DURWOOD DOUCHE – BIG BANNED & BLUE (CD by Roadrunner)
BUG (CDR)
EMANATED (CD compilation by Emanate)
JUSTIN BENNETT – DERVISH
JUSTIN BENNETT – OCEAN
UMILIANI – MAH NA COWBOY/ CARAVAN – ” 45 RPM Record
GIANNI FERRIO – BIG GUNS – Original Soundtrack
(Both by East Tempo)
OREN AMBARCHI – INSULATION (CD by Touch)
ANGEL’IN HEAVY SYRUP – Angel’In Heavy Syrup IV (CD by Monotremata
AIR TRAFFIC CONTROLLERS – Assistant to the Assistant (CD by Paralellism)
INTRAVENE – FLOTATION TOY WARNING (CD by AufAbwegen)
BLUTSIPHON – TAMMUS (CD by Gefriem)
L@N – TWOINONE (CD by Staalplaat)
plus announcements
DURWOOD DOUCHE – BIG BANNED & BLUE (CD by Roadrunner)
As far as I can recall, the only other music I own released by Roadrunner
is by the group Brujeria, a (possibly) Mexican group, whose debut CD
‘Matandos Gueros’ (1993) contains some of the most abusive lyrics and music
I had heard up till then. It spawned a number of 7″ records, which are
highly prized, and priced, collectors’ items now.
Big Banned & Blue was pressed into my hands by a pair of sweaty hands, and
comes with a warning that states: “The songs on this album contain explicit
lyrics sung with a style and grace that you may find shocking.” Too fucking
true!
Mr Douche’s main musical activity is playing piano for a famous (unnamed)
pop singer. While on the road he would pen seriously disturbed limericks to
help alleviate the stress and boredom of playing someone else’s music. The
idea to combine these limericks into songs came one day when, while
touring, he had the realisation that he was the only member of the band not
getting his rocks off. Lyrics spilled forth and became the first track on
this CD, ‘Why Me God? a title chosen in deference to those people who work
in the copyright office. Its real title is given away in the first line of
the song: “Everybody’s fucking, but meŠ” Mr Douche played the finished
track to his mother, and he understood her stunned, silent reaction to be
encouragement, and proceeded to assemble the rest of the songs.
He confesses to being unable to keep his “mitts” off a young lady’s
ney-neys in ‘My Most Favourite Things.’ A jilted lover, whose girlfriend
dumped on his heart, lets her know that: “pullet pellets, donkey droppings,
prairie pucks and doggie dumplings” (to name but a few) remind him of her.
‘Air For A Dinosaur’ was inspired by a newspaper article saying that
scientists had discovered large amounts of methane gas in a piece of
dinosaur dung, suggesting that they could conceivably have farted
themselves into extinction. ‘Merrilou’ is done in the style of Marlene
Dietrich and concerns itself with ” a sweet cunning linguist like you”.
Then there’s ‘The Limerick Blues’, recorded as a live night club scene,
containing some of his filthiest 5-liners, with a marvellous musical
backing. And so on and on and onŠ.
The music is played in true forties style, is amazingly warm and utterly
convincing. I’ve played tracks of this CD at clubs a couple of times and
always enjoy those moments when people have become momentarily quiet and
give the music a chance to seep into their brains. Raised eyebrows, leering
grins and requests for more usually follow.
If you like a bit of dirt, then this is most certainly one to grab. (MP)
(www.roadrunnerrecords.com)
BUG (CDR)
A strange little package by five different artists, all in some way
involved in an installation in Salzburg, Austria and who have all ties to
New York. Rather then giving me clues about what it is about, I’m asked to
listen and come up with my own story. For the statistics: I heard one of
them I heard before, Dean Roberts. The others are new, Earshot (the only
one with two tracks), Hitch, Radio S’agir and Adriana Sa. Electronica is
the main part. Earshot opens with a location recordings which slides over
in a 0db frequency. Dean Roberts plays his usual minimal guitar, in
combination with trains passing. Nice rumbling stuff, like we know from
him. If you call a musicpiece ‘There Is No Place Like Home’ and you use the
sounds of breaking cups, then cynism must be your thing. Hitch does this…
Radio S’agir knows to hold the attention of the listener through a dark
backbone drone against which we hear the cosy crackling of the radio,
synths and the bakery next door. Sadly I can’t say the same thing for the
second piece by Earshot. The Portugese Adriana Sa also uses drones and
samples, but she too doesn’t succeed in holding my attention throughout. So
a bit of mixed feelings about this very limited CDR release, with hardly
any info and in a freezer bag… (FdW)
Address: <heimol@yahoo.com>
EMANATED (CD compilation by Emanate)
Maybe because I wrote so favourable about their previous releases, I got
send the first release on Emanate, a compilation label showcase of local US
talent from the ‘intelligent dance’ music areas. For the uniniated this
might be all classified as one and the same thing, but there are
differencies to be noted in approach and result. Involved are Lilianthal,
Ost, If.Then.Else, Sybarite and Solenoid. Except for Ost, everybody has two
tracks. There these typical fresh laidback tracks people like Lilianthal or
Ost (which has a nasty high frequency in there). Not dancefloor shaped,
despite all the beats going on. My favourites include the forementioned
two, the first track by If.Then.Else (Aphex Twin inspired circa ‘Selected
Ambient Works 2′) and the more aggresive cuts by Sybarite and Solenoid. But
there isn’t a weak brother here anyway… (FdW)
Address: PMB NO 402 -2342 Shattuck Ave – Berkeley, CA 94704 – USA
JUSTIN BENNETT – DERVISH
JUSTIN BENNETT – OCEAN
(Both CDRs by Spore Records)
Justin Bennett, by now known member of BMB con aswell as a solo sound
artist, who builts installations and performing with others. He too
discovered the power of CDRs, here as a documentation of his installations.
