Thomas Buckner), environmental and electronic sounds (Tyranny), plus wild sax played by Peter Gordon. The second work is again for baritone (Thomas Buckner), and string ensemble, guitar and piano. Both compositions have a strong narrative line. “The Somewhere Songs” concerns friendships in or undergoing difficult circumstances” and “The Invention of Memory” is about the behavior and physiology of the brain.” Tyranny is a typical american composer with an extensive output of tonal works, like so many of the american minimal and post-minimal composers: Laurie Anderson, Robert Ashley, and others. So these two works are very accessible and are very close to popular american music culture. In contrast Buckner sings intestering thought-provoking texts, so that one could ask what is more important for Tyranny: music or text. Music only as a vehicle for the text is far from the truth. But, on the other hand, these works are fully appreciated only when you give full attention to the texts that are sung/spoken by Buckner, as they make up the starting point for the compositional work by Tyranny. Like in “The Invention of Memory” that is divided into nine parts. “For each of the nine movements, musical material heard in an initial Song is scanned to describe a specific type of memory and its parallel musical procedure”. So how accessible the music may sound, it is the result of a complex search for transposing non-musical ideas into music. The texts spoken by Buckner may remind you of this. Both works are tastefully and effectively orchestrated.
With ‘Terminally Unique’ something else is going on. A series of improvisations, compositional sketches and field recordings are the constitutive parts of this music. Nils Bultmann is a classically trained violist and composer, with roots in Germany. Besides playing classical music, Bultmann engaged himself more and more in avant garde and improvised music. His new CD is convincing proof of this. Bultmann presents 14 short pieces, most of them played solo by Bultmann on viola, keyboards, Wurlitzer, breath and vocals, with the help of multitracking. In four tracks Roscoe Mitchell assists on tenor sax and flute. In three tracks we hear Parry Karp on cello and Paddy Cassidy plays djembe on ‘The Madness’, the only tracks where all three guest-musicians participate. In most pieces the viola is the central instrument. Bultmann plays it with verve and soul. In the background we often hear voices, undefined sounds, etc. It gives the effect of the viola being located at a certain concrete space. He creates in each composition a very strong atmosphere. This music really goes deep, and deeper after each listening. The compositions are accessible but far from superficial. At several moments I found his music very comparable to the music of Iva Bittova: inspired on folk music and played with great concentration by a gifted musician who knows what he wants to tell. Fantastic! (DM)
Address: http://www.mutablemusic.com/
FULMINATE TRIO – SAME (CD by Generate Records)
This New York-based trio features Anders Nilsson on electric guitar, Ken Filiano on double bass and Michael Evans on drums. All three of them also make use of some electronics.
First some words on the musicians. Andera Nilsson moved from Sweden to New York eight years ago, and developed himself further in the world of free improvised music. He played with Raoul Björkenheim, Matt Heyner, Kermit Driscoll, Evan Gallagher, Jeff Arnal, William Parker, Eugene Chadbourne. In the same time his continued his group Aorta in Europe. Bassplayer Ken Filiano feels at home in the worlds of classical music, jazz, improvised music, etc. He toured and played with Warne Marsh, Bobby Bradford, Vinny Golia to name a few.
Michael Evans is a drummer and composer. He uses found objects, homemade instruments, in order to create unusual sounds and music. He worked with God is my Co-Pilot, Evan Parker, etc. All musical experience of these three musicians now culminates in this new outfit. They choose in day in march 2007 to record their first cd. The cd opens with a composition by Carla Bley called ‘Floater’. A quiet, moody but fascinating piece that you
don’t expect as an opening track. All four other compositions are composed by Evans and/or Nilsson. Their music is very open and in an way laid-back, how complex it may be on the other hand. It is difficult to say what use of electronics they make, but it is a functional and modest one as they sound above all as a trio of acoustic bass and drums plus electric guitar.
Like in the middle section of ‘Tiger Variations’ when they pull up the music to more abstract heights, electronic means come in. Nilsson is an interesting player, and he has a nice and very sharp sound on his guitar. From time to time I wished Filiano and Evans would cross swords more intensively with mister Nilsson. More energy and tension could be generated if you ask me. (DM)
Address: http://www.generaterecords.net/
DANIEL PADDEN – PAUSE FOR THE JET (CD by Dekorder)
Daniel Padden is a member of Vulcano the Bear since 1995. After moving to Glasgow in 2000 his solo-work became more prominent. First as The One Ensemble of Daniel Padden with releases on Catsup Plate, Secret Eye and Textile. As this ensemble became a real band, Padden decided to release his solo-work simply under his own name. First result was ‘The Isaac Storm’ CD on the Ultra Exzema label. With ‘Pause For The Jet’ we have his newest solo effort on our hands. It is the first cd with Padden that enters my CD-player. His music shows many influences: british folk and world music, krautrock, collage techniques, etc. 17 short ‘songs’ pass along in these 36 minutes of Renaldo & The Loaf/Residents-inspired madness.
