number 836
week 25


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LEIF ELGGREN - UNDER THE COUCH (CD by Firework Edition Records) *
SHOEB AHMAD - WATCH/ILLUMINATE (CD by Mystery Plays Records) *
MARIA MONTI - IL BESTIARIO (CD by Unseen Worlds Records) *
STRŘM - FOLD (CD by Domizil) *
CYRIL BONDI & PHONOTOPY - KOMATSU (CD by Insubordinations) *
TRIGGER - THE FIRE THROWS (CD by Insubordinations) *
IMO/SUB META ORCHESTRA - ARCHIVE #1 (CD by Insubordinations) *
SHRINE - SOMNIA (CD by Cyclic Law) *
JIM COLEMAN - TREES (CD by Wax & Wane Records) *
NAZORANAI (CD by Ideologic) *
EGYPTOLOGY - THE SKIES (CD by Clapping Music) *
SKLAVEN TANZ - URBAN RITUAL (CD by Curly Sol Records) *
NECK OF THE WOODS (CDR by Coterie Collective) *
POSSET & CROW VERSUS CROW - SEAWEED OF SILK (3"CDR by Footprints Workers Co-Op Of Leeds) *
DOG SUICIDE - WINDOWS AND LUNCH (cassette, private)
FOOD WORLD/CLANG QUARTET - AEON (cassette by Bicephalic Records)

LEIF ELGGREN - UNDER THE COUCH (CD by Firework Edition Records)
The man of ideas returns. Its perhaps easier to write a lot about the ideas Leif Elggren puts into his releases, than something about the music itself. Elggren's work is better off, I always think, at any art's magazine than at a place where people are strictly concerned with music. Its not easy to 'like' Elggren's music if you don't know the idea behind a piece. It would be an interesting thing to investigate: I could go out to anyone with a mild interest in the music that Vital Weekly every week serves and play this music without telling what it is or whom by. For the entire one hour and twenty-three seconds, and see what he says. Now of course I didn't do that, but I can imagine such response as 'mildly interesting', 'quite minimal', or perhaps 'what the hell is this, it stays the same throughout'. Maybe its spoiled by then, and explaining is pointless. I am now, in this review at cross roads. Either I talk about just the music a bit more and nothing about the concept, or explain what the concept is about. Difficult decision. {decides to do nothing and waits a day before continuing} [returns after two days to the package, the music and thus the review]. I can't say I have been thinking about this all day, every day, but it certainly came to my attention, every time I saw the CD at the corner of my desk. I have decided not to mention the concept, and stay with the music. Like some of Elggren's previous 'bed' releases, this new one might be a rework of the old one. Some high pitched sound, cracking the springs of the bed or the couch perhaps (or something that resembles just that) is what we get for the entire sixty minutes, but it isn't a static sound. Its minimal, yes, for sure, but its not static. If you listen closely you will things change throughout this piece, very slowly, or rather, perhaps quite speedily. It hardly stays the same throughout and everything seems to be in a constant flux. A fascinating piece of one of the best minimalist composers. Even if you don't know the concept… (FdW)
Address: http://www.fireworkeditionrecords.com

SHOEB AHMAD - WATCH/ILLUMINATE (CD by Mystery Plays Records)
One of the more active players of the Australian new music (experimental, electronic, jazz, improvised, pop) scene is Shoeb Ahmad, owner of HelloSquare Recordings, one half of Spartak (with drummer Evan Dorrian) and player of music in his own right. He has had various 'smaller' releases, so that 'Watch/Illuminate' is his first proper CD release. His previous works showed an interest in drone like worlds, but with a fuzzy sustain never far away. On his first proper release he explores that road more, but also moves towards the more 'pop' like world, that of Slowdive and Talk Talk. Ahmad plays guitar, sings (uses voices?), has field recordings, keyboards, no input mixing board, library records, disorder sound, lock groove, beatbox, melodica and lots of guests added vocals (Lucrecia Perez), Lawrence English (field recordings), Evan Dorrian (brush snare, cymbals, trap set), Ben Owen (sampled lock groove), Adrian Klumpes (ghost piano, waterfall piano), Biddy Connor (bowed strings), Felicity Mangan (field recording, processed sound) and Matt Rossner (field recording, processed sound). All of this resulting in an album with ten tracks, lasting an hour. As said, pop music is no stranger on this release. But pop music with a strong experimental side to it, so that even the non-pop lovers that we are (only when discussing new music, not when relaxing) can enjoy it. In 'Belladonna' its too close to pop music, but that's an exception. Throughout Ahmad uses drone like sounds, gentle, minimal playing of the guitar, small melodies and sustaining soundtrack like atmospherics. Like with so many of these attempts (and I don't mean this without respect) at pop, the voice is something that needs work on, in stead of mumbling with a lot of reverb, such as 'This Is How You Fall Apart'. But luckily this is kept to a minimum and we are offered a pretty strong album of minimal pop music influenced guitar music. Time to take out Talk Talk when it comes to relaxing again, and see how that one worked. Always at work, it seems. (FdW)
Address: http://www.mysteryplaysrecords.com

