UNS – WHAT DOES THE BRAIN HAVE TO DO WITH IT (2CD by C.I.P.) *
PLINTH – ALBATROSS (CD by Deadslackring) *
RICHARD MOULT – ETHE (CD by Deadslackring) *
UNITED BIBLE STUDIES – THE SHORE THAT FEARS THE SEA (CD by Deadslackring)
FEAR FALLS BURNING – THE RAINBOW MIRRORS A BURNING HEART (CD by Tonefloat)
FEAR FALLS BURNING – WOES OF THE DESOLATE MOURNER (CD by Tonefloat)
DIRK SERRIES – MICROPHONICS I – V (CD by Tonefloat)
PHELIOUS – ASTRAL UNITY (CD by Malignant Records) *
LOVELIESCRUSHING – CRWTH (CHORUS REDUX) (CD by Line) *
ALVA NOTO – FOR 2 (CD by Line) *
PJUSK – SVAL (CD by 12K) *
R.Y.N. – ARCHAIC TECHNIQUES OF ECSTACY (LP by Equation)
UNCLE WOODY SULLENDER & SEAMUS CATER – WHEN WE GET TO MEETING (LP by Dead CEO)
GERRITT & JOHN WIESE – PANORAMIC GLASS AND MIRROR (LP by Misanthropic Agenda)
SISSY SPACEK/AGATHOCLES (7 inch by Ultra Eczema)
NOISE NOMADS (LP by Ultra Eczema)
PALE BLUE SKY – SHADES OF GREY (12″ by Arbor Infinity)
TG – LES BOISSONS GRATUITES/LA NUIT VA RECOMMENCER (7′ by Lexi Disques)
IAN HOLLOWAY – HANDLE THIS WINO LIKE HE WAS AN ANGEL: BAUBLES & GEWGAWS 2002-2008 (CDR by Quiet World) *
TAPHEPHOBIABLACKX – BLACK CITY SKYLINE (CDR by Reverse Alignment) *
N.STRAHL.N – BEWEGUNGEN IN BLAU (CDR by Mystery Sea) *
ENCYCLOPEDIA OF INDUSTRIAL MUSIC VOL. 1 (book & 2 CDR compilation by Impulsy Stetoskopu)
DRILLING A HOLE THROUGH THE SKY – 30 YEARS OF THE HATERS (book & CD by Helicopter)
FRANS DE WAARD – MY OWN LITTLE DJ MIX (3″CDR by My Own Little Label)
MACHINEFABRIEK & FREIBAND – KILAUEA (3″CDR by My Own Little Label) *
KAPOTTE MUZIEK – 25 GREATEST HITS (business card CDR by My Own Little Label)
ADAM PACIONE – STILL LIFE #14: ENDING TITLES (3″CDR by Bee Eater Recordings) *
ADAM PACIONE – REGALO DI TONO (3″CDR by Bee Eater Recordings)
COLIN ANDREW SHEFFIELD – FOR TOMORROW (3″CDR by Bee Eater Recordings) *
THE YEAR 25 : 25 YEARS KORM PLASTICS (Compilation Cassette by Korm Plastics)
UNS – WHAT DOES THE BRAIN HAVE TO DO WITH IT (2CD by C.I.P.)