Also there is a echo of the experiments of the Homosexuals. Instrumental soundscapes, improvised interludes, tape manipulations, strange sung melodies, etc. are loosely pasted into one whole. Because of this procedure you stay tuned to this CD. Padden takes continuously a different direction. Just when you are used to a certain piece, a new totally different one begins. This is surely the power of this music, because most of the individual pieces don’t have enough content to stand on their own feet. It is difficult to trace how Padden chooses his fragments and combines them. What ‘laws’ are working here? But for sure he understands his art and offers a nice and diverse kaleidoscope of musical ideas. (DM)
Address: http://www.dekorder.com/
AUDELA – NOW ALL IS SILENT / INITIATION (Double CDR by Plague Recordings)
MANIFESTO – CORE (CDR by Plague Recordings)
Plague Recordings is a Belgian label that focuses on releases in the field of ambient and abstract electronics. First release from the label came out two years ago, since then the label has released a number of CDRs of limited editions. Quite a few of the releases from the label have been released by the project Audela. The name “Audela” refers to the French pronouncement of “other world”, Au-Delà. The name fits well to the expression of the two present albums released as two-in-one album. First disc titled “Now all is silent” is a dark hypnotic beast, that works well as atmospheric background listening. Buzzing drones of deep rumbles create some trance-inducing spheres saturating the five intersections on the album. Field recordings recorded by Joos Carpentier assists in giving a great organic feel to the drones of deep darkness. Second disc is the album titled “Initiation”. As was the case with aforementioned album “Now all is silent”, “Initiation” belongs to the ambient territories, though “Initiation” has a more melodic approach to the shimmering ambience. Choirish samples in combination with grandiose dronescapes assist to create a beautiful expression sometimes turning associations towards the ambient of Norwegian maestro Biosphere. Next release from Plague Recordings is by the project Manifesto. Manifesto has a number of releases in its catalogue but present release is the first on Plague Recordings. Behind the project you find M. Zetterberg and Alex van Heerden using among other things the sound of a trumpet and a theremin to create ambient-spheres. Compared to first artist reviewed Audela, Manifesto has a more cutting edge approach to the ambient scene, with a more frequent use of noises and industrial sounds to create this slightly more harsh approach to dark ambient. Still the album is chilled enough to let the listener drift into a state of trance. Two quite interesting CDR-releases from Plague Recordings that comes in a DVD sized cover of tasty black art-design. (NM)
Address: http://www.plaguerecordings.com
SWARMS – THE SILVER HOUR (CD by Vendlus Records)
PRONOUNCED “SEX” – XXX (CD by Interregnum Records)
Norwegian artist Kim Sølve is the brain behind a number of visual artworks within the black metal scene, counting cover arts for important bands such as Darkthrone and Mayhem. Beside his working on visual artwork, Kim Sølve also has a foot in the sonic arts. Two new albums demonstrate the musical approach of the artist. First project is called Swarms. As the name suggests, the style is drone ambient on this latest album titled “The silver hour”. Apart from Kim Sølve, Swarms consists of Peter Berntsen, Bjeima and Qeriq. The expression is extremely dark turning associations towards classics such as Lustmord’s “The place where the black stars hang” (Soleilmoon, 1994) and Inade’s “Aldebaran” (Cold Spring, 1996). Five intersections, with titles such as “Asleep in silver residue” and “Children mimicking shadows”, floats in atmospheres of deep rumbling drones sometimes sounding like the buzzing of heavy bee swarms. With the addition of Industrial noises and strange otherworldly sounds, especially final track “He came as swarms” pulls the listener into an hypnotic state of listening with its almost half hour runtime. Next project PRONOUNCED “SEX” , is a joint venture between Kim Sølve and compatriot artist Zweizz. Again the musical direction is pointed towards dark ambience. Compared to the aforementioned, this album has more noisy interventions and with more weight on field recordings. That part of the album has been used as the soundtrack for underground zombie-flicks makes sense, since the atmospheres invites the listener into soundscapes of creepy darkness. Two interesting releases with Kim Sølve being part of the musical brain. (NM)
Address: http://www.vendlus.com
Address: http://interregnumrecords.com
STAG HARE – BLACK MEDICINE MUSIC (CD by A Star Records)
WOO – COME BLUE (CDR by A Star Records)
WYLD WYZRDZ – WE ARE EVERYONE (CDR by A Star Records)
Looking at the website of A Star Records, it seems to me one big family, over there in Utah. A community of musicians playing together in various combinations, silk screening covers and such like. There is a strong sense of unification among these three releases, certainly musicwise.