MARIA MONTI - IL BESTIARIO (CD by Unseen Worlds Records)
Unseen Worlds Records always take us by surprise, it seems. Even with some historical knowledge - never enough it seems - they dig out the most obscure records and re-issue them. It might of course be my fault that I never heard of this record. It was released in 1974 by the Ri-Fi label and Maria Monti performed as a cabaret singer in the 60s, an 'ambitious folk singer' in the 70s and starred in movies by Sergio Leone and Bernardo Bertolucci. The lyrics on 'Il Bestiario' are by the 'infamous' poet Aldo Braibanti and the catch here is of course the help of Steve Lacy on soprano saxophone, Alvin Curran on synthesizers, Roberto Laneri on baritone saxophone, Luca Balbo and Tony Ackerman, both on guitar. Curran called this back then 'the new art-song'. Its probably nothing for Vital Weekly I must admit. No matter how much I like the label, this music, even despite with some of these renowned players, is indeed too much 'art' song for me. It reminds me of pre WW II cabaret songs, especially in 'Lo Zoo', more traditional folk music, Marlene Ditterich in a slightly more experimental setting, such as in 'No No No No', with the most dominant Curran playing on it. While not entirely my cup of coffee, I can see why this forgotten classic had to be re-issued. Perhaps not as minimal as some of other releases on this label, but then again, it also makes sense. Surely something to investigate by the more adventurous explorers of new music - of whatever kind. (FdW)
Address: http://www.unseenworlds.net

Its been a while since '+Eotvos+', the previous release by Zilverhill, a duo of Tim Bayes and Paul Carr (see Vital Weekly 640). That previous release caused me some thinking about the how and why of it - something to do withe the end of the day and such like, and this one comes with a likewise cryptic message: "the idea of loadicean is to document a shared indifference towards the causes of ignorance which lead us into the path of pain and the inability to face up to our ingrained immaturity as a species of overcome such obstacles". One piece, divided in ten, rather clear sections (why not divide them into separate tracks then, I wondered). Members of Zilverhill (one or both) were once involved in a relatively obscure electronic/noise band in the 80s called Ideas Beyond Filth, which I no longer recall music wise, but hearing this, remembering the previous album, I somehow think they had an ambient industrial sound, which was quite fashionable at the end of the 80s. Cheap casio samplers and lots of effects to hide that effect of grainy textures. This new album simply continues where the previous one left us and/or perhaps is a continuation of what went on all those years ago. I was reminded of the first albums of Contrastate. I'd like to add now Illusion Of Safety - right in that very late 80s/very early 90s period - and zoviet*france. Very retro this music, but that's ok. Exactly like I wrote in Vital Weekly 640: "One of the pros of getting old is that one can easily, more easily that is, dwell in nostalgia, to be free of the pressure of being young, new and hip and reminiscence about something old and think: well that surely sounds like something of those days and actually it's quite nice." Again not something I would play very often but then what do I play that often these days? Nothing perhaps. Nothing new under the sun (or moon). Fine atmospheric music of a somewhat clouded nature. (FdW)
Address: http://www.adeptsound.net

STRŘM - FOLD (CD by Domizil)
'Fold' is the second CD of Strřm, a duo of Christian Müller and Gaudenz Badrutt (who is also a member of Appel Music - see Vital Weekly 728). 'Shunt' was reviewed in Vital Weekly 682. Since then they have played live and recordings from that are used here. They use 'different musical principles and experiment with various different instrumental/musical methods (folding)' which are in the studio 'unfolded', by which I gather they built new musical pieces out of that. This time around there is no mentioning of a bass clarinet, but perhaps its still present. If anything this music is a reminder that people still work with laptops to transform their sound. I say this without making a judgement, but I was thinking that perhaps we may have heard quite a lot of that before, and like with 'Shunt', it all sounded a bit predictable to my ears. By no means a bad CD, but still on the safe side of things. Maybe a bit too much serious modern music for me, one that is teaches in the conservatory and devoid of any danger, or any game, or any pleasure - perhaps. The whole thing is a bit too serious for my taste. My favorite piece is the fourth (untitled) one, which bounced in various directions and had some menace. Not bad, not entirely great either, or rather, not entirely my cup of tea. (FdW)
Address: http://www.domizil.ch