You may not immediately recognize the name UNS, but its one of the older pseudonyms used by Z’EV. Back in the days – speaking of the 80s here – Z’EV was the act where he played with metal, Stefan Weisser when doing tape-loop performances. According to ‘The Industrial Culture Handbook’ UNS is a “band producing “low-tech” rhythms and rants (the vocalist’s name is Saul Zev)”. There have been a couple of releases in the 80s (according to the same book), and part of his ‘Live At Target’ contribution is now in full on this two CD documentation of those years. Also in the same book, there is a picture of an UNS performance, where we see Z’EV (which is the preferred way of writing it, not Zev or Z’ev) behind some organ like instrument and a megaphone. As UNS Z’EV deals with poetry and noise music, at least that’s how it sounds. C.I.P. already released an UNS CD (see Vital Weekly 174), more than twelve years ago, so its about time more was released. The four tracks that span these two discs are pretty noise, with repeated phrases from either taped voices or Z’EV himself – that is not entirely clear here. It all sounds pretty maniac here, especially the voice stuff. The noise is not really the sort of noise youngsters these days create with their computers, but rather a somewhat lo-fi rumble of piercing sounds, skipping records and staggering blocks of organ sounds. The recording is as to be expected from 1980, 1981 and 1982 not the greatest, but that adds, I guess, to the rawness the music. An excellent re-issue, most needed. And while at it: may I suggest someone writing a book on the work of this man? (FdW)
Address: http://www.cipsite.net
PLINTH – ALBATROSS (CD by Deadslackring)
RICHARD MOULT – ETHE (CD by Deadslackring)
UNITED BIBLE STUDIES – THE SHORE THAT FEARS THE SEA (CD by Deadslackring)
Three examples of atmospheric music. ‘Albatross’ is the third album by Plinth, the band around Michael Tanner (guitars, harmonium, bowed dulcimer), with the help of Aine O’Dwyer (harp), Richard Moult (piano) and Nick Palmer (piano on one track). Albatross? Fleetwood Mac? Yes, that albatross is at work here. I love that old Fleetwood Mac song (well, all Fleetwood Mac to be honest) and the simple reduction of guitars in that song is the basis of this whole album. Slow music, in which the guitar plays the main part, and the other instruments are used sparsely in the pieces. The desolate feeling of the original lives on, much more extended, in these five pieces. Great atmospheric music. The lonesome road, the empty desert (with one albatross in the sky), a starry night: all those cliche images appears when I hear this. Maybe the music is a cliche too, but let’s not care about that. Its just great late night music.
Richard Moult, who plays the piano on the Plinth CD, is a musician, artist and poet from Scotland and was a member of Current 93, United Bible Studies and Black Furlong. ‘Ethe’ is his first solo CD and he plays the piano. Its all recorded live in St Leonard Parish Church in Hastings, thus using the natural reverb of the church as an additional layer to the music. That sort of atmosphere reminded me of ‘The Pearl’ by Brian Eno and Harold Budd. Slow, meditative music. Spacious music – not just because of the environment in which this was recorded, but also because of the phrasing used in playing the 88 keys. Following the Plinth release, this is the perfect music to end a day. Even more reduced than Plinth, Moult’s music is like a candle that slowly burns. Totally dark at the end, and the night is well on its way.
And finally there is a repress of ‘The Shore That Fears The Sea’. It eludes me a bit why I should get another review copy, other than to say its repressed again. Well, boys and girls: its out again, and I have a repress too. The re-press of the review of the review from Vital Weekly 512: “Following Daniel Padden’s recent folk excursion, here is another, by United Bible Studied, from Ireland. Originally formed as a duo, these days they are a collective of up to twelve members at a time. They play folk music but with a strong twist into the world of improvisation. Free Improvisation, with twice a capital! The instruments include guitars, theremins, banjo and accordion, and they scrape their way along instrumental tracks as-well as some with vocals. The influence of say Current 93 or Sol Invictus is there, but there is a general lack of percussion, making this much more intimate and even more melancholic. It’s in a way close to Vital Weekly when it comes to the improvisational parts of various tracks, but when it’s guitar playing and singing it’s perhaps to far away. It’s music that is hardly heard here, and therefore quite nice.” Best to start the evening with this one, then Plinth and then Richard Moult. Warning though: a certain sadness lurks around the corner. Just so you know. (FdW)
Address: http://www.deadslackring.com
FEAR FALLS BURNING – THE RAINBOW MIRRORS A BURNING HEART (CD by Tonefloat)
FEAR FALLS BURNING – WOES OF THE DESOLATE MOURNER (CD by Tonefloat)
DIRK SERRIES – MICROPHONICS I – V (CD by Tonefloat)
Dirk Serries is a well-known musician from Belgium and specialist in making atmospheric music. With his Gibson Les Paul guitar and a few effect pedals he creates his own world and sound. In 1984 he starts with Vidna Obmana and since 2005 he released a lot of music under the name Fear Falls Burning. Sometimes he cooperates with metal and drone orientated groups like Nadja and Final/Justin K. Broadrick.
Tonefloat, an independent recordlabel from Rotterdam, released two albums with re-releases of concerts in combination with unreleased tracks. As usual the CDs are well packed in a cardboard cover with photography of Martina Verhoeven.
“Woes of the desolate mourner” starts with a 20 minutes recording of a concert in Extrapool in 2006. Firstly it was released as a 7 inch, but I think this format does not suit to this kind of music. The power is Fear Falls Burning is that he will takes you with his journey of guitardrones. The CD ends with with a long recording of a concert at Sju Jazz Club in Utrecht in 2006. Most of the compositions of Fear Falls Burning ends at about 20 minutes, but now it continues double with a suprising silent piece in the middle.