Both are for ‘repeat’ play, because our friends Sony and Philips have not
succeeded in producing a lockgroove CD (much to the regret of many DJs I
assume). Both have one track each of a continous sound mode, stretched out
sample, which slowly evolves (like ‘Dervish’) or processed radio sounds
(like ‘Ocean’). It’s quite noisy, process like music. Played at a somewhhat
low volume, and in continous mode, this builts like an environment. Sounds
that fill your space and create, outside the original installations these
were part of, an environment of their own. A very nice aproach to having
your own, ever lasting installation at home.
One question remains though: who has time enough to ‘repeat’ play this for
a couple of days?
Address: <spore@bmbcon.demon.nl>
UMILIANI – MAH NA COWBOY/ CARAVAN – ” 45 RPM Record
GIANNI FERRIO – BIG GUNS – Original Soundtrack
(Both by East Tempo)
Mah Na Mah Na must be one of the most covered songs in the world.
Everyone’s had a bash at it: The Muppets, Dimitri From Paris, Giorgio
Moroder and Enoch Light to name but four. The tune was originally composed
by Piero Umiliani, and this particular version was undoubtedly intended as
a Christmas release. The twanging throats and guitars are constantly
interrupted by snippets of Christmas carols, which are themselves
repeatedly swallowed up by the original tune again. ‘Caravan’, the famous
Duke Ellington tune is presented here as a foretaste of the upcoming Easy
Tempo CD: ‘Piero Umiliani: Ode to Duke Ellington’. I have a bunch of
versions of this track, together with ‘Quiet Village’ and ‘Tabu’, available
on two (so far) volumes of ‘The Exotic Trilogy’ (distributed by
Staalplaat). Again, these are tunes that have been beaten to death by
almost every musician who ever plucked, blew or smacked an instrument. But
I digressŠUmiliani’s version of ‘Caravan’ is not normal, in fact, it’s got
to be the most psychedelic take of it I’ve ever heard – bubbling analogue
synths twitter merrily in and out of the big band’s blasts – plus it’s a
glorious 6.00 long. Limited Edition.
‘Big Guns’, the movie, starred Alain Delon, who plays the part of the
reluctant killer Tony Arzenta out to avenge the murder of his wife and
child. Obviously he does away with a bunch of Mafia hoods responsible for
the car bomb that robbed him of his family, but is finally betrayed by an
old friend. So now you know the end of the film before you even thought
about going to see it.
This CD opens with the beautiful ‘L’Appuntamento’, sung by Ornella Vanoni,
one of Delon’s favourite vocalists at the time. We then proceed into the
rest of the soundtrack; as usual there is a basic theme with variations,
and the familiar harmonica and Hammond which trademarked so much music in
the 70’s are scattered throughout most of the tracks. Sweet, funky, jazzy,
cool and dark – this is yet another great release in the film soundtrack
series by Easy Tempo, an Italian label dedicated to preserving the cream of
Italian Easy Listening. Check out their series ‘V.A. Easy Tempo Volumes
1-9′ too. (MP)
(email: easytempo@gpa.it)
OREN AMBARCHI – INSULATION (CD by Touch)
Sydney based musician Oren Ambarchi has been performing for over ten years.
His previous releases include ‘Alter Rebbe’s Niggun’ (with Rob Aveniam) on
Tzadik and ‘Insulation contains three tracks composed with Matthew Thomas,
whose own debut ‘Architecture’ came out on Dorobo three year ago. Which
three tracks these are is not specified. The music on ‘Insulation’ was
composed with a guitar, and – shock, horror, probe! – absolutely no
computer processing at all.
It’s a very abstract series of compositions, mostly dark, subterranean –
almost like a sonic tour through the Minotaur’s huge labyrinth of 1500
rooms. According to Borges in his tiny story ‘The House of Asterion’, each
of these rooms housed a different from of activity, and this is what I was
reminded of while listening to this CD. Deep, pulsing breath-beats are
smeared by a lurking haze. High-flying, winged creatures flit past and
disappear back into the darkness. Unrecognisable shapes linger in the
shadows and mystery hides round each corner. Archaic synthesiser sounds are
coaxed from six strings – odes to the farthest extremes of the instrument.