CYRIL BONDI & PHONOTOPY - KOMATSU (CD by Insubordinations)
TRIGGER - THE FIRE THROWS (CD by Insubordinations)
IMO/SUB META ORCHESTRA - ARCHIVE #1 (CD by Insubordinations)
Three discs of improvised music. The first is a duo disc of Cyril Bondi playing floor tom and objects and Phonotopy played cracked electronics. They do this in one piece that lasts thirty-one minutes. You could easily think that, seeing these 'instruments' that this is a matter of many sounds, bouncing and rolling about, played hectic, frenetic, nervous, but such is not the case here. Its more a piece with a great, drone like quality to it, of sizzling, bubbling sounds, of electrical motors running, mechanical devices touching upon surfaces; resonating matter and lots of obscured sounds play a role in this, making a highly fascinating piece of music, with slow but inevitable changes as matter progress. Played with great care and extreme love for detail, yet never losing the 'other' out of sight. A very fine piece of music at the border of drone and improvised music, while without being strictly one or the other. For fans of Jason Kahn, I'd say: pay attention here!
Followed by a trio disc of Chris Heenan (contrabass clarinet), Matthias Muller (trombone) and Nils Ostendorf (trumpet). A trio of quite diverse wind instruments and no electronics in sight. Recorded at Valentin Stuberl and Heenan's living room, in December 2010. They play their instruments as they should be, with an emphasis on the long duration, sustaining of sounds. Sometimes as a trio, but sometimes one or two take this role, and one or two of the others play shorter sounds. But this seems to be a bit rare, only 'Scree' is a free play of isolated, small sounds, as they rather play with the three of them these longer sustaining sounds. Their approach is mildly conventional - instruments sound as they are supposed to sound like and not as an object which one could use to produce sound with. The CD is alright, but not something I am totally 100% happy about. After about twenty minutes I know what they want and how it sounds like. The rest of the disc doesn't open new possibilities for me, which I thought was a pity. (FdW)
The biggest group is truly an orchestra with, if I counted correctly, thirty nine members, among which recognize Cyril Bondi, D'incise and Jonas Kocher, but many others are first timers for me. Lots of instruments also, obviously from violin, cello, saxophone, voice, double bass, theremin, electric guitar, laptop, but also typewriter, buzuki and function generator. They gathered on August 3, 4 and 5 of last in Geneva and recorded these six pieces on 'Archive #1'. I have no idea if its all played through improvisation, or whether these are compositions or in some other way guided. Whatever might be the case, the result is six pieces. Now with so many players you easily expect a complete racket of sound/noise, but this is not the case. But perhaps one could expect also a lot of quietness, and to be frank, this is what I thought would be the case. "We have so many players, I'd better be a bit quiet". Or maybe that's what I would have thought. There are outbursts, obviously, near the end of 'The Living Dust', or fairly traditional improvised music such as in 'Miroir', but throughout this is all quiet, ending with an outburst. I thought this was all a bit too standard for my taste. (FdW)
Address: http://www.insubordinations.net