“The rainbow mirrors a burning heart” is another nice cd of the first days of Fear Falls Burning. Dirk Serries take the listener in a drone where slowly the sounds develop in a big wall of sound. The first two tracks are first released on vinyl at Auf Abwegen and are live recordings of a concert at the Kulturbunker Mulheim in Cologne. It starts slowly and quiet and ends in a distorted way with feedback and metalriffs. The track “I dreamed this mortal part of mine” is an unreleased studio recording from 2005. It starts with a one tone and ends with distorted guitarsounds en searching melodies.
In his new project Microphonics Dirk Serries discovers abstraction and harmony in music. The cd “Microphonics I -V” starts with two compositions with nice melancholic melodies and ends with more abstract ambient compositions, like Robert Fripp in his early years. Also he uses his receipt of many layers where tones slowly come, repeat and disappear. Microphonics is a interesting direction of Dirk Serries career where he is searching the more soft sides of his musical world. For now he is touring with this project in Europe, so if you want to experience his atmospheric melodies alive, I really advice to be part of it. (JKH)
Address: http://www.tonefloat.com
PHELIOUS – ASTRAL UNITY (CD by Malignant Records)
Their previous releases, two CDs by Eternal Sound, a self-released CDR and a 12″ for Loki, were missed out here, so ‘Astral Unity’ is my first introduction to the music of Phelios. Dark clouds on the cover (dark clouds outside too, I thought; the perfect weather to listen to such music). Phelios is the project of a German guy named Martin Stuertzer and the dark clouds on the cover picture the music very well. Darker than dark ambient music, with a strong, heavy percussive basis. And a lot of reverb units. Every inch of this release is cemented with reverb. That’s both understandable as well as a pity. It muds the sound quite a bit, like a dark cloud hanging over the music, hiding perhaps some of music (or even ‘mistakes’?) and it does sound like Lustmord – the steady point of reference for music like this. Its understandable however: if you want to create this kind of mood music, its hard to avoid the use of reverb, I guess. Although the music is not entirely my cup of tea, I thought it was all quite alright. It reminded me of music I heard in another life-time, when I was professionally involved in selling such things a like. It brought back vivid memories of Inanna, Deutsch Nepal and Archon Satani. Only when the bass line comes in a true acid fashion (!) in ‘Cold Unity’, the sun broke; a smile on my face! This guy has a humor and apparently its not all grim and gloom here. That was the nicest piece, since it was quite odd. (FdW)
Address: http://www.malignantrecords.com
LOVELIESCRUSHING – CRWTH (CHORUS REDUX) (CD by Line)
ALVA NOTO – FOR 2 (CD by Line)
PJUSK – SVAL (CD by 12K)
The music business always come up with small mysteries. I remember Loveliescrushing – it was one of those bands the shop I worked in sold, but never liked by the shopworkers. Gothic it was called. Heavenly voices by their label Hyperium. It all seems so long ago, but imagine my face when I opened a new parcel by 12K and find a new release by them on Line. What happened? Apparently Richard Chartier (honcho here) is a big fan of the band and was looking for a pretty obscure release from them, made only in Peru of all places, and contacted the band’s Scott Cortez. He decided to go back to the original material of ‘Chorus’ and rework that. This is the redux version on this release. The original can be downloaded with an unique code inside the package. Curious indeed. How would be perceive this music now, almost fifteen years later? Would I still be calling this gothic – haha? Well, not really. Perhaps we weren’t paying enough attention back then, but Loveliescrushing here are much more ambient than I would expect. The music is generated largely through the voice of Melissa Arpin-Duimstra, with low humming bass sound, drones and maybe even some kind of field recording. Actually I thought this was pretty good! The etheric kind of vocalization might not be entirely my cup of tea, but it works well here. Its perhaps not the sort of thing you would expect on a label like Line, but it so highly reduced that it well along the ranks of other artists on Line. Great late night humming going on. Ethereal alright, but never gothic. I apologize.
Can’t believe its already four years since reviewing ‘For’ by Alva Noto, a series of nine pieces dedicated to other people, ‘specifically for someone or for a project that for one reason or another remained open ended’ – see Vital Weekly 534. Back then it was a sort of re-introduction to his work, of which I had lost track in the years before. After that I still didn’t keep with the vast output of Alva Noto, so it’s a bit hard to say how this new set, of twelve pieces, fits into his development as a musician. I only heard a few of his works after that, and it seems that he more and more moves away from the click and cut music, and that ambient like music becomes more and more important. Having said that: its only based on what I picked up, and through an in-depth study. The music here is still based on sine wave like sounds, deep bass thumbs, high peeps, all along with deeper washes of ambient like music. Still this is very much recognizable as Alva Noto music. I have been thinking wether I think this is good or bad. I don’t know. Maybe I expect too much, and it would have been nice to see a real change after all these years, and not a, very nice for sure, collection of short pieces which may sound like more of the same. Like said, this collection is not bad at all, but perhaps doesn’t add much necessarily.