The first is a real CD by Stag Hare. I tried deciphering the handwritten cover to see who is a member of this band, but I failed. But unlike the other two releases, this a group. Judging by the music and the cover it seems to me that these are, how to put this nicely, hippies. Their music is raga drone rock. Rattling percussion in ‘Holy Quinn’, mumbling voices on top, and a wailing drone sound from sources unknown. I normally would start off by ranting something about hippies not being cups and tea, but I won’t. I don’t know for a fact that they are hippies, but perhaps more important: I really liked what I hear. The monotonous, mechanic rhythms, the whispering voices, the reverb (yes yes) on the harmonica in ‘Crystal Dust Dream’ or the triumphant finale of ‘Oz’. This might very sixties in musical approach and perhaps even in execution (quite direct in your face recording), but perhaps I’m getting now old enough to enough such things. Stag Hare is a great place to do such discoveries.
WoO is perhaps a one-man band, playing electric guitar, mobile phones, remote control and effects. Here too the drones prevail, but WoO plays them a little bit more sweeter, softer, maybe even more melodic. Things meander nicely about, in weightless space. The guitar doesn’t sound like a guitar in say ‘Sky Over Oslo’, but it sounds more like a synthesizer. Maybe occasionally things may sound a bit too sweet here, but the balance is still positive. Light shades of dark colors, clouds passing – all the usual images that one can have with music like come around. A sweet, sugary release.
The perfect antidote to this is Braden J McKenna’s Wyld Wyzrdz release. His ‘Slope’will put you back to earth, with grainy textured guitars. Don’t get me wrong. McKenna doesn’t play a noise tune. Its just that after WoO his music is a bit louder on the drone hill, playing more angular tunes. Here the guitar is a guitar, even when he plays it with an e-bow. But strumming it is his favorite tool. The magnum opus here, the eighteen minute ‘I Am Ocean’ is quite a psychedelic journey of the endless strum. Three different sides of the drone coin. Three times lovely at that. (FdW)
Address: http://www.astar-recs.net
ANDERS DAHL – RGB TAPES (CDR by Con-V)
Hot on the heels of his album on Bombax Bombax, which was reviewed here last week, there is now a new album, again with three pieces. Like the press text doesn’t explain, I too have no idea what RGB Tapes are, but in his usual style, Dahl tells us per track what he does: in track one on its RGB Tapes plus Tape Rewinder and Electronics, in number added with springs, spokes, electronics, tapes and tape rewinder and in third one plus electronics, tapes, guitar and clarinet. So we don’t know what RGB Tapes are, but they are surely tools that have possibilities. The first track is mechanically rotating, moving about, vibrating and alive, like a bunch of insects eating away the hard disc of a computer. The second piece sounds alike, but is more raw, with improvised elements of the springs and spokes as elemental percussion on the floor. For what things are worth, the last track seems the most quiet one, with soft parts being bombed by short loud parts. This makes three pretty strong and varied pieces of vibrating matter, bouncing and jumping about. An excellent ride. (FdW)
Address: http://www.con-v.org
AMK/JEPH JERMAN – SPLIT (CDR by Cohort Records)
For the latest installment in the Split series, Cohort asked two veterans from the world of experimental music. Both Jeph Jerman and AMK have been around since many, many moons in the musical underground and both run/ran cassette labels, released limited vinyl, CDs and CDRs and still operate in the same world of do-it-yourself. AMK has two tracks here of skipping vinyl. Originally the Split series started out as a drone series, but these two tracks aren’t anywhere close to drone music. A collage of vinyl sounds, weird music, off centre spinning and such like. It seems that time stood still in the work of AMK. I must admit it sounded nice to me, but I failed to see much difference from work I heard from him twenty years ago. Jerman is much closer to the world of drone music with his piece for a 22inch wind gong, played by a small fan and amplified with cheap mic and battery powered amp. It doesn’t sound like the old Hands To work, nor his recent electro-acoustic work, but deeply resonating sounds. Vibration music of an easy kind, but humming oh so nicely. Perhaps also nothing new under the mighty drone moon, but this space is a great place. (FdW)
Address: http://cohortrecords.0catch.com
LUGANO FELL – RUN TEENAGERS, RUN (CDR, private)
Earlier this year, in Vital Weekly 622, I reviewed Lugano Fell, also known as James Taylor, for the first time. I was pleasantly surprised by his music, which sounded like shoegazing meets glitch. Back then I thought that whatever instruments were used, they were well covered in the dust of the computer. On ‘Run Teenagers, Run’ however it says ‘seems to be kind some kind of a guitar record, though deeply buried in drones, skipping CDs and hiss’, which seems like a highly accurate statement. The shoegazing effect is a bit less than on the previous release, but it still firmly fits the world of microsound, ambient glitch but as before always just a bit louder and with more bite than what the usual suspects have on offer in this field and that’s what makes this release probably more attractive to me. The organ like drones are just a bit louder than with others, the skipping make nice sine wave rhythms and every now and then one can hear the guitar, in whatever form it has been morphed into. Its not by any standard new or innovative what he does here, but like before (again) what he does is very nice. I’d say this guy should stop doing these things as private CDRs but rather try and find labels and get some recognition. (FdW)