SHRINE - SOMNIA (CD by Cyclic Law)
Why not four at once? Luckily for me, the first one must be filed under 'Ethereal/Neo Classical' and that's usually something I really, really don't like. I remember Arcana from 'other' days when I found myself behind the counter of a record store, wondering why we would sell Arcana anyway. To my surprise 'As Bright As A Thousand Suns' is 'only' their seventh album. Its what I expected. A mediaeval sound, heavenly voices, lots of reverb, pseudo everything (ethnic, tribal, old, folk). No cliche is spared around here. Hey, I have red stains on my skin. I must be allergic.
The other three releases should be filed under 'dark ambient' - if only there was space left there. Beyond Sensory Experience also get the word 'experimental' added, but whatever that may mean, I am not entirely sure off. This too is their seventh release, and there is some rambling about 'true to their ten-year pattern of evolution the dark ambience is more captivating than ever; complex soundscapes and consoling melodies combine with provocative rhythm structres and unsettling samples to generate a new profile of Beyond Sensory Experience' etc, but I guess that's a bit hard to judge if you only know this release. So what did I hear? Lots of taped voices, lots of reverb on those taped voices, bits of rhythm, soundscapes from guitar and keyboards - more reverb there - and throughout the element of dark ambient seems a bit snowed under. I am not sure if I would qualify the music henceforth as experimental. Its surely electronic, reminding me in some cases of SETI (Lagowski that is) and it has a soundtrack like quality to it, which is always. Certainly when two songs are exemplified with a video on the DVD. The piece 'Geometric Fashion' gets a computer treated animation and 'Rapt From Earthly Things' an excellent minimal split screen landscape image - outside and urban. It all makes sense and I had a rare thought (for me that is): it would have been nice to have a video to all of this pieces and my appreciation of the music would be even more.
Desiderii Marginis is from Sweden, where they produce music like this in wholesale, and its one Johan Levin, who is, according to the information, not as prolific as 'others' and apparently hasn't released some new music in some time. There is no indication as to which instruments are used, if any at all of course. Perhaps this is all a work of field recordings, which is somehow something I don't think is the case. I believe to hear violins, cello, guitar, lots of loops (especially when it comes to percussive elements) and the occasional field recording. Its ambient for sure, and dark no doubt. But there are, I should think, various shades of dark, and this is not as dark as some others in the same field. There is, in fact, quite a lot of variation to be found in these eight pieces. Variations in what kind of sounds are used, the way pieces are build up and what they have to offer. That makes this quite a nice release. Only in the title track we hear something that reminded us of Arcana - and those red stains were just about gone.
From Bulgaria - a rather more unlikely country for this kind of music, but why not? - hails Shrine and their album 'Somnia' is 'a complex audio metaphor that can be interpreted as an aural equivalent of a "low level" lucid dreamstate - a dream in which the dreamer is not fully aware he is dreaming but is still having the ability to control the dream'. Ha, since giving up smoking (now ten days, three hours, five minutes and four seconds ago), I have great trouble sleeping, or find myself falling asleep at odd moments - such as while reading a book, or watching television. Odd. It didn't happen however when listening to Shrine, but perhaps its because I was drinking coffee at the same time. The fifty-three minutes, also eight tracks, are also not the most darkest things I have found on this label. Drifting synthesizer music, with a substantial amount of 'nature sounds' as they are called on the press release, along with acoustic music, which is something I found less obvious to hear on this release. In some pieces, like 'The Iron Water', I thought to hear an influence from the old Silent Records catalogue, and its a great track. Like the release by Desiderii Marginis, Shrine has a nice variation to offer in their pieces making this an enjoyable album, and this time with no visible red stains. Thumbs up if you want to do some great lucid dreaming. Shrine is the best of these four, for me, that is. (FdW)
Address: http://www.cycliclaw.com

Two discs by PNL Records, the label of drummer Paal Nilssen-Love, but both also with a connection to The Netherlands. The first is a duo disc with Nilssen-Love on drums and percussion and Terrie Ex on guitar. The latter is - hopefully - best known for his work with The Ex, still the only punk group alive today which I like and of which Terrie is a founding member (the only surviving founding member, if I'm correct), but also an active player in the world of improvised music. Nilssen-Love played with musicians from Sweden, Japan, Germany and Chicago and through all sorts of connection Ex and Nilssen-Love met up and recorded in Wormerveer, where Ex lives, to 'see what would happen in a duo situation'. Four pieces at least - that's what happened, and the opening 'Harar' is a furious blast, a duel of guitar and drums. Although they occasionally pull back - such as in the opening minutes even of 'Bedele' - these four pieces are all about this energy, this (friendly) struggle between guitar and drums. Its not difficult to find its roots in punk and free jazz. Eardrums will burst here, but it also lifts up the listener, it re-vitalizes him/her with new energy. Excellent CD all around. A forty-seven minute energizer!
In Double Tandem the Dutch connection is Ab Baars, tenor saxophone and clarinet (who has played with The Ex also), who along with Ken Vandermark (who plays the same instruments) and Paal Nilssen-Love on drums and percussion, recorded their first album 'Cement' in concert in Stavanger last year, during a short Norway tour. Both Baars/Vandermark played together before and Vandermark/Nilssen-Love, so its not strange that the three of them hooked up. Like with Terrie Ex/Paal Nilssen-Love this one bursts with energy, but it stays more on the side of free jazz, perhaps due to the lack of electricity, such as in the guitar of Ex. 'Skarn', a short piece in between the two giant pieces that make up the rest of the release, is a meditative moment, but 'Marl' and 'Shale' are more like volcanic eruptions. Its quite nice for sure, but perhaps too much free jazz for me, with those wind instruments blearing away like we expect these things to behave. Not bad, just perhaps not so much my cup of tea. (FdW)
Address: http://www.paalnilssen-love.com