Pjusk first came to us on the compilation ‘Blueprints’ (see Vital Weekly 550) and then shortly after that the debut CD ‘Sart’. Now its time for the second release, ‘Sval’. Pjusk are Jostein Dahl Gjelsvik and Rune Sagevik from Norway and their music is indeed blueprint 12K music. It holds all the stylistic approaches that make this label at the foreground of electronic music. Its ambient, it has nice laidback dubby rhythms, warm electronics, perhaps some processed field recordings and guitar treatments. Its cold outside, perhaps just the Norwegian surroundings in which this was recorded, and its nicely warm inside – also like in Norway I should assume, but that was the case on ‘Sart’ too. And there are more similarities, I guess: the album is with twelve tracks still a bit too long. That plus the fact that there isn’t much news under the sun, make this album a very unsurprising one. Its a great album for what it is, excellent recordings, moody atmospheric music and all that, but nothing we haven’t heard before. (FdW)
Address: http://www.12k.com
R.Y.N. – ARCHAIC TECHNIQUES OF ECSTACY (LP by Equation)
The English based R.Y.N. were initially formed a couple of years ago as Goathanger. Realising that this acronym probably wasn’t going to make them famous plus the fact that original member Mendez left, the remaining members Burn and Glaister re-christened themselves R.Y.N. in 2003. Over the next couple of years they worked on their debut CD Cosmic Birth (for Turgid Animal records). Their second album Astral Death was released early 2008 (for Unrest records) and these titles should give you some indication of their music. Manipulating sound (often guitars and bass) into an unrecognizable sonic texture is what R.Y.N. are good at. This new album is no exception, but sounds considerably bleaker than their earlier efforts. Two side-long tracks (Provisional Sketch of Mind and the title track) sound like a death carriage rattling through medieval streets. There are echoes of industrial ambience with dark drones that sound like processed field recordings, there is clanging of objects that made me remember to play my Metgumbnerbone album later that evening. The music leaves no room to breathe, which makes for uneasy listening, but then again, that is the whole purpose of this album. Packed in a silk-screened card sleeve with lots of inserts (which, unfortunately, shine little light on this already dark album), this is grim music. Good music, but grim all the same. Great for lonely, depressed late-night listening. In the dark of course. (FK)
Address: http://www.chronoglide.com/equation
UNCLE WOODY SULLENDER & SEAMUS CATER – WHEN WE GET TO MEETING (LP by Dead CEO)
A few weeks ago I said that the word ‘strange’ is one I don’t like to use very much, yet the very word pops into my head when hearing this. From New York City we have Woody Sullender, who plays banjo, and from the UK/part Amsterdam the harmonica of Seamus Cater. Banjo and harmonica? Is this then perhaps some folk music? Well, perhaps. But then of the more stranger edges. The playing is all the more improvised, yet both instruments are clearly to be recognized. Sometimes the playing seems standard to me (how would I know with my limited amount of knowledge of the genre at hand), certainly on the first side. The second side seems to me a bit more experimental, or even a bit more improvised, this is perhaps a side I like more. The banjo sounds a bit detuned here, while rambling on in ‘The Edge Of A Squall’ (I see, quite rightly, the name of Genry Flynt mentioned on the press release), while the harmonica plays more sustained tones. Even for non Vital like music which we receive (like this week no less than 8 CDs of heavy metal from Poland), this is certainly one which deserves the word ‘outsider’. Its one of those things which you have no idea what to make of, but you feel instinctively its great and perhaps therefore all the more a great record. Odd but great. An how this will sound live? I’ll find out tomorrow when they play at Extrapool. (FdW)
Address: http://www.deadceo.com
GERRITT & JOHN WIESE – PANORAMIC GLASS AND MIRROR (LP by Misanthropic Agenda)
SISSY SPACEK/AGATHOCLES (7 inch by Ultra Eczema)
What links these is obvious, and not obvious at all, which is why I find writing this so difficult. The Gerritt/Wiese disk is a split of gentle layers, drones, studio based and live respectively, both add to the gentle drones acoustic ambiences, in Gerritt’s case the whole side slowly drowns in reverb, whereas the Wiese employs gongs and strange animal sounds, a pig eating is the nearest I could think, and perhaps hints at some kind of paranormal sound track? On the 7 inch Sissy Spacek is Charlie Mumma, Corydon Ronnau and John Wiese, Agathocles = Bram, Jan and Nils. Both lineups include drums, both intersperse drum ridden noise with short breaks, vocals are more discernable on the Agathocles side with printed lyrics indicating the current anti-banking zeitgeist. 