ERG/MSBR/DAS SYNTHETISCHE MISCHGEWEBE – GEOSYNCLINES (CD by Flenix)
The concept that resulted in this CD is a bit old, but nevertheless a valid one, still. Just like 10 years ago, musicians still exchange ‘raw materials’, ‘rework’ them and exchange them back (to anybody younger then 30: you call it ‘remix’ by today’s vocabulary). Other then proving the lifeness of networks (in this case the network of intelligent noise makers – modern concretists), it’s also a cross border work. Exchange is communication in some way (I agree that this is discutable however – but to discuss that is not something for a review).
Enough rambling. Erg (being J. Ronsen and Michael Northam) and MSBR (aka Koji Tano, who is also the man who started a label to release this CD) exchanged sound material of an unknown nature (vaguely indicated by ‘field recordings’) and ‘sub’ mixed them. The final edit/composition was carried by Das Synthetische Mischgewebe – who finally re-surface after many years of silence. The short opening piece is indeed a trademark for DSM – short cutted sounds that are collaged together, either set next or against eachother. A sort of shock treatment. The next track (which are all called ‘Stratum’ bytheway – so it’s not my lazyness by not telling the name of the track each time) is likewise, but has a larger curve to follow. It builts much more slowly until it burts, and continues it’s curve slowly after that. These two tracks are programms for the whole CD. Each track is cleverly built of digital cut ‘n paste, moving from one source to the next, soft passages to be followd by loud ones, either taking the quick curve or the slow one. But despite this approach, which may seem overall the same, the result that these boys come up with is a varied CD that doesn’t bore for a single minute. There is a strong coherency (probably and wisely because of one person being in charge of the end result) throughout this work. (FdW)
Address: <mail@msbr.com>
A.M.P. STUDIO – SYZYGY (CD by Aar)
I have come across the name AMP a couple of times, mainly in mainstream underground magazines (if such a term exists), and I am of those people that start thinking it must be something special. From what I learned this is solo project of Richard Amp. My initial suspect disappeared after I played the CD. It’s a refreshing work of post rock drones, guilding guitars and organ sounds, at times ambient in the way zoviet*france is, and, for me at least important, not so many vocals (which in post rock areas usually can be compared to shyly mumbling in the room next to the studio). But as said these are kept to a minimum here. Facit: a very nice CD of varied tunes. (FdW)
Address: P.O.Box 17253 – London SE19 1WX – England
Y.ANN – UN KIT DE SURVIE (10″ by U Mohol)
The name Ultra Milkmaids becomes rapidely a buzz word, with releases in various forms on various labels. They produce some fine dark ambient, and have been compared to Coil. One of the members, Y.Ann just produced a solo 10″ on the milkies own label. Just like the ‘real’ thing, Y.Ann uses samples throughout to create dark & unsettling atmospheres, with sometimes synths beneath. Frogs hop towards the microphone on an otherwise dark clouded morning next to the pond. It seems, after repeated playing, that Y.Ann uses the same sounds throughout the eight (short) pieces, which may, at one point, be a bit monochrome, but which I would regard as looking from eight different perspectives to one object. Powerfull ambient. (FdW)
Address: 18, Rue De L’ersotte – 21850 St. Apollinaire – France
GERT-JAN PRINS – NOISE CAPTURE (CD by X-OR)
Prins is a free improvising percussion player who plays with everybody around. This CD however is a little more then banging the cans. It’s mentions it’s sound sources on the coover: radio, TV, live electronics and percussion. The opening piece for instance consists just of crackling… a radio, a synthesizer… sampled… bear in mind that Prins comes from Den Haag, homecity of Dick Raaijmakers (who is like the founding father of crackling as an instrument). Found on a Panasonic CD this would be no surprise. The next track, the longest here (and which bytheway have titles as Sub IV, RFX 9/10 etc.), is definetly built from loops/samples of noise. More crackling, but less crispy and clear, and more drenched in a bath of noise. Although possibly maybe firmly improvised, this should certainly be appealing to noise heads, that are tired of the Merzwalls of feedback, or the 4 to 4 statics of the aforementioned Panasonic. Adventours noise for adventurous listeners (and if this is not enough: them at Mego like the label, so check out their other releases too) (FdW)
Address: <xorgi@xs4all.nl>
DON JOYCE – MORT AUX VACHES ( CD by Staalplaat)
Those who associate Negativland with humour, satire and incisive social commentary (not forgetting masterful editing techniques) may be slightly surprised by this Mort Aux Vaches release by head Neghoncho, Don Joyce (commissioned as are all the CD’s in this series, by Berrie Kamer and Jan Hiddink of VPRO Radio in Holland).
This CD is neither humorous nor satirical, but it does have a lot in common with most of the creepiest work the Neglads have produced. In a way, Negativland adhere to a conceptual continuity of their own, with the creation of imaginary characters and places which resurface time and again in their radio shows and eventually CD releases. This composition, whilst utilising many of the techniques pioneered by the Lads, takes several steps away from their previous creations. Join a sentimental journey back to World War 2, as we experience the first-hand account of one of the first radio-journalists to be allowed into the then recently liberated Buchenwald concentration camp (‘built to last’). His graphic descriptions are mixed with familiar songs and music popular during WWII, and radio advertising from the same period. (Negativland have always been opposed to the manner in which advertsing invades our homes, uninvited and unwanted yet still protected by the laws of copyright and ownership).
The unforgettable horrors decribed by the journalist(s) are emphasised by the obvious sheer greed of the companies whose products are being advertised in twisted copy. Sweeping statements and public service announcements about national pride and individual responsibilty are used to sell petroleum (of course !), Wheaties (The Breakfast Of Champions !), vitamins and even face powder.
While being shown around the camp, the journalist takes out his wallet to give money to some of the survivors to help them get back home. His guide, a French professor, advises him to take care: “There are criminals in this camp.”
Another enthusiastic journalist invites us to share with him ‘the actual sounds of the processing of liberated prisoners’. All the intermediary camps which were set up in Allied countries as transit points for camp survivors were named after American products.
In the context of what has preceded it, the closing number ‘We’ll meet again (some sunny day)’ takes on an especially spine-chilling quality, evn more so when the words ‘Serbs’ ricochets around in the reverb.
The radio journalist (and I suspect Don Joyce himself), ends this CD by refusing to apologise for any offense that be experienced by the listeners.
Scary shit and a powerful reminder of the beast dressed as man. (MP)
Address: <mailorder@staalplaat.com>
RIK RUE – SAMPLE/SHUFFLE/INTERPLAY (CD by Extreme)
As the title suggests, this CD is to be experienced in Random mode. Indeed much like several other products which have recently been released in Australia, the music on this CD was constructed in much the same randomised fashion using MiniDiscs. (MiniDiscs can contain 255 start points, which makes it quite a creative medium to use in this way). I quite liked a similar CD by Jim Denley called ‘Sonic Hieroglyphs’ (1997, Split Recordings), which also had a contribution or two by Mr Rue, mostly because it was an interplay between two MiniDisc players and a bunch of live flute improvisations.
‘Sample/Shuffle/Interplay’ is a veritable deluge of material (a train-spotter’s delight, in fact), stacked up in picturesque disorder, with no beginning and no end. I was unable to determine any narrative form at all, which is probably the point of this exercise. It made me somewhat twitchy and I did not listen to it a second time. (MP)
Address: P.O>Box 147 – Preston 3072 Victoria – Australia