JIM COLEMAN - TREES (CD by Wax & Wane Records)
The selling point here is: Jim Coleman was a member of Cop Shoot Cop. That means I have have to go 'oh' and 'ah' and contemplate about those curious ways rock people end up in the trade of serious music. Providing of course I was into Cop Shoot Cop in the 90s. But I wasn't, so I am hardly impressed by that, or the fact they opened up Iggy Pop or the Red Hot Chili Peppers. But Coleman went his way, via electronic music as Phylr (also never heard), and work with Teho Teari (as Here) and Baby Zizanie (with Foetus Thirlwell) and soundtracks for indie films and television series (none really known, since none is mentioned on the blurb, and I am too lazy to look it up on the IMDB). Now there is a solo album, although its not revealed what Coleman plays (trained as a pianist and French horn player), he gets help from Kirsten McCord on cello, Phil Puleo on drums, Dawn McCarthy on vocals (two pieces) and Ellen Fullman on her long string instrument (two tracks only), so we should assume Coleman plays all other instruments. What that is, is however hard to define. Guitars, horns, piano, electronics (mainly in coloring those instruments) and the result is quite nice, actually. It has nothing to do with pop music as such, as in Cop Shoot Cop, but rather it deals with neo classical music, drones, ambient and atmospherics. Quite nice as such, quite sweet also, and perhaps all a bit long at ten pieces which span an hour. Any of these ten are good, but perhaps also any of these ten is a bit interchangeable for any other piece. That is a pity. But put this on, in the evening, sipping wine and reading a nice book, and you will have a pleasant time. A great advertisement by Coleman if he wants to write more scores, but pleasing enough to stand by itself. (FdW)
Address: http://www.jimcolemanmusic.com

NAZORANAI (CD by Ideologic)
Unlike others, perhaps, I really had no expectations when I started to play this. None. I know and like Oren Ambarchi's music (to a certain extend that is), which I can also say for Keiji Haino, who I talked to most of these three and the person of Stephen O'Malley always remains a mystery for me, but then I never dived into Sunn O))) like some of his devoted fans did. Already in 2006 these three men shared a stage in Canada - perhaps a wet dream for some - but it wasn't until last year when they played a few concerts. Best one - I should think - is the one that is now released on O'Malley's own label Ideologic. Haino plays guitar, vocals and synth, Ambarchi bangs the drums and O'Malley plays the bass. Quite a power trio line up - this Cream of new music. So, perhaps I didn't keep up with each movement any of these three men make, I had no expectations and therefore I am, maybe, at liberty to speak my mind more easily. Its music that is not my kind of music. Four long form pieces of psychedelic playing with the characteristic voice of Haino wailing about and playing interesting motives on his guitar. Ambarchi and O'Malley support him with a fine basis - not always stepping out of line, i.e. a free jazz like structure where each gets a solo - but sufficient enough to be entertaining. This is one of those things which I may like better if I see it live (or perhaps 'saw' it live, to revive my memory when listening to the CD) and its one of those things which I wonder would be released if it hadn't the established fame attached to it, but in stead would be that great band from around the corner who play equally interesting music. I don't know, maybe my approach is too cynical? I really enjoyed this actually, even found myself head banging along with it. So what's wrong with me? (FdW)
Address: http://www.ideologic.org

The Russian version of what we Dutch named Nova Zembla and which sees Köner returning north again. In his very early releases, 'Nunatak Gongamur', 'Permafrost' and 'Teimo' he showed a love for the arctic world, with a musical genre he more or less fathered: Isolationism. Isolated from the world around you, this was music that was made by a single person, for a single person. Köner did lots more, sound installations, video and being one half of that great minimalist techno outfit Porter Ricks, but its this drone music, these isolationist sounds we best know him for, and its something that he returns here. Three pieces, all of more or less the same length, but what could also have been one piece. A piece of quietness, rather than ambient or drones, I should think. Its perhaps that kind of sound which you hear if you overlooking that vast plain of snow up there, and the occasional crackle of ice. That sound is the one that Köner captures in his work best. In the first part not a lot seems to be happening, with just an occasional bang. The second part seems to be the busiest, and we even hear a radio sound, whereas the chilly air is captured in the third piece. An album with some great sonic depth - half the time you may not be aware that there is something going on, but if you listen carefully, turn up the volume you know its there. Excellent stuff, as always, and perhaps therein lies a bit of the problem I may have with this: it sounds very much like some of the older Köner music and nothing essentially new seems to be happening. But, then who cares about that? (FdW)
Address: http://www.touchmusic.org.uk