1. Addressing the politics, if I worked in a chocolate factory I could freely indulgence my liking for the stuff so why do people get so upset when bankers working in places where the product is money indulge themselves. And its not punk intellectuals who are upset, but everyone who is not a banker, Its not the 70s and punk isn’t radical – its de rigueur in Bond Street and Park Lane. 2. Addressing the links, the less obvious is that although the sound of these two is quite different, they share a content, or better share a lack of content, and by no means is this pejorative, as in impressionism the content is arbitrary, what links these is “music”. But music is now out of place, whereas in the 70s form and function dictated art, being lazy, I’m yet to dress, wash or shave, ill quote from the brief for instal 10 (www.arika.org.uk) ” Praxis is informed action; it places theory and practice on the same footing. There is no progressive use in art for art’s sake, none in theory without action. We think that much of our relationship with sound today is ill-informed. It thinks of itself as implicitly critical of the mainstream of capitalist society while most often simply replicating the systems of that same
mainstream: alienated individuality; the valorisation of craft, skill and taste leading to; artists as (or for the production of) objects and; art aspart of a entertainment industry for the production of pleasure. There is a power of thought at the core of sound, music, listening. But these radical concepts have had systems of thought and practice derived from them which have ossified into traditions which are perhaps no longer relevant, or should be superseded.” (jliat)
Address http://www.misanthropicagenda.com
NOISE NOMADS (LP by Ultra Eczema)
“Why is there something rather than nothing” Only an unrepentant Nazi could perhaps dare to open a book on metaphysics with such a question. And the consequences of another opening – “the question of the meaning of Being” have echoed through philosophy over the decades even and explicitly in the radical left wing Marist and Maoist camps, though all – well all I can think of, shun the reality of the answer (well perhaps not Sartre.Camus ..?) DASEIN. Dasein as a praxis, which here (Noise Nomads AKA Jeff Hartford AKA Moose Jaw) emerges over the two sides of the LP. Side 1, early vocal distortions, side two vocals processed with digital effects. I suppose I should say more in case anyone reading this misses the achievement of Jeff Hartford’s work, what achievement? Answering both of the questions above which philosophers and theorists have failed to do, that is a very great achievement! – how does he answer, what is the answer, I cant “say”, listen to the record to find out. “Heidegger used the concept of Dasein to uncover the primal nature of “Being” (Sein) which Descartes and Kant left unexplored. Like Nietzsche, Heidegger criticized the notion of substance, arguing that Dasein is always a being engaged in the world. The fundamental mode of Being is not that of a subject or of the objective but of the coherence of Being-in-the-world. This is the ontological basis of Heidegger’s work. There can be no Cartesian “abstract agent” – the agent emerges out of his environment. On Heidegger’s account, traditional language, logical systems, and beliefs obscure Dasein’s nature from itself. Beings are Dasein even when they are ontologically wrapped up in a tradition which obscures the authentic choice to live within and transmit this tradition. In this case Dasein still authentically chooses the tradition when it is confronted by a paradox within the tradition and must choose to dismiss the tradition or dismiss the experience of being confronted with
choice.” Or else as here become genius – src. ‘gignere’ to beget, produce,
give birth… (jliat)
Address http://www.ultraeczema.com
PALE BLUE SKY – SHADES OF GREY (12″ by Arbor Infinity)
Ah, the classic 12″ format, four/five tracks, some twenty minutes, 45 rpm, the perfect introduction for a new artist – at least in my formative years, before it was hi-jacked by the techno scene. Behind Pale Blue Sky we find Mike Pollard, who was formerly known as Treetops (or perhaps a member of, this is not clear), and he recorded ‘Shades Of Grey’ as his debut release. I assume Pollard plays guitar and effects on this release and the result, perhaps as implied in the title, is drone music. Five pieces of long sustaining sounds, although all the five pieces are kept within a reasonable time frame. One could argue that there isn’t much difference among these tracks, which is true, but throughout this gentle mood music works quite well. The 12″ format suits the amount of material on offer pretty well. More of the same would probably spoil the fun, but this is exactly the right amount. Great full color cover too. Great start. (FdW)
Address: http://www.arborinfinity.com
TG – LES BOISSONS GRATUITES/LA NUIT VA RECOMMENCER (7′ by Lexi Disques)
This is not Throbbing Gristle, but TG is a French artist living in Brussels. He used to play ambient music using a guitar, but these days is more interested in ‘funny and dark, noisy speed/hardcore/gabber live shows’, the label writes me. This 7″ is neither that nor ambient. TG sings and plays keyboards here. On ‘Les Boissons Gratuites’ (the free drinks) he gets help from El-g on vocals and solo synth. Its a nice vaguely amateurish popsong, but with great charm. This could, or perhaps should, be an alternative hit. Do they still have alternative charts for stuff like this? If not, they should open that business up again.