Address: http://www.myspace.com/luganofell
DOORNEN – AIDS LOVES YOU TO DEATH (3″CDR by Scrape)
XABIER ERKIZIA – [SPAM DETECT] (CDR by Hamaika)
This weekend I had some time to think about the subject of noise. Because of my persistence in filling these pages with words about music, and sometimes even noise, one can all to easily assume that I do have an opinion about music, sometimes even noise. As such I was asked to be the judge in the Eurovision Noise Contest in Tilburg, The Netherlands. My job was to judge the music, and not the performance or the ‘fashion’, as they called it. Which was quite nice, because it turned out that those who have a great performance, usually don’t have that much time for some solid music, and vice versa. The sixteen (or so, or so) acts all played about ten to twelve minutes, which in some cases was too long anyway, but the variety was big, although one perhaps need to be an insider to spot the finer differences. Sheik Anorak from France was the winner, and his CDR for Vatican Analog will no doubt be reviewed one day. Doornen was also part of the action, when we were all quite fresh, at the beginning, and he was the only one to try and bribe me with handing this CDR. I don’t quite get the title and cover of this, but sex and noise have been connected since Throbbing Gristle played the ‘Prostitution’ at the ICA. Two long pieces here of straight noise, but with enough things happening inside to make things interesting enough. A bit less than his concert, which I ranked with a seven (on a scale to ten), but perhaps the deafening volume in concert and the controllable volume at home marks the difference. So, I’d say, still a seven.
There was no entry for the Basque country, which is perhaps odd, since the country has a lively noise scene. More than Doornen, it seems to me that Xabier Erkizia deals with a conceptual approach to the noise at hand. I must say ‘seems’, since I can’t read any of the liner notes. So my best guess is that spam, in whatever form, is the basic material to generate the sounds here. Loud noise, lots of earpiercing feedback, dirty and gritty, but occasionally Erzikia takes back ‘control’ and things move into an area which is less ‘noise’ – tranquility even? Whatever it is that he does – opening spam in a sound editor seems one logical starting point – he does it with great style. Tracks ranging from a handful of seconds to eight minutes with enough variation and speed keeps things going. Think Mattin meeting Ikeda – if that would make any sense at all. For me it does. (FdW)
Address: http://www.myspace.com/doornen
Address: http://www.gatza.org/hamaika.html
THE DEAR LISTENERS – VALLEN (3″CDR, private)
The new name The Dear Listeners is a tale of two cities – Nijmegen (Vital HQ main stay) and the close by city of Arnhem, and marks the meeting of two busy bees from the respective local scenes. On one hand there is Robert Deters, from the now defunct Vance Orchestra and occasional Machinefabriek collaborator, and from around my corner Martin Luiten, former guitarist of Girlfriends, these days of Uw Hypotheekadvies, Pick-up and various impromptu collaborations. Together they now give birth to The Dear Listeners via this first release, ‘Vallen’ (‘falling’ or ‘fallen’). Deters plays a blend of electronic devices and Luiten picks up his guitar and feeds it through a string of devices and amplifiers. ‘Vallen’ is one, nineteen minute of concentrated drone music with a nice live feel to it – even when it is recorded in the studio – building up from what seems to be some electrical currents into a dense pattern of swirling sounds, with minor details popping in and out of the mix. When the proceedings are coming towards a halt, things hum like a choir in a wide open space. This a very nice start indeed. The Dear Listeners have plenty more material recorded, and no doubt they are open for your offers.
Address: http://www.myspace.com/thedearlisteners
.CUT & MAGGOT BREEDER – LA VOIE SACREE (3″ CDR by Walnut + Locust)
One Aberick (laptop, effects) is behind .Cut and Reuel Ordonez (guitar) is Maggot Breeder. Both live in Montreal and both have released before on Walnut + Locust. Together they played some music in April 2008 on a four track machine, which, melted together, makes up ‘La Voie Sacree’. They like their drones to rough and unshaped, like a diamond waiting to be polished. The guitar wails about, and below and above things rumble like there is no tomorrow. Somewhere after two-third of the twenty-one minutes things turn around and all of sudden we find ourselves in a much more mellow field. Humming voices, mildly distorted guitars, hiss amplified. Whereas the first was o.k., I thought this last part was the way to go, roads to explore. More depth and composition. A promise for the future it seems to me. (FdW)
Address: http://www.walnutlocust.com