EGYPTOLOGY - THE SKIES (CD by Clapping Music)
Olivier Lamm and Stephane Laporte, also known as O.Lamm and Domotic, were people I liked a lot, about ten years ago, when they had releases on their Active Suspension label. Electronic, danceable, but with that great pop twist. I sort of lost them around somewhere and have no clue what they did in the meantime. But they're back and that's great. Whereas before the laptop played a role, its now all about analogue synthesizers and drum machines and much like Planet Of The Apes had their synth based soundtrack, now its Egyptians who get theirs. Let's say this is a kind of seventies concept album, and as such we only have to think of Vangelis and Tomita and you can straight away see those parallels. The rolling arpeggio's on synth, the strict tempi of the rhythm machine, the vocoder on the voice, combing Jarre, Air and Daft Punk - to stay within their fellow French composers of the electronic. Well, although 'Memory City' sounds very Kraftwerk like. Excellent moody pop songs with some shorter, experimental songs which are links between the pieces. Very pleasant stuff, but not entirely free of a darker side (of the moog?), and it is exactly that what makes this such a wonderful CD for me. The right amount of pop, electronic and experiment. (FdW)
Address: http://www.clappingmusic.com

Slave Dance is what the name translates to and its a duo of Yong Hoon Cho (a.k.a. Dydsu as it says on the insert) and Jeong Hoon Choe. A name like that suggest black leather, dark rhythms, a monotonous voice singing about torture. That's not the case here. In stead we get a text about 'urban music': 'urban music differs itself from musical works which utilize collected sound elements generated through the city. This arrangement (manipulation) of sound samples does not represent nor deliver the original context. […] In other words, musicians play a role of capturing and realizing the city's musical thoughts and possibilities'. Etc. I have no idea what to make of this text in relation to the music I hear. One piece of some sixty minutes. Beating - slowly - of metal, a harmonium, more organ like sounds, bamboo sticks on a square, shouting in the large hallway of an empty building, and some stringed sounds played in (semi-) public. This is just a random selection of things I believe to have heard around here. It reminded me at times of Lethe, but without the conceptual austerity of that project. Its all quite alright really. A soundscape indeed of the city. Running around in it, we no longer hear the city or the people in it, but the resonances of the small and big places cities seem to have. I might be entirely wrong of course. Its nice enough as it is though. (FdW)
Address: http://www.curlysol.com

Like with the previous 'sound sheet' released by Michael Esposito, then together with Per Svensson, now with Chris Connelly, the text on the cover is so much you can't read that while listening to the music. Those five minutes aren't nearly enough. But now I gathered at least that this is part of a series of 'essays and observations into the nature and experience of Electronic Voice Phenomena', just like the previous flexi disc. I gather - again - that this source material handed out to Chris Connelly (ex Ministry to mention something). Lots of voices, clearly to be heard, like being picked up at a sermon, praying or otherwise and making a strange poem picked up with dictaphone. The somewhat crude texture of the flexi adds a fine layer to it. Can't wait for two things: the next flexi, as I happen to love them and the whole investigation in the end. (FdW)
Address: http://www.fireworkeditionrecords.com

Back in Vital Weekly 818 I was first introduced to the music of Sebastian Wesman, who then worked as Isableasnacho. I am not sure why this one was released under his own name and not that particular moniker. Together with the help of some fellow Estonian musicians (and the US poet Diana Norma), he recorded this new work, which is much more neo-classical than his previous release - hence perhaps the change of the name? - but I must admit I have no idea of how this was made. Did he record this with a small ensemble, or perhaps culled it from working within say Garageband? That's hard to tell. There is something about the quality of the sounds which suspects me to believe this is indeed a small ensemble of some kind, mainly in the recording. As I mentioned before I am hardly trained to write about modern classical music - be it the hard way of strange, abstract music, or, and that's the case here, of a more melodic kind. I do know, however, that I quite enjoyed this. In all its modern approach, the music still has that 'old' quality to it. Although I might be entirely wrong, there is a certain quality to this which reminded me of the few works I heard of Arvo Part, but then captured within the limits of a pop song. Eight pieces in under thirty minutes. Dramatic, but not in a pathetic way, melodic, but not in a cliche like manner, and simply quite nice altogether. Less 'radio play' like, but simply great music, and still wondering why what the hell is this? (FdW)
Address: http://luscinia.ruidemos.org