‘La Nuit Va Recommencer’ (the night starts again?) is more noisy song, after a melodic start, with mild distortion due to overload on the keyboard and the microphone. Likewise charmingly amateurish made, and in its somewhat crude approach, a perfect b-side for such an a-side. Lovely package too. (FdW)
Address: http://www.lexidisques.net
IAN HOLLOWAY – HANDLE THIS WINO LIKE HE WAS AN ANGEL: BAUBLES & GEWGAWS 2002-2008 (CDR by Quiet World)
As far as I can remember, I think that all of the releases by Ian Holloway had just one track. Usually a drone based piece of around forty minutes. That’s about the extend of his work, with minor differences here and there. Then this new release comes a major surprise. Apparently Holloway sometimes creates weird, little pieces on his computer, which he calls ‘little diversions, games, distractions and brainstorms’ which never fitted on any ‘real’ release. All of these little pieces were kept over a period of eight years and are now collected here. This is by far not the Holloway we know, no long form drones here, hardly any organ like sound, but something which is probably best defined as plunderphonics. Lifting his sounds from various types of media (CDs, TV, internet: who knows) he cuts and pastes them together in a highly vibrant manner. The CD opens with ‘Why M’, which seems to be more a click ‘n cut piece, but quite soon after orchestral music comes in. Looped, transposed, shifted in true plunderphonic fashion. As said sometimes things are more abstract, in a clicks ‘n cut manner, but these tracks are all pretty short. Its a pretty interesting release, but perhaps a bit long for the limited amount of ideas that these pieces have. I think Holloway could have been a bit more selective with these pieces, throw out those with the weakest ideas and over the top effects, like ‘Monday’s Time’, and have with ten or so (instead of fifteen now) a much stronger album. Now its all a bit too sketch like and a bit crowded. I am pretty sure his dedicated fans will be shocked by this release, but I thought it was pretty good as well as funny. (FdW)
Address: http://www.quietworld.co.uk
TAPHEPHOBIABLACKX – BLACK CITY SKYLINE (CDR by Reverse Alignment)
A name that is hard to pronounce, and behind it we find one Ketil Soraker. The recordings were already made in June 2006 to July 2007 and that’s about the extend of what I know about it. Nine pieces in total here, all of which are somewhere between four to eight minutes in length. The music is best described as dark ambient. Its not easy to say what it is that Soraker uses as instruments. There is definitely voice material in here, some guitars too, but for the rest its not easy to say. Loads of electronics I assume, maybe some synthesizers. All of this is used to create ambient like music, that is pretty heavy-weighted. The voice howls at times like a lone wolf in the woods, guitars imitate that sounds, while the electronics provide the deep atmospherics here. Especially when things are instrumental it was quite nice, very moody. When the voice is used, I wasn’t that interested. A sort of black metal like howl is perhaps never well spend on me. Luckily the instrumental pieces are in a majority here. Nice but not great, as its walks a bit too much a path we know so well. (FdW)
Address: http://www.reverse-alignment.se
N.STRAHL.N – BEWEGUNGEN IN BLAU (CDR by Mystery Sea)
So far we learned that the music by Mario Lohr from Germany, who works as N. Strahl.N was pretty heavy affair. Not exactly true type noise, but all the same pretty firmly based in the industrial music corner. This is no longer the case, although its not entirely mellow right now. Reverb is used to quite an extent, and that’s never good for me, but N.Strahl.N creates some music here that is more heavy weight ambient, with metallic sounds rumbling about. Dark ambient for sure. When the reverb is a bit turned down, such as in the fourth part, things open up more, and we hear the sounds as intended. The music is quite alright, but not great. Lohr walks all the known paths of dark ambient without taking a new lead in the matter at hand. Still not a bad release, and great to see him move away from the more strict industrial music. (FdW)
Address: http://www.mysterysea.net
ENCYCLOPEDIA OF INDUSTRIAL MUSIC VOL. 1 (book & 2 CDR compilation by Impulsy Stetoskopu)
DRILLING A HOLE THROUGH THE SKY – 30 YEARS OF THE HATERS (book & CD by Helicopter)