Unusual and compelling, as fragile as hoar-frost, this CD is a perfect
length. Gone are the days I hope, when the entire silver surface had to be
used. Yet another testament to the power of brevity from this
groundbreaking British label. (MP)
(www.touch.demon.co.uk/ambarchi.htm)
ANGEL’IN HEAVY SYRUP – Angel’In Heavy Syrup IV (CD by Monotremata
Instantly a flood of recognition and nostalghia. Growing up in the midwest
in the 1970s is something that tends to leave cultural marks fused deeply
into the consciousness – sub- or otherwise. And there was a time when a
boy could make some sort of living by collecting bottles and cans, as
Michigan will give you anywhere from five to twenty cents for each one you
bring into the convenience store. At such time, the loud-speakers were
exceptionally loud. Loud enough to bring the nostalghia for an age yet to
come (that of being a hessian without no aggression, swig puff puff) into
fuzz and into focus. So too is it with these sounds – guitar, bass, magpie
vocals and drum drum drums.
Is there an evolution in psychedelic music? Can the reworking of forms
create something entirely new in what “seems” to be entirely old? Witness
even the recent paper trail from “In Search Of” to “The Blair Witch
Project.” The continuation of psychedelia into today mirrors one of its
most crucial concepts – that of birth and rebirth. Of course, “mirrors”
are another of those crucial concepts…as is “concept” itself. Another
skein running through this vein is that of psychedelia’s desire to make
others “see” what the psychedelic sees. Brotherhood or vanity? It is
unclear…
Heroic strains of melody strumth forge ahead through the thickening syrup
and degauss buttons, I can’t understand a word and it’s all evocative of a
time past yet which somehow still beckons… (DC)
<Address: monorecs@monotremata.com>
AIR TRAFFIC CONTROLLERS – Assistant to the Assistant (CD by Paralellism)
A beacon wends its way – much wending – from the fog that is itself, into a
clearer signal. Signposts of familiarity – guitar skree and feeding back –
arise sporadically, then more regularly. Somnolent staggerings rise up
against the chittering of whatsit in the background. It’s as if the piece
levitates from the swamp and mire – compact with the blues unannounced?
Reverberations gong the call – have the number of psyche-activating
frequencies been charted yet? And then an organic organ distinguishes
itself from the fray, which seems to calm – or is this just before a storm?
It’s as if there are distinct chapters being called forth in a story – but
what determines the demarcations? How much improv is in improv?
The smoke of another experiment curls up and across the tapping and drums.
It wavers in loops and passes through and around the drums and continued
tapping. Static rhythms into slowfall silence, a lingering
scent…whereupon gentle tendrils of guitar take root, and drums
tentatively step into the background. Somewhere, a kiss is envisioned.
The tapping falls in drops on the microphone, and a warbling tone softly
guesses a morning after; of rain and deep heartbeats in drum, of something
upcoming. Light strikes an opening eye and there is chaos, or speed –
whichever word escapes the lips quickest. The melee turns into a relay, as
a rhythm and other patterns arise and arrive. Can even a nihilist “get
religion”? (DC)
Address: <atc@paralellism.com>
INTRAVENE – FLOTATION TOY WARNING (CD by AufAbwegen)
As I expected, this is a pretty dark and gloomy album. Four tracks, varying
in length from 6:49 – 15:19 minutes, take us on a journey into unknown
realms, constructed by Steve Pittis and Stephen Meixner. The first track is
the least one of the album imho. Too dark and suggestive and not ‘real’
enough. The other ones are much better though: strong atmosphere and good
compositions make for relaxed, but exiting late-nite listening. They
include many sound sources, processed in a multitude of ways, that create
rich texture that one can almost get lost in. So it’s well done after all.
(MR)
Adress: aufabwegen@aol.com
BLUTSIPHON – TAMMUS (CD by Gefriem)
And now for something completely different: I already mentioned before that
Germany seems to host the most cold-blooded humorists in music since time
began. This CD by Blutsiphon proves the point once more. Of all the whacky
stuff I’ve heard this one probably gets the Grammy. This is totally fucked
up in every way you can imagine: samples from a very, very wide variety of
music are uesd to create songs that are so funny, that it will bring a
smile to anyone’s face (really serious people excluded). This is something
you have to listen to and either you like it or you hate it. I like it. (MR)
Adress: www.a-musik.com
L@N – TWOINONE (CD by Staalplaat)
From a reliable source I know that L@N is from Germany, but if I hadn’t
known this, I would have guessed as much. This duo, consisting of Otto
Müller, formerly member of German project “Die Anarchistische Gummizelle”
(1980-90), and Rupert Huber, draw inspiration from bands like Der Plan and
Die Partei (it may not come as a surprise that Otto and Rupert are also
visual artists). This disc is filled with 17 tracks and has a duration of
over 75 minutes. Basically all of the tracks are rythmical structures,
constructed with drum computers, some synth sounds and fx, and change
slowly in the course of each piece. The overall sound is kind of poppy and
weird. Sort of a combination between techno and honky tonk. For a while
this is good fun, but 75 minutes is just a little overdone… (MR)
Adress: www.staalplaat.com