NECK OF THE WOODS (CDR by Coterie Collective)
Compilations are just not my cup of tea. I never know what to say about them, unless I would describe each track in depth, plus all I know about each individual artist. But time… but time is something that prevents me from doing so. The idea behind this compilation are sound works commissioned by Kew Gardens, first as installations, and then, later, to use sound recordings from the forest as a starting point for pieces of music, so not entirely solely based on field recordings but also with additional instruments. Lots of people I never heard of such as Nadine Richardson, Saskia Moore, Riz Maslen, 10Sui, Leslie Deere, Dawn Scarfe, Philip Granell, but also works by Kaffe Matthews, Angharad Savies and Patrick Farmer. Lots of bird chirping in this part of the woods (such in 'Flocking' by Moore, where one could wonder what is added), or in almost absence of field recordings such as the one by Riz Maslen. Along with the piece by Kaffe Matthews and Dawn Scarfe this is one of the more interesting pieces of this compilation. Here the pure field recordings are replaced (or processed perhaps) by the use of plug ins, electronics and what else. The other pieces use field recordings in combination with more traditional instruments and are alright, but nothing seems to be standing out here. As far as a compilation goes: quite alright. (FdW)
Address: http://coterie-collective.blogspot.nl/

POSSET & CROW VERSUS CROW - SEAWEED OF SILK (3"CDR by Footprints Workers Co-Op Of Leeds)
More music by dictaphone artist Posset (see also Vital Weekly 833), in a limited release of a 3"CDR and 'art-zine'. The art-zine part contains visuals/photography by Crow Versus Crow, which looks quite nice. Maybe it would have been even nicer if this was printed in full-color, unless they are intended to be black and white. Posset has three pieces on the CDR of his music made with dictaphone sounds. Again I am not entirely sure how he does his music, but to me it sounds like a whole bunch of recordings made with a dictaphone and then spliced into loops which are mixed together. Maybe in real time, maybe through the aid of other technology (dare we mention computers?). Hardly an interesting question of course, since the result is what counts and that sounds pretty good. Still a bit long, especially 'You'll Never Make An Impressionist, Son', as there is room for some more editing, but in that track the sparse use of loops make an intense piece. 'Damp Leafy Path' is much more noise based and the influence of Howard Stelzer can be heard in 'Sonic Reducer Reduced', using the rewind button and a variety of microphones to pick up any sound that is going on. Short, but it serves as a fine introduction into the musical world of Posset. (FdW)
Address: http://www.footprinters.co.uk

DOG SUICIDE - WINDOWS AND LUNCH (cassette, private)
Two self released cassettes, both involving Nick Neuburg from Boston. He plays amplified percussion, while Nigel Taylor plays amplified trumpet. All of the pieces (two at least, one per side, but perhaps more, who knows?) were improvised. Its something that doesn't turn me on very much I'm afraid. Recorded with a microphone in front of some amplifiers, or home speakers, this rather lo-fi, pretty messy and at times pretty noisy release. But to be honest: nothing in here sounded even remotely interesting. That might be my problem of course, maybe I'm tired, heard too much already, dying for a smoke, I don't know, but this is one of things were I kept wondered: why am I hearing this.
For reasons unknown, Neuburg, when working with pat Kuehn (electric bass with effects), work as Dog Suicide and not by their own names, as on the other cassette. Neuburg takes credit for drums/synth/electronics, and wrote to me, that all of the material was composed. Ah that's it! That's why I thought this was the better of the two releases! In seriousness: I do enjoy this better. It sounds recorded in a room and even when I could be fooled for thinking this is also improvised music, this recording has much more clarity in what we hear and then it turns out that both are gifted improvisers, doing some great music. Here too things are finely working along the lines of noise, but there are moments to be discovered here which are 'soft' - not a lot, not very long - but I believe they are interested in playing around with the dynamics of the sounds they produce on their instruments. Following the other release, this is an excellent release, but not the best in its genre. Free noise improv - file under…!
Address: http://nigeltaylornickneuburg.bandcamp.com/
Address: http://dogsuicide.bandcamp.com/