And what do I do when listening to all this great music? Well, besides active listening and not doing much at all, reading is a great way to pass time. Especially the kind of books which may not require all my attention, books (or magazines) that small blocks of text. You may believe this or not, but I have here three different volumes of the Dutch encyclopedia of popmusic, which I sometimes take off the shelves and then read back to back. Easy, since you can read one bit, put it aside and pick it up later again. So imagine my happiness when I got volume one of the Encyclopedia Of Industrial Music, spanning the letters A, B and C. The word Industrial music should be taken with a pinch of salt: it has also a lemma on ambient, on John Cage, on Kenneth Anger, Joseph Beuys, Adorno and Aleister Crowley. And would you think of Autechre as being industrial, or Jonathan Coleclough? Exactly. And that’s the whole thing why I like reading encyclopedia. The information is dated the very second its printed. Carved in time. Extended discographies for each artist here and how Industrial music sounds can be heard on the two CDRs that are part of this package. No Cage, Crowley, Burroughs or Autechre, but Altar Of Flies, Andrea Marutti, Artificial Memory Trace, Astral Social Club, Bardoseneticcube, Beequeen, Bob Bellerye, The Black Vial, Black Leather Jesus, Chaos As Shelter, Cheapmachines, Christblood, Circuit Wound, Clew Of Theseus, Cock ESP, Nicolas Collins, Costes, Cranck Sturgeon – which is probably as eclectic for choice as what you read in the book. Excellent. Can’t hardly wait for the next volume.
And no doubt in one of the upcoming volumes there will be G.X. Jupitter-Larsen’s project The Haters, who exist for 30 years now, and quite rightly deserved a book. 251 pages of pictures, scanned from booklets, leaflets, flyers and many photos from performances, plus an ind-depth description of many of those performances over all those years. That takes up the majority of this book. Also a short but in-depth interview with G.X., a discography (which unfortunately lacks a lot of the cassette releases), bibliography, videography and a CD of Haters collegeau’s paying tribute to the destroyed music of The Haters, such as Gerritt Wittmer, The New Blockaders, Sissy Spacek, K2, Sudden Infant, Incapacitants, Frans de Waard, Jarrett Silberman, Damion Romero, Glands of External Secretion, CRH Draheim and aaron Dilloway. A mighty blast, sonic, visual and literal overload. Yes, I love books about music. (FdW)
Address: <impulsystetoskopu@yahoo.com>
Address: http://www.john-wiese.com
FRANS DE WAARD – MY OWN LITTLE DJ MIX (3″CDR by My Own Little Label)
MACHINEFABRIEK & FREIBAND – KILAUEA (3″CDR by My Own Little Label)
KAPOTTE MUZIEK – 25 GREATEST HITS (business card CDR by My Own Little Label)
Three new releases from My Own Little Label. All releases are in the usual size of MOLL-releases meaning 3″-size. First album is titled “My own little DJ mix” and comes from label owner himself, Frans De Waard. Don’t expect a DJ mix for your local rave club here: More likely this is the classic style of Frans De Waard, due to its mixture between demanding approach combined with quite cool and catchy interventions. Abstract sound textures of noises and silence. The piece is one lengthy track running 21 minutes shifting between chilling silence and noise pictures built on abstract electronics as well as concrete sounds of various animals and other creatures. Towards the end of the piece rhythmic textures penetrates moving along abrasive sounds, reminiscent of the minimalist style of Pan(a)Sonic. Interesting piece! Next album is a joint-venture between Freiband and Machinefabriek. An excellent trippy ambient-piece running 20+ minutes of waving drones that over time goes into more abrasive sound worlds of abstract noises and concrete sounds. Not too far away from first reviewed release but more chilling and calm in expression. Third release was a give-away to the audience of a concert by Dutch trio Kapotte Muziek in legendary Extrapool in Nijmegen on 26th february 2010 – thus only a couple of weeks ago! The containment of the album is 25 excerpts of tracks created by the concrete noise-based Dutch sound-art trio over the last 25 years. Compared to the first two releases, present album of Kapotte Muziek more gives a ultra-short overview of Kapotte Muziek rather than being a whole music experience. The album running a bit more than 5 minutes with 25 intersection, thus giving an average play time per track around 20 seconds and being focused on noise expressions of various kinds. Rather than expecting 25 great smash hits (hence the title) more rather do expect pieces of demanding but never the less rewarding experiences. Very interesting indeed. (NM)
Address: http://www.kormplastics.com/moll.html
ADAM PACIONE – STILL LIFE #14: ENDING TITLES (3″CDR by Bee Eater Recordings)
ADAM PACIONE – REGALO DI TONO (3″CDR by Bee Eater Recordings)
COLIN ANDREW SHEFFIELD – FOR TOMORROW (3″CDR by Bee Eater Recordings)
The world of ambient music here, but perhaps ambient from a more daring kind. Adam Pacione, who is behind the Bee-Eater label, has two releases here. The first is the last one is a series called ‘Still Life’. Number 14 is called ‘Ending Titles’ and the series dealt with ‘late night improvised recordings dating back to 1999 up till 2008’. This one is from 2002 and is a low humming affair in which we something vaguely melodic recognize. A slow meandering organ drone in the background and every now and then it slowly moves upward – the melodic line. Quite a simple piece, but surely quite effective. Maybe just a little bit too long to be interesting for the full eighteen minutes, but I think I am listening in the wrong way: rather than listening, one should just undergo the music, have it on as a tonal background thing.
More abstract is his ‘Regalo Di Tono’, which is a ‘stripped down improvised live recordings (sans initial background tones from 1999)’. Used here are a Moog opus 3, Moogerfoogers and Sleepdrone 5. Less ambient than ‘Still Life #14’ this tonal exercise reminds the listener of work carried out by Alvin Lucier meeting old school cosmic synth meisters (Tangerine Dream, Klaus Schulze). Slow moving, long sustaining sounds, with the slightest of changes. Where the previous, which has basically the same idea, not succeeds in its entire form, it works quite well on this one. Its hard to say where this difference lies, but it might be a matter of personal affection with music like this. Excellent.
Colin Andrew Sheffield runs the Elevator Bath label, and as such he released some music by Pacione, and here he shows up on the Bee Eater label. Its a companion piece to a piece he did on a compilation for his own label and consists largely from processed church organ sounds. It starts like a massive block of sound and then over the course of the twenty minutes this piece lasts, he adds more and more sound effects (from the computer I assume) and then it seems to die out slowly. But towards the end the organs returns and that ending seems a bit superfluous, but it perhaps make sense too. The ending would have been a bit too much of a cliche and now it restores the order of the piece. Nice one too. (FdW)
Address: http://www.adampacione.com
THE YEAR 25 : 25 YEARS KORM PLASTICS (Compilation Cassette by Korm Plastics)
To celebrate the 25th anniversary of his important sound art label Korm Plastics, owner of the label, Frans De Waard has compiled a number of artists from the outer limits of musical expression. For the novice listener of the Dutch label, the compilation “The year 25 – 25 years Korm Plastics” gives a nice introduction to the span of releases from the label from its birth in 1984 to the presence. Korm Plastics originally began its explorations into contemporary electronic music as a cassette-only label, so what could be more natural than celebrating its 25 years of existence by releasing exclusively on that media. Another interesting thing about the idea of releasing is of course the old-fashioned cassette-media and its sharp contrast to the modern sound expressions that is presented on the compilation. Through the selection of old and new artists, the expression on the overall compilation sounds like the “state of the (sound) art”, probably because the main part of the artists presented here are people from the front of the sound art scene. Thus we find contributions from artists such as Francisco Lopez, Asmus Tietchens and Z’EV among many interesting artists. Peaks of the compilation comes with contributions from Edward Ka-Spel (Legendary Pink Dots), with his piece of strange voice samples combined with field recording and distant noises. Also Freiband impresses with two artistic noise-pieces constantly interchanging between abrasive sounds and silence with interventions of ultra-short pulses pushing in. Excellent ambient piece comes from Mirko Uhlig with his beautiful drone-piece combined with eastern tablas reminiscent of Coil due to the trippy atmospheres. Just a few peaks mentioned on an album that has so many great moments, and represents the perfect celebration of the essential Dutch label Korm Plastics. (NM)
Address: http://www.kormplastics.nl