FOOD WORLD/CLANG QUARTET - AEON (cassette by Bicephalic Records)
Ten minutes by each artist/band. Food World is a duo of Ryan Lewis (also known as Mr. Stonecipher) and August Traeger (Somnaphon/Nipple Stools) and one of the tracks is recorded live. I suspect its not the opening piece. That one is pretty loud, bursting with noise and electronics, feedback and distortion. The other piece is from the kind where they scrape the barrel: bits of violin, a whispering voice, randomly, fed through echo and such like. An improvisation of some kind, but with such things I always wonder: why exactly release this bit from that live recording? Is it representative of their sound in some way? According to the applause people liked it. On the other side we have Clang Quartet, an one-man 'harsh noise/percussion/performance art of Scotty Irving'. Indeed he plays drums in addition to which he adds noise, harsh noise to be precise. The element of performance art is of course lacking here on the cassette, but it sounds like something that I would like to see. Taped with a microphone, so the harsh noise is a bit reduced, Irving rolls on his drums, and pushes a button for noise, not always at the same time, but perhaps that's the idea? Ten minutes of hearing this is fine, but again, seeing this happen somehow seems more promising. (FdW)
Address: http://www.bicephalic.net

1. WORMkino <film@wormweb.nl>

wednesday 20 june
doors 19.00 start 20.00
extra special screening with - wieman - roel meelkop & frans de waard featuring ben and puck schot performing mole's milk
alejandro jodorowsky
el topo 
1970 mx, 120 min, 35 mm

22 years since cult surrealist, mystic and Moebius collaborator, Alexandro Jodorowsky directed his last film, we’re delighted to present the first Dutch 35mm screenings of his restored films. El Topo conflates classic American western and avant-garde European sensibilities with Zen Buddhism and the Bible as master gunfighter and mystic 'El Topo' attempts to defeat four sharp-shooting rivals on a bizarre path to allegorical self-awareness and resurrection.

The ultimate cult classic, with Holy Mountain also scheduled before the summer!

The second screening next Wednesday will additionally feature Wieman [Roel Meelkop & Frans de Waard with Ben & Puck Schot] playing 'Mole's Milk'

WED 20 / EL TOPO - Alejandro Jodorowsky [1970 mx, 120 min, 35mm]

SAT 30 / LA MONTAŃA SAGRADA - Alejandro Jodorowsky [mx/us 1978, 114 min, 35mm]


WED 4 / LA MONTAŃA SAGRADA - Alejandro Jodorowsky [mx/us 1978, 114 min, 35mm]

2. Sindre Bjerga <sindrebjerga@hotmail.com>

June 24th- Buenos Aires- Radio show. Radio Nacional 93.7

June 26th- Buenos Aires- Radio show. REA 96.5                                                                    

June 27th- Buenos Aires- Centro de Investigaciones Artisticas. lecture 19hs

June 29th- La Plata- venue tbc

June 30th- Buenos Aires- ASCORBIC FESTIVAL. Archibrazo

July 2nd- Entre Ríos. Paraná. El Coleguilla

July 3rd- Buenos Aires- Cobra Libros www.cobralibros.com.ar/
                                     (small free show at bookstore)

3. echomusic <echomusicrecordings@yahoo.com>

New release by Echomusic:
Roel Meelkop - 17 M
available for free download (mp3, flac and wav files)

4. Maciek Frett <frett@jobkarma.pl>


13.07.2012 - 6p.m.


14.07.2012 -  6p.m.


venue: AWANGARDA ART GALLERY (garden),
32 Wita Stwosza street, Wrocław/Poland

tickets: 8euro/day

info: www.industrialart.eu
facebook: http://www.facebook.com/events/354745407903222/

4. Sascha <dependenz@web.de>

July 4, 2012 Augsburg Germany

7 p.m. at Die Ganze Bäckerei

Reitmayrgässchen 4,

86152 Augsburg

IF, BWANA (Al Margolis)


Entry is free, but a donation of 7 euros is recommended.



5. incite@gmx.de

incite/ live @ Avantgarde Festival
Schiphorst, (50km to Hamburg)
Friday, June 22nd
doors 17:00, incite/ at midnight

Other acts on the 2012 edition of the Avantgarde-Festival:
Nurse with Wound, Faust, Thee VHS Cvlt, Charlemagne Palestine and many